The future San Francisco Earthquake
What Billy Meier saw and photographed from the space ship
Billy Meier is here taken onboard an extraterrestrial space ship on a time travel to the future. To San Francisco. He is given the opportunity to survey and photograph the aftermath of the next big earth quake to hit the city. Billy’s first reaction when he looks down on the destruction in the aftermath of the quake, is that it looks far worse than what he thought it would. It is a quake of scale which also involves clearly visible dislocation of the San Andreas Fault. Bernadette Brand stated she saw the photos he took of the San Andreas Fault as well.
The general rule Billy had to follow, related to information passed on to him from the extraterrestrials about future events, was not to publish the information before the event had come to pass. But not this time around. Here Billy is initially given permission by Quetzal to publish the photos for the reason it would save human lives.
Since Billy on this occasion used a borrowed camera with a telephoto lens, he would have got images with great details. Details which would be helpful in trying to determine the time frame for when the event would happen. This is also indicated by Wendelle Stevens who claimed it was possible to see the shape of the cars on the street. Bernadette Brand also stated that Billy’s photos showed more details than the GEO painting, part of which can be seen below.
Another indication that Billy was meant to publish these photos, just like he did with the space trip photos, was that he freely circulated them around for others to see. Not only did Wendelle Stevens see them, but also Britt and Lee Elders in addition to many of the locals.
What brought this initial plan to a halt according to contact 106 dated 10 April 78 and also according to Bernadette Brand’s statement, was that one of the local persons, who saw the photos started accusation that Billy had copied the photos from a painting in the GEO magazine. From an issue published the year before.
So a similar accusation started brewing as to what happened with some of the photos Billy published from the space trip three years prior. He was here accused of faking the photo he took of the energy tunnel into the DAL universe. The accusation here was the same, that he had copied it from a painting.
So when Billy told this to Quetzal he decided to take all the photos back along with the negatives, in order to avoid a repeat.
This time travel not only goes back to the future, but also to the past. That is, after returning back from the future, the space ship returns back 30 minutes into the past. 30 minutes before the time Billy was picked up. As such there was no time loss in his present time. Billy actually gained 30 minutes which they used for conversation. Also, since minutes here are stated, it indicates that their accuracy as to time travel goes down to the minute.
A similar thing happened in earlier contacts, such as the during the great space trip, where Jakobus Bertschinger saw Billy leave the house clean shaven for contact in the morning to return 22 hours later with a week old beard. As if he had not been shaving for a whole week. In reality that trip spanned 5 days but the by travelling back in time before he was dropped off, Billy only missed 22 hours of our present time.
My translation above the German original
Plejadisch-plejarische Kontaktberichte, Gespräche, Block 3 Published Augsburg 2004 - Contact 104 Saturday 18 March 1978, 03.32 AM Page 131-134
Quetzal
81. Yes, that’s right.
Billy
Well then, surely someone will not be delighted. But tell me, Quetzal, can you also enter into other dimensions in this old box?
Quetzal
82. Your Question is not logical; what do you want to ask?
Billy
I am wondering about, whether you with Menaras ship also can undertake travels into the past and into the future?
Quetzal
83. It is possible, but why do you ask?
84. Whenever you ask such questions, then a certain purpose is behind them.
85. Do you want to ask me whether I will undertake a travel with you into the future or into the past ?
Billy
Precisely, my son.
Quetzal
86. Sooo - …. this is why you have taken this big photo apparatus with you.
Billy
Exactly, my son, but this is not such a complicated thing, as you say, but quite simply a pretty damn normal camera.
Quetzal
87. But that’s the same.
88. Nevertheless --- where to do you want to go then?
Billy
To Frisco, my son. To San Francisco, but into the future. Namely to that time when the city will be destroyed by the great earthquake. I would here be interested in how it all looks like when the first heavy quake is over, and precisely that is also what I would like to photograph. This would surely be possible to do, or? And it surely would not matter if I publish these photos, if they come out well, right?
Quetzal
89. Against this would surely be no objections, because as a result many people would leave San Francisco and settle elsewhere before the catastrophe occurs.
90. It would save many human lives.
91. Certainly, I agree to this, but it will take several hours if I go there with you.
92. Because this old ship, I have presently no other at my disposal, needs a longer time for preparation, after which you then first at dawn will be back again in normal time.
Billy
Nevertheless that does not matter, because you certainly can bring me back again at about the same time as you got me out of bed.
93. Quetzal
That would be possible
Billy
Good, because then I could also get some more sleep. Let’s go then.
Quetzal
94. As you like, but in the meantime, we cannot have any conversation.
Billy
Never mind, let’s go now; I am stretched like a string before breaking.
