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TRANSCRIPT
REMOTE VIEWING
(RV)
SESSION DC-18
#66:
This will
be
a remote viewing session for
1500 hours,
21 November
1980.
Relax and concentrate now.
Relax and concentrate.
Relax...
Relax...
Relax and concentrate.
Focus your attention
on
the individual
in the photograph
I have shown
you.
Hocus
your attention solely,
completely
on the individual
in th
photograph
I have shown
you.
Move now through space and
time
to 1300 hours at the target;
1300 hours,
21 November
1980
at the target.
Move now to the area of this individual,
the target
area,
and describe your surroundings to me.
PAUSE
#10.5:
I'm getting
a.
. .impression
of... how,
how... sort of
a bleak,
barren,
brick building room...
He
is standing up,
with
i
back to
a,
uh... white upright,
uh,
cabinet against
a wall...
very funny
?
as though
he’ s#
. .incarcerated*
#66:
What
is
it you are experiencing that makes you
say that?
#10.5:
I
just had this feeling
of... it's
a mixture,
it was like a...
a empty room and a...
a
mixture
of feeling like... an old
public school building. ..or
a sorta goofy
like.
. .remember
how we used
to think our schools were prisons...
Sorta hk
that...
Like
a makeshift incarceration....
Move up and outside this area now,
move up and outside this
area,
and describe for me
in what area of the world are you.
PAUSE
I
keep
a
I,
uh,
very
funny,
some sort
of
a.
. .peninsular
country.... some sort of
a peninsular country that s...got ^
the right hand side contour,
it's
a smooth roundness to
it
like
....a Korea
or
a
Indo-China,
it's
got the curvy roundness
to
it.
But where he
is
is... in
a
large city,
the feeling of
a
urban sprawl.
When
I went out the window he^uh,
I thought
there were smoke stacks around,
feeling
of cityness, many
people
Korea is predominant feeling.
#66*
All riqht,
move now back
in with the individual,
move now
back
in with the
individual and describe his situation
to me.
#66 :
#10.5:
PAUSE
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somethin's
somethin's,
uh...a little different
#10 ‘ 5,
here*
*
" I can't tell
if
I'm
in. ..in the building with him
or
if he's. ..just outside the building.
The area
is very narrow,
barren brick and tall.
. .warehouse district,
very crummy,
old
slums.
I can't tell
if he’s... in
a narrow room,
or
if
he
s
a narrow alley between two... for one moment
I detect
a curb
at his
feet,
as though
I'm outside,
some sort of
a ledge,
like
a curb,
but behind him are windows and
I
don
t know if
looking at them from outside
or looking out of them from
inside at
the,
.
.
#66:
Describe the type windows.
vn n
c,
Thev
' re
uh.
multi-paned'
! and
I'm getting,
uh,
maybe four
or
* 10 - 5
-
five panes high .1<£ a very long strip of them that goes from
about
over his head to the left
a long ways,
like it
a
continuous window.
The predominant thing here
is a large
white box that sits
in the elbow
of the building wall,
reminds me very much of
a... linoleum white... old kitchen
cabi-
net.
One of those old metal linoleum white pantry
cabinets.
#66:
Okay.
,m
#10.5:
#66 :
+15
#10.5;
I... to
it's right
is a...
a
jog in the building wall and more
and more
I'm feeling like I'm on
a narrow street,
between two
walls.
Okay.
Focus now
on
the individual.
Focus solely and completely
on
the individual and tell me about the atmosphere of his
surroundings.
What
is
the feeling, what
is the atmosphere,
what type of place
is this, what
is the atmosphere
of this
place?
PAUSE
It's
a deserted alleyway .. .narrow street.
. .almost
like cobble-
stone sidewalk
I smell a...
a
stench of decaying garbage
...musty,
uh,
old ramshackle buildings.
The...i
m HKe
on
a alley that connects two
larger streets.
#66:
Okay,
now-
#10.5:
The- not
a very nice or secure place to be.
I... feeling of... at
dis-ease
.
. to be here... like somebody might get me.
#66:
Okay,
now,
if
I understand you correctly,
limiting to your
raw perceptions you have,
uh,
walls that appear
like brick
on both sides
of you,
and there is
a multi-paned window^
somewhere
in the area and the streets are stone,
the,
what
s
under your feet
is stone.
I want you
to check one thing for
me.
I want you to
look straight up
#10.5:
It's open up above me.
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#66:
Okay.
Now find the individual
in the photograph and tell me
what he's doing right now
#10.5:
He's walking,
I
think.
#66*
Okay.
Now,
concentrate solely and completely
on this indiv
iduai,
solely and completely
on this individual.
Don't think
anything about the surroundings
now,
think solely about this
individual,
and as
I
count three we're going to move forward
one
day,
gonna move forward one day
of our present time win-
dow to 1300 hours his time tomorow.
I'm going
to count now.
One.
. .two.
. .three.
.
.
#10.5:
#10.5:
#10.5:
PAUSE
(Mumbling).... getting this feeling
of
.
. .sorta^conveyance.
.
.
like
a ferry.... getting
on
a ferry boat or
a harbor boat...
1 don't understand
it.
I'm also getting some big.
. .massiveness
of nothing.
It's wild,
I'm not gettin'
anything.
It a
a.
.
.
like
I was up. ..looking through
a microscope at
a.
. .something
huge.
I'm just... that,
the one feeling conveyance was strong
. ,?and
I was tryin’
to figure out what mode.
I struggling with
this biggess... .big nothingness,
but very
sspontamsous
I ha
this feeling of
a boat,
like
a patrol boat
or
a harbor boat,
with the skyline
in the background,
like. ..skyline
in
the
background like.
. .conveyance is the main thing.
Okay
.
But not traveling
far.
He's not traveling far.
He's going
a short distance like a... on
a ferry... or just across the
river
to another place
or something*
Okay.
Now focus once again
on him.
Focus once again solely
and completely,
solely
and completely
on him.
Solely
an
completely on him,
and move now one day from your present
time,
move down one
day from your present viewing as
I count
to three.
I'm going to count now.
One.
. .two.
. .three.
.
.
PAUSE
I
had a.... feeling,
uh...of
a wooden arch,
uh.
. .like
a door-
wav
with
a.
. .something hanging
in
it,
like
a,
uh... large
oriental bell.
Feeling of being
l"
’’
something
like,
uh,
Shin- Shinto sghrine,
or something like
that.
Like
I'm out
in the open now,
but there's these things
around me that... and there
are trees,
very,
very nice,
ornamental 0 n garden.
And there’e this large bell hanging
in
a,
uh,
a big wooden.
. .looks sorta like
a
gate,
but
it
s
got
a bell hanging
in
it.
Oh,
that was all 3P“n^
e
°f'
cockeyed,
actually,
it was off my screen,
I
had to got look
for
the rest of
it.
I feel that now is
a,
uh...uh,
looking
down
* at
a
large, wide, white.
. .sidewalk.
Sort of a wide boule-
yard.
There
is this,
uh,
bell hanging along the sidewalk.
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space^Er entrees
,
I'm out
in
a nicer part
of town.
Okay.
I'm not... I'm like
in the renewed part
of town that has this.,
nice parks and not the depressing,
uh,
inner city.
Have a
feeling
I'm in
a main part
of the city,
it
s just that
spread apart and the buildings are more modern around me.
Where
is the individual
in the photo?
As you asked the question
I had him walking up some sort
of
a
ramp leading to
a structure like m the park.
I
didn't understand you.
Up
a ramp,
leading to
a structure
in the park
Okay.
Focus on him once again and move ahead
in time one day
from you present scene as
I count to three.
Focus
on the
individual
one more time and move ahead
in time one
day from
your scene as
I
count to three.
I'm going to count now.
One .
.
. two .
.
. three ...
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#66 :
#10.5:
#66 :
#10.5:
# 66 :
#10.5:
#66
:
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#10.5:
#66 :
#10.5:
#66 :
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PAUSE
Urn.... keep seeing
a... a large white.
. .gray-white block,
big
building.
It's as big as the city block and
J*
s
on
it.
Some sort
of
a roundedness
in the middle of
it
and...
5ut
the,
uh
there's somethin'
really weird here now.
It's,
uh,
uncannily American.
Focus more
on him and tell me about his immediate surroundings
This
is like
on
a... street outside this big metropolitan...
big metropolitan,
uh,
office building. ...... .large building,
like a public administration building.
. .like,
uh,
you wo
expect some country’s senate to
be
in.
Okay...
Focus on him once again.