Quetzal
95. So be it.
96. You are truly relentless.
Quetzal
97. Here we are about 300 kilometers away from San Francisco.
98. There below, you see the rifts in the Earth, as they already existed for a long time.
99. What you see are widening’s of the so called San Andreas rift, which has bulged up to the Earth’s surface.
Billy
May I photograph this?
Quetzal
100. I have nothing against that, but you might also capture it onto your film in your present time, the year 1978, because the changes are only very minor, and probably hardly visible in the photos.
Billy
Nevertheless, I want to photograph it.
Quetzal
101. So do it then.
102. Come here, look --- here, this floor hatch, so, as you see after shifting this plate aside, it releases this very fine pointed viewing panel, through which you can look directly outside.
103. Through this you can take photos.
Billy
All right so, Quetzal, but you however know that, when I take pictures from the ship, these afterwards are always very unsharp and blurred. Is there no other way, you know, that I perhaps can walk outside?
Quetzal
104. You get the best view around from up here, here from out of the ship.
105. On the other hand, this time you will get sharp clear pictures in your film, because the propulsion of this ship does not affect your film by rays.
106. You must only make sure not to take photos directly through beneath the propulsion area, because the very strong light emission could affect the film.
107. The slightest damage of the film could be that that the ready pictures would seem illuminated like by a source of light.
108. And in the worst case, an overexposure could happen.
Billy
Is this the light, which reaches so far downwards and looks like a searchlight?
Quetzal
109. That is right. So make then sure that these light masses do not come into your capture area.
Billy
I will try to do so…
Quetzal
110. Have you completed your work?
Billy
I have, my son. But perhaps I have not been careful enough because of the light. Somehow it seemed to me, as if I had always had seen a shimmering light in the objective.
Quetzal
111. Then try again.
Billy
No, let us first go to Frisco, because I only have one single film with me, and besides of that it is only a standard negative-film.
Quetzal
112. As you want.
113. Go away from the hatch.
114. So, - good, it…..
Billy
Man, that is crazy, just look, everything smokes there in front.
Quetzal
115. Over there is San Francisco.
116. Well, we already are here; now take your pictures.
Billy
Man alive, Quetzal, this looks much worse, than what I thought it would. But listen, somewhere it has to be a building, which should be known as America-Building or similar; take me over there, too. That one, in particular, I would like to photograph, so that no one can come and claim, that I would have shot pictures of the last great quake around the turn of the century.
Quetzal
117. Here we are already; my friend, but this time pay better attention to the light source.
Billy
I will try.
…
Billy
Thank you, Quetzal, this suffices, still rush back a little. ……. Well, okay, ------ wait. …….Well, now fly a bit over there to the right, … Well this way. Thank you. Wow, that’s gigantic, the cruel destruction. ……. Thank you, Quetzal, again I got some pictures. This should be enough. Nevertheless please fly once again back to the strange bulging of the San Andreas fault.
Quetzal
118. As you want, but remember, our time is slowly getting exceeded, and I have to make the preparations for the return travel.
Billy
All right, Quetzal, you can start with it at once, when we are at the place. I once more want to see it all. But how soon such a half hour of the future is passing.
Quetzal
119. The time is the same, but she only appears to you as much shorter because of the seen events.
Billy
Of course, I already know. Oh, here we already are. Now just do your work.
…….
Quetzal
120. So, my friend, there we are again.
121. We are about 30 minutes earlier here than when you left your warm bed.
Billy
Then we can still use the remaining time to discuss those matters which you wanted to be treated as secrets.
Quetzal
122. This was also my intention
German Original
Plejadisch-plejarische Kontaktberichte, Gespräche, Block 3. Druck: Offset Druckerei Pohland Augsburg 2004. Einhundertvierter Kontakt Samstag, 18. März 1978, 03.32 Uhr s.131 biz 134
Billy
Nun gut, einige werden sich sicher nicht gerade freuen. Sag mal aber, Quetzal, kannst du mit diesem alten Kasten auch in andere Dimensionen eindringen?
Quetzal
82. Deine Frage ist nicht logisch, was willst du fragen?
Billy Es nimmt mich wunder, ob du mit Menaras Schiff auch Reisen durchführen kannst in die Vergangenheit und in die Zukunft?
Quetzal
83. Es ist möglich, doch warum fragst du?
84. Wenn du solche Fragen stellst, dann steht dahinter eine bestimmte Absicht.
85. Willst du mich fragen, ob ich mit dir eine Reise in die Zukunft oder in die Vergangenheit unternehme?
Billy
Genau, mein Sohn.
Quetzal
86. Soo-… darum hast du diese grosse Photographierapparatur mit dir genommen.
Billy
Genau, mein Sohn, doch das ist kein so kompliziertes Ding, wie du sagst, sondern ganz einfach ein verdammt normaler Photoapparat.