Focus on him once:a 9al">
and as you
focus
on him once again move one
day ahead
in time,
one
day ahead
in time as
I
count to three.
Move one
day
ahead in time as
I
count to three.
I'm going
to count now.
One .
.
. two .
.
. three .
.
.
PAUSE
I
see
#10.5:
Have this,
uh,
feeling of old warehouse.
. .red brick.
arched windows that are bricked up.
Then,
urn. ........ ....
like I'm under
a. ..I wasn’t feeling,
I was
just ^P at this.,
the ceiling as though
I was
in this larger room.
I
figured
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#10.5:
I was inside the red brick building... a large room.
_
„„
onmo
rppfsnn.
it
!
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#66 :
#10.5:
+42
+44
I
keep
noin'
up,
I don't wanna go in for some reason.
It's,
uh,
I
can't get
in the building very easily,
I
don
t know
u/hy.
do^t know what this
guy's
doin'
but he sure is .earan
h a
ahoos off...
Seems like he's
on the go ail the tm*.
njMB*
I always end up... along some street or somethin
.
This area
is,
um.
. .in the neighborhood of where we started from,
but
a little bit different.
Cheek your
time.
Are you
five days
in_the future?
Check your
time.
Are you five days
in the future
" "
I
...No. ..I don't know what
I'm doin'.
I'm standin'
on
some* big wide boulevard.
. .like an airport drive-up place,
and
there's
a big gray, overhanging structure across the way like
it's the?.. like a big airport- buildin'
or somethin' ...made me
think of that...
I don't
know,
it's a... sort
of
a straight
drive-up
not
a curved thing
or anything.
Okay
.
Dark
in
theNur/derhang,
and... big massive,
gray,
blocky build-
ing...! don't know
Okay,
we’ve been at
this quite
a while.
Do you have any closing
comments?
I have no further questions.
Well
I don't know,
a... mixture here... some sort
of a mixture.
First
I
thought
I was
in. ..in the Far East,
but several
times
during the session
I didn't... I felt almost as though
I was
not,
and that
I was here
in the Northeast.
It was reaily
peculiar.
I
had some sort of
a curvy peninsula line.
I thought
I was in... you know,
some place
in Korea because
of
the pen-
insula
shape,
but several times during th^n^
SS^" y
C
°Seet
sworn
I was right
in Baltimore. .. .Grungy,
dingy,
city stree
in the... the big admin building in... I don
t
know.
I
m just
all mixed up.
Okay.
I have no further questions.
Let's return your aware-
ness
to the present and to me here in the
room.
Remember
clearly and cleanly and concisely everything you have seen
and prepare to draw.
Now
the first thing
I wanna do here before we start to
Hking aboSt the session,
I wanna turn the tope over so that
we have plenty
of tape time
'cause we're right near the end
here.
Okay.
#10.5:
Okay,
um,
sketch
one.
Hy
first.
. .first impression
I had of
our tarqet
guy was... I was
in
some narrow place. ..uh.
. .narr
w,
I first? on the first scout
I
thought
I was inside
a narrow
as fhouoh
I was inside some weird,
narrow,
old.
dinqy,
# 66 :
#10.5:
#66:
#10.5:
#66 :
rnnm
.
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:
red brick,
dirty room in
a public school.
Something about
public school came through.
And
a feeling of... I said incar-
ceration,
uh,
but then
u/hen
I explained
it
I said like
hou/
kids feei when they're in this public school
and they wanna
get
out and they feel like they're half trapped.
Sort of
a
half trapped feeling.
And he was standing with his back
to
a large rectangular light
appearing cabinet.
Like
an old 1950's model kitchen cabinet,
metallic linol-
urn,
you know that kitchen white paint and
everything.
I thought this was
inside.
Over his shoulder was
this large multi-paned industrial factory type window,
and it
was all very dirty,
old brick.
Well,
I
think you had me
go
out and look around,
try
to find out where
this place was.
When
I went out
I
thought that
I went outside
a building and
through,
and going through these multi-paned windows and rose
up.
And
I
had smoke stacks,
this industrial
feeling,
a large
sprawling metropolis.
When
I came back in... I started looking
around more where
I
was and where
I perceived him
to
be,
and
I
finally decided that,
well,
wait
a minute,
there's
a curb
there,
this
looks
like I'm in
a narrow alley
way,
as opposed
to being inside
a narrow room.