Quetzal
87. Das ist doch dasselbe.
88. Doch --- wohin willst du denn?
Billy
Nach Frisco, mein Sohn, nach San Francisco, aber in die Zukunft. Nämlich in jene Zeit, da die Stadt durch das grosse Erdbeben zerstört wird. Es würde mich dabei interessieren, wie alles aussieht, wenn das erste schwere Beben vorüber ist, und genau das möchte ich dann auch photographieren. Das wäre doch sicher zu machen, oder? Und sicher spielt es keine Rolle, wenn ich dann diese Bilder, falls sie was werden, auch veröffentliche, oder ?
Quetzal
89. Dagegen wäre sicherlich nichts einzuwenden, denn dadurch würden sehr viele Menschen San Francisco noch verlassen und anderswo ansässig werden, ehe die Katastrophe kommt.
90. Es würde sehr viele Menschenleben retten.
91. Gewiss, ich bin damit einverstanden, doch dauert es mehrere Stunden, wenn ich mit dir dorthin will.
92. Dieses alte Schiff nämlich, ich habe gegenwärtig kein anderes zur Verfügung, bedarf einer längeren vorbereitungszeit, wonach du dann erst bei Tagesgrauen wieder in der Normalzeit zurück sein wirst.
Billy
Das spielt doch keine Rolle, denn du kannst mich ja dann ungefähr zu derselben Zeit wieder herbringen, wie du mich aus dem Bett geholt hast.
Quetzal
93. Das wäre möglich.
Billy
Gut, dann könnte ich nämlich auch noch etwas schlafen. Gehen wir also.
Quetzal
94. Wie du willst, doch können wir in der Zwischenzeit keine Konversation führen.
Billy Egal, gehen wir schon; ich bin gespannt wie eine Saite vor dem Bersten.
Quetzal
95. So sei es denn.
96. Du bist wahrheitlich unermüdlich
…
Quetzal
97. Wir sind hier etwa 300 Kilometer von San Franscisco entfernt.
98. Dort unten siehst du die Zerklüftungen der Erde, wie sie schon seit langer Zeit bestehen.
99. Was du siehst sind Ausweitungen des sogenannten Andreas-Grabens, der sich bis an die Erdoberfläche aufgewölbt hat.
Billy
Kann ich das photographieren?
Quetzal
100. Dagegen ist nichts einzuwenden, nur, du könntest es auch zu deiner Gegenwartszeit im Jahre 1978 auf den Film bannen, denn die Veränderungen sind nur äusserst gering und auf den Photos wohl kaum wahrnehmbar.
Billy
Trotzdem möchte ich es photographieren.
Quetzal
101. Dann tue es.
102. Komm hierher, sieh – hier diese Bodenluke, so, wie du siehst, gibt sie nach der Beiseiteschiebung der Platte diese sehr fein punktierte Sichtplatte frei, durch die du direct ins Freie sehen kannst.
103. Durch diese hindurch kannst du photographieren.
Billy
Das schon, Quetzal, aber du weisst doch, das wenn ich im Schiff Photos mache, diese nachher immer sehr unscharf und verschwommen sind. Gibt es denn keine andere Möglichkeit, weisst du, dass ich vielleicht aussteigen kann?
Quetzal
104. Den besten Überblick hast du von oben, hier vom Schiff aus.
105. Anderseitig wirst du dismal scharfe und klare Bilder auf deinen Film bringen, denn der Antrieb dieses Schiffes beeinträchtigt nicht durch Strahlen deinen Film.
106. Du musst nur darauf achten, dass du nicht direct unter der Antriebsfläche hindurch photographierst, denn die sehr starke Lichtausstrahlung könnte den Film beeinträchtigen.
107. Die geringste Beschädigung des Filmes könnte die sein, dass die fertigen Bilder wie durch eine Lichtquelle beleuchtet erscheinen würden.
108. Im schlimmsten Falle würde eine Überbelichtung stattfinden.
Billy
Ist es das Licht, das da unten so weit hinabreicht und wie ein Scheinwerfer aussieht?
Quetzal
109. Das ist von Richtigkeit. Achte also darauf, dass diese Lichtmassen nicht in den Bereich deiner Aufnahmebereiche kommen.
Billy Ich werde es versuchen.
…
Quetzal
110. Bist du mit deiner Arbeit zu Ende?
Billy
Bin ich, mein Sohn. Vielleicht bin ich doch nicht vorsichtig genug gewesen wegen des Lichtes. Irgendwie schien es mir, als ob ich im Objektiv immer einen Lichtschimmer gesehen hätte.
Quetzal
111. Dann versuche es nochmals.
Billy
Nein, gehen wir erst nach Frisco; ich habe nämlich nur einen einzigen Film mit und zudem noch einen normalen Negativfilm.
Quetzal
112. Wie du willst.
113. Geh von der Luke weg.
114. – So-gut, es…
Billy
Mann, das ist ja verrückt, guck nur, alles qualmt dort vorn.
Quetzal
115. Dort liegt San Francisco.
116. So, da sind wir schon, nun mache deine Aufnahmen.
Billy
Mensch, Quetzal, das sieht ja viel schlimmer aus, als ich mir das gedacht habe. Doch hör mal: Irgendwo muss es ein Gebilde geben, das als America-Building oder so ähnlich bekannt sein soll, bring mich doch dorthin. Das möchte ich nämlich vor allem photographieren, damit nicht jemand dann kommen und behaupten kann, ich hätte Aufnahmen gebracht vom letzten grossen Beben um die Jahrhundertwende.
Quetzal
117. Da sind wir schon, mein Freund, doch achte dismal besser auf die Lichtquelle.
Billy Ich will es versuchen.
…
Billy
Danke, Quetzal, das genügt, sause noch ein Stück zurück. … Gut, ja --- Moment. … Gut, jetzt flieg noch etwas dort rechts rüber --- Gut so, danke. Mann, dass ist gigantisch, die grauenhafte Zerstörung. … Danke, Quetzal, ich habe wieder einige Bilder. Das sollte wohl genügen. Flieg doch bitte nochmals zurück zu den komischen Aufwölbungen des Andreas-Grabens.
Quetzal
118. Wie du willst, doch bedenke, dass wir unsere Zeit bereits langsam überschreiten und ich die Vorbereitungen treffen muss für die Rückreise.
Billy
Schon gut, Quetzal, du kannst damit sofort beginnen, wenn wir am Ort sind. Ich möchte alles nochmals sehen. Wie schnell doch so eine halbe Stunde vergeht in der Zukunft.
Quetzal
119 Die Zeit ist die gleiche; sie erscheint dir nur sehr viel kürzer durch das Gesehene.
Billy Natürlich, das Weiss ich. Ah, da sind wir ja schon. Mach nun nur deine Arbeit.
….
Quetzal
120. So, mein Freund, da sind wir wieder.
121. Wir sind rund 30 Minuten früher hier, als du dein wames Bett verlassen hast.
Billy
Dann können wir die restliche Zeit noch ausnützen, um jene Belange zu besprechen , die du verschwiegen behandeln wolltest.
Quetzal
122. Das war auch meine Absicht.
What Wendelle Stevens saw on the 11 photos
In Messages from the Pleiades volume 4 Wendelle Stevens writes that it was one evening in 1978 that they were sitting around the kitchen table at the Center in Hinterschimdruti.
Billy was there and the conversation turned to time travel and the trip he had taken with the Pleiadians to view the great San Francisco earthquake predicted for the future. He told them he was allowed to photograph it with his own camera. Wendelle writes that it was them who insisted on seeing the photos. They continued to insist until Billy left the room and came back with one of those photo shop return envelopes in his hand. It contained the pictures still in it, toghether with the negatives. He had taken these pictures on negative film in contrast to his earlier photographing of the spacecraft on ASA 100 positive slide transparency film.
So Billy then opened up the envelope write Stevens and he spread out eleven colour prints on the kitchen table. He said they were pictures from the future San Francisco quake. He then passed them around the table one by one to all sitting around. Stevens writes there were at least nine to ten people sitting around the table at the time. It was himself (Wendelle Stevens) along with Britt Elders and Lee Elders. The Swiss locals sitting there it were Kalliope Meier, Engelbert Wächter, Maria Wächter, Jakobus Bertchinger, Berndadette Brand and a couple more whose names Stevens did not remember.
Stevens carefully studied each photo, trying to recognize familiar landmarks and buildings, and any prominent new structures he had never seen before. He writes he saw smaller cars with smoothly rounded corners and no external projections, and some of these had half-glass and others full-glass cabin tops, making them look more like bugs than boxy cars.
He saw the Transamerica building cracked through its steep pyramidal shape from upper right to lower left, from the viewer’s angel, and another big rectangular building with higher rectangular towers on either end, collapsing in the middle and taking the two towers down with it. There was shooting flame, black and light smoke, and water and gas spewing from broken pipes, and there was a lot of dust rolling out from the collapsing rectangular building.
The photos were sent around the table twice before Meier collected them. They were never published because a few days later the extraterrestrial took both negatives and photos back.
Stevens next year got to see the Geo Magazine article with the earthquake painting. An important point Stevens here make is that the Geo Magazine painting which Billy was accused of copying, was just one painting of the destruction which was spread over two pages in the magazine, whilst what Stevens saw was 11 separate photos. These photos looked very real to him, like real photographs, not photographs of paintings