And then we worked on
it,
you
had me
look up,
and
I
saw
a clear sky in between these old
grUngy warehouses.
And
I
finally decided that
it... my number
one scene in sketch one
is probably .. .number two
is what
I
ended up with,
and it's probably
a cobblestone sidewalk
on
a
narrow alley type place between two dingy old warehouse build-
ings.
One of which has the dirty factory style windows
in
it.
I
felt very uneasy at this area.
I felt like
I
was not in
a
nice place of
town.
I felt like
I was,
uh,
sensitive
to any-
body being around me for fear of getting ripped off- mugged
in the alley type of
a feeling.
Okay.
Still this funny old white cabinet,
or at least something
protruding from the building that certainly resembles
a white
cabinet.
Several
times
I
looked at that,
I addressed this
whiteness here thinking,
well,
that can't be
a cabinet,
it
must be
a doorway
of some kind.
But
it never turned into a
doorway,
it always stayed rectagular double doored cabinet.
So that's sketch two.
Cobblestone sidewalk is added to
sketch one,
and... what
I ended up with
is
this feeling
of
being on... being
in
a alleyway outside an old brick building.
That was day one.
You moved me 24 hours in time
to
day
two,
1300 hours,
I
guess
it was.
And... okay,
let me talk about the whereabouts.
I
think day one- let me
go back.
Day one
in
the whereabouts
day.
When you moved
rne up outta the building,
or
I went up,
and
I had the smoke stacks and the metropolitan area,
I had
a curved peninsular,
definite feeling of peninsular coastline
being somewhere
in the upper part over
on
the left side.
Uh,
and at the time
I definitely,
you know,
I really felt like
oh,
that's
very,
very similar
or at least remeniscent
of like
the Korean
peninsulfe.
Or the same curviness
is found
in
the
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jt 10
5.
Indo-Chinese peninsula,
but
it's,
of course,
Indo-China s
biqqer than Korea.
So
I sort of, sort of resigned myaelf to
the
fact that,
well,
that must be where
I anvyou
know,
even
thouqh
I didn’t see any rickshaws
(jinrikshas)
runnin
around
and even though
I
in between two red brick warehouses
I sorts
felt that that was where
I was.
Well,
then on day too,
then
I resolved that,
you know,
and
I
told,
I mentioned that and we started workin
again.
On day
two
I have thajiding
in the back of some sort of
a boat
.
He's free! he’s,
he's not inoareerated,
he's not m school,
he s
n!t
in "Ison,
he's aorta like riding
on the bad.
a launch
I ike
a harbor launch
or
a small harbor ferry.
And m the bacK
ground,
across the water
is
a metropolitan _sky line,
a big city
csUvIine
And there's sort
of,
some sort
of
a bulge out here
or/ the skyline that are like where the docks and the wharves
are,
and it protrudes out into what might be
a harbor
n
river
or
a harbor
on some sort of
a bay
or something.
It s not,
as
I wrote
on sketch three,
it
is not on the ocean.
It
s,
he's,
when he's
in this boat he's traveling across some small-
er body
of water than an ocean,
temporary.
Things like
the
Staten Island Ferry came into mind.
Things like,
uh, thing
like Baltimore harbor
came
into mind.
That
,^yp ®
,
f
y
*
know,
some smaller body of water.
Smog
in the baek^ound,
maior city skyline,
water broiling in the wake
of the boat,
and he's
on this boat with several other people...who were no
his ouards.
I didn't feel
like he was being held captive
or
anything.
They really have very little to do with him.
le
s
sorta like taking
a complementary ride somewhere.
Sketch four.. is the third day.
You moved^me pother third
riav
or another
day,
to
day
three.
And the
First thing that
I
had* was
a
hanging bell,
a oriental door frame,
gate frame
with
a hanging bell from it... in some green space, m
a park
with trees.
Nice manicured trees and,
and,
and hedges.
And
off
in the background behind that- okay, wait
a minu
e.
was the hanging bell and out front of the hanging bell
is
this unusually wide sidewalk...
Usual city-side sidewalk
is
10 ?eet wide,
this was
like 20 feet wide,
like a... a promen-
ade,
like
a promenade size,
okay?
.Insb
p
ad
, of
, ^
US
t?J;
d
®f
a
it
size.
And this unusually large sidewalk,
to the left of it
is this unusually
wide boulevard.
Okay?.
Not the
°
it
a ’
when
I
say boulevard,
what
I mean
is not the jam packed city
street like where
the warehouse was.
This
is some nice urban
renewed area,
where there's this nice wide street.
And over
on
the
left,
far left corner up near
the skyline,
but maybe
200 and- I'll write that
in now that
I think about
it,
tha
about... 200 yards away from this point is this very modern
offic; building.
About four or five stories,
rectanqular brick.
Uh.
. .the skyline comes across and there
s
like smaller buildings.
And
I had the feeling ^“p
°n
, hi g
edae of this big city,
same place maybe
on the edge of this
X.
Like where
a
of the immediate outsk rts had been
cleared away and this little park had been built.
But
I was
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#10.5:
still
a stone's throw from the inner city.
And there was eity
maybe all around me.
But
it was like suburbs
out farther.
All right,
as
I cruised that from right to left and then
I
started to come back into
this problem of this hanging bell
idea,
I had the definite feeling and rather spontaneous
that
there was
an Oriental tempo,
and the word Shinto schrine came
into my mind.
Oriental temple shape
in the background,
behind
the hanging bell
thing.
And off
in the distance you can see
the smaller buildings of the main city.
It's like
a gateway
to
an urban park,
what
I've written here.
Okay,
you asked me then what-
to focus
on him and what he was
doing and
I had this really fleeting shot of him thinking
that he had accessed
this park area,
had like walked past the
hanging bell and had gone back to where
this Oriental structure
was and... there was
a really interesting thing
there.
It was
like he was walking up
a low
ramp,
maybe only two feet high
or something like
that,
to get into the building.
But
he was
not going into the building.
It was like the building,
you
couldn't,
you really wouldn’t wanna
go into this building,
this Oriental structure.
It was like
it was more
there for
display and show.
Like ornamentation.
I've written
on sketch
five
it's Oriental structure,
small,
not functional,
just
to
look at more
than actually use.
And this low alphalt ramp,
lord sakes,
I don't know why that's
there but anyway he was
walking
up this
ramp, which raised him up
a couple feet above
ground level and there was feeling was like
on the right side
front was
like green and asphalt.
Like people could walk
up
there and look at
the building.
Some sort of
a mixture
of
green and a-,
not like
a service
entrance
or anything,
not
like
a truck drove up there.
But
it was like
a mixture of
green and asphalt,
like,
uh...a walkway made outta asphalt,
you
know,
where crowds could come and walk by this building.
And there was some green in
it,
like,
like little grass plots
or something was in the asphalt.
And over
on
the left
is bushes and parks trees
in
the back-
ground.
Okay,
fourth day
I never even
got to him.
Fourth
day
I'm looking down
in
this.
. .building.
It's
a,
uh,
light
gray,
stone,
massive blocks,
four or five story,
city govern-
ment administration building type thing.
It's not the White
Bouse,
but it's like
an expansion of the White House.
It's
more modern than the White House,
it's got
a little dome,
really
a subdued dome
in
the center of
it.
But a little bit
of
a roundness,
a cap stone type dome in the middle
of
it.
Pillars,
big,
massive pillars out
front.
Like
a justice
building would be.
Okay?
But
I
think it's more has
to
do
with city government,
you
know,
some sort of administration.
Not
a library,
but administration building.
It's not
a
private office building,
either.
And
this thing
is just
massive,
takes up
an
s entire city block,
and
I have no idea
what the proportions
are.
Like
a football field in size.
Or maybe
even bigger than
a football field.
And this
thing
is
like plunked right in the middle
of
a city.
And in the
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#10.5:
foreground
I’ve
got the rooves of huiidings next-door
to it,
across
the street,
in the background,
and all-around
it there
low city horizon,
like slum areas off
in the background.
And
this slumness spreads,
you know,
it just goes as
ar
eye can see,
this,
apartment buildings mixed up with old ware
houses and that kinda stuff.
And this building was new.
I
mean,
it was like *
say
it was new.
New means
in
the year,
a year
or so
<old
ev
.
I
don't think
it was
a year
or so old,
I
think
it might be
five
or six years old/but
it
is definitely fifty years newer
than anything around
it.
That's what
I was tryin
to get
across.
It was 35-50 years newer,
more recently constructed
than all the slop
in
the background.
. .Okay .
That
s the fourth
day,
sketch
six.
Now we're
on
the fifth day,
sketch seven.
Now fifth day,
sketch seven
I
had
a quick feeling that I«was back ™this
alley sketch
two.
You asked me
if
I
checked my time
or not
and made sure about
that,
and the feeling
I had was that
the,
the funny alleyway and brick building did have some relevance.
It has some relevance to this guy.
Like it
s where he works.
Or
there's something that draws him there.
He
s- there
is
some" relevance there
on
the fifth day.
He's back at the same
Dlace.
He
qoes by
the place
or something.
But the main thing
I not on
the fifth day at 1300 after you told me to check my
time calibration
is
a massive
gray br- stone overhang of
(
a
_
massive,
typically downtown urban renewed structure again tha
to like several lanes
of drive through traffic
in under this
overhang.
Uh,
with pillars.
The traffic cannot drive m and
around the pillars,
the traffics must go
in straight lines from
riaht to left.
It was like
I was on
a one w-,
it was like
i
was
on the delivery,
the drop-off point
at
a major airport.
You're
drivin'
under the overhang and you swing over m
the
riqht lane
of traffic and you can
park, meanwhile the cars are
going by you
on
the left.
And then even the fast lane
is
outside,
and that's
the,
just the quick and dirty
through
-
traffic,
people who've already dropped off and are headin
_ou
.
And it's,
that's what it
is,
it's like an^airport for. ..drop-
ping
off departing passengers or some sort
of,
some sort
overhang,
plate glass windows and double doors and the back-
ground,^ like it's very modern and very,
maybe some very mod-
ern shops
in there,
somethin'
like that.....
At first,
as
I continued
on through the session there were
£wo very’ sim-,
startling similarities that started to come
out.
First
of all was
I
really began
to wonder about my ori-
ginal
call,
having put,
pegged this thing to be somewhere
in Korea,
some major metropolitan area m Korea.
I really
became more and more and more convinced during the course
of
this seas- net convinced,
that sounds
bad,
more aware during
the session that my first call mighta been bad,
and that
I
realy was like maybe
in someplace here
in the northeast.
Like
in Baltimore.
Or the Baltimore area somehow.
Now
I
don
t know what
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0788R000500680001 -3
#10.5:
the heck a Shinto schrine has
got to do with the Baltimore-
Washington area,
but...
Um,
the other thing is that more
and more
as
I went through this
I began,
I was having the same
difficulty,
uh,
not the same,
but
I had a similar difficulty
to when we ran the J.C.S.
Springer .. .Okay?
That was
the
subway number.
And very,
very remeniscent
of that this inability
to really find anything.
Like
I was looking for something
that
wasn't there.
I was looking for something
that was of im-
portance and it
wasn't there...
Like when
I
,
in my
session,
I had
the guy in this weird tunnel and everything,
and then
I
was
lookin'
for him and
I
said he was behind
the lockers.
And
he was back
in
this big dug out area,
and he was hiding behind
the lockers
right?
Well,
that was all screwed up.
The subway
was right.
But
then
I had
to look for something
to be
of
importance,
and
I made something to be of importance.
In this
case
I
just took what was given
to
me.
Okay?
And
I
just
definitely got this flavor through the thing that why am
I
out,
why am
I here trying to
find this guy when
it really
doesn't matter where he
is
'cause he's not
in any trouble.
He's,
he's
a ringer
of some kind.
It's
a test pattern.
He's
just having
fun
in Baltimore,
somethin'
like that.
#66:
Okay.
#10.5:
That's
it.
I
don't know.
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Approved For Release 2000/08/07
: CIA-RDP96-00788R000500680001-3
TARGET CUING
INFORMATION
REMOTE VIEWING
(RV)
SESSION DC-18
1.
(S/NOFORN)
Prior to the session the viewer was shown the attached photo-
graph and told that we were interested
in the location
of the individual
in
the photograph.
2.
(S/N0F0RN)
During
the session
the viewer was asked to scan one day at
a
time
at the location
of the individual
in the photograph.
NOT f^g|^gg^^£^^^^^JATI0NALS
Vos.' SLmr.
5 \ Lw
I
0RC0N
Approved For Release 2000/08/07
: CIA-RDP96-00788R000500680001-3
SG1A Approved For Release 2000/08/07 : CIA-RDP96-00788R000500680001-3 Approved For Release 2000/08/07 : CIA-RDP96-00788R000500680001-3