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SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION DC-88
1.
(S/NOFORN)
This report documents a remote viewin^sess^i^conductec^n
SG1B ^omglience with
a request for information concerning^^^^^^^^^^^™
2.
(S/NOFORN)
The remote viewer's impressions
of
the target are provided
as raw intelligence data, and as such,
have not been subjected
to any
intermediate analysis,
evaluation
or collation.
Interpretation and use
of
the information provided
is the responsibility
of the requestor.
3.
(S/N0F0RN)
The protocol used for this session
is detailed .in. the document
Grill Flame Protocol,
AMSAA Applied Remote Viewing Protocol
(S),
undated.
a
(S/N0F0RN)
Following
is
a transcript
of
the viewer's impressions during
the remote viewing session.
At TAB
A are drawings made by the remote viewer
reference his impressions
of the target site.
At TAB B is target cuing
information provided the remote viewer.
SG1B
NOT RELEAW-E TO .FOREIGN
. NAT TONALS
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TRANSCRIPT
REMOTE VIEWING
(RV)
SESSION DC-88
TIME
#66:
This will be
a remote viewing session for 1400 hours,
20 February
1981.
SG1B
#31:
#66 :
We
do not have a picture of him at the present time,
but
I
do have photographs
of the offices where he is known to
visit.
At this time
I'd like to show you,
uh,
one of the
offices that he spends most of his time at.
This
is
in
a building in^BIH”
And you' 11 notice down here
in
the
lower
left there's
a man standing there.
I have been informed
that this
is
the entranceway,
where the man
is standing,
a
control point or stopping point where you have to go to get
into the building.
And there's
a doorway there for that man
to go
in.
That's the way
into the building th ere.
And this
u/here
WOr><S ’
building.
SG1B
Okay
SG1B
Now,
he has also an office or also is known to worl^^iMHB
headquarters,
and
I'm now showing
you. a picture of^^^ead-
quarters.
Now
I'm going to point to an area
in the^^U
headquarters where his office
is suspected
to be
located.
Right here
in this middle wing,
down this way
in the middle
wing,
on the fourth or fifth floor,
right down
in there.
SG1B
SG1B
#31:
Okay.
#66:
Okay.
That's where his suspected location of the office
is
there.
Now he sometimes will
go,
uh,
to this office later
in the day to maybe turn
in some reports or catch up
on some-
thing,
but most of his work,
as
I understand
it,
is done
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#66 :
S%WlB
SG1B
#31:
#66 :
#31:
#66 :
#31:
#66 :
#31:
#66 :
SG1B
#31:
#66 :
#31:
#66 :
SG1B
SG1B
Wi t NiaiJ JIIMIII
I XL.
p70001-9
over
at this other building that
I've shown you
is theH
location.
But that
headquarters,
so you might find him at either
SG1B
Okay.
SG1B
SG1B
Now as
to time,
it
is aDgroaching 9:00 at night
in
today.
Today's date in^^^^Bas we talk right now it's
approaching 9:00 at night
in
We,
however,
are
SG1B
interested in the time window of
in the evening to
in
the evening today.
So we'll be looking at a time window
some
to
5 hours back
in time from right now to the time
period
to
7 p.m.
Okay.
Okay?
Today.
Today.
Okay...
SG1B
The purpose of this particular mission,
this will be
the
first
in
a series of attempts with
an attempt
to build
rapport with the man.
So
the primary stress of the session will be to develop and
build rapport and
a direct relationship with this gentleman,
as opposed to physical descriptions
of the area where he
works,
and so forth and so
on,
which of course will be
helpful but it's not the overall purpose.
The purpose
is
to build rapport and communications with the individual him-
self.
Okay.
Okay?
Do you have any other questions before you prepare
yourself?
Nope.
Okay,
you have 25 minutes then to prepare yourself.
SG1B
Focus^yourattentionnovKfocusyour attention on BMBBBBI
HBBBBBBBBBMMBBB^BBBB*
.
.
Hove back in time
some 4 hours and describe^^^^^^^^^^^^^B location to me.
PAUSE
SG1B
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#31:
I'm seeing
a,
uh. ........ (mumble)
buildings...,
I see him
at... a place with fences with buildings,
high fences... on
a corner....
Another
.snow.
. .dirty street-side
snow pile,
slushy....
#66 :
Someplace down past the corner
is where you come
in... through
the fence,
you
go through the fence to the building,
like....
Focus
on
and tell me about
him.
SG1B
PAUSE
#31:
Up above the ground and
Getting the feeling I'm
above the ground,
like some sort of
a apartment complex,
not
very
high,
fifth floor.
The large window looks out... two
large windows,
maybe some kind of
a balcony...
It's either
very private
or some sort of controlled access.
Get the
feeling of being special,
special
to get here...
#66:
Tell me about the General's more immediate surroundings.
#31:
He,
uh...see him,
uh...I'm seeing
a figure,
attracted
to
a
desk like situation...
+11
#66:
Go
on.
#31:
Appears
to be at the desk...
#66:
And from-
#31:
I'm looking over his shoulder,
I'm hehind him.
#66:
All right.
#31:
I'm in the wall behind him
in
the wall.
Back sits to
a wall.
He's sitting...
I'm on him now,
he's like he's. .. .leaning
over
the table,
it's
like he's hunkered over the desk.
He's reading something.
. .that's
it,
reading.
And like an
old man who's
like
a engraver,
reminds me of an engraver,
like he has to look very closely at things.
And his posture
is like
that.
But he's reading.
#66:
Okay.
As he is sitting at his desk occupied there reading,
he
is occupied,
therefore his mind
is
free
to talk to you.
Ask him
to describe his job to you.
Ask
to describe his job to you.
PAUSE
#31:
Now I'm seeing
a. . .something to do with. . .financial plans.
At one time...
Another time,
uh,
something which.
. .looked
the corner
of a very Gothic
like structure,
gargoyles,
and
at another
time... I
ask some more...
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PAUSE
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#31:
I'm seeing. .. ..uh,
something to do with,
uh,
security and
fences and death strips and border security and then
I
said his..... he said his job was concerned with the people.
#66:
Okay.
#31:
But
I don't think he's in with the people,
I think he
is...
much,
much too far above that to be concerned about real
people.
One tb one he's,
uh,
way above that now.
And then
I'd had a scene of like. poles,,
like
a. ..flag poles,
which
are meant. to mean
that. ..he was up at the high levels now,
and not out in the death strips anymore...
#66:
All
right.
What- describe for me now what aspects of his
job, what aspects
of his job does
he
enjoy most.
PAUSE
+24
#31:
Well.
. .training. . .
Got something
to do with
a big black
car...
And he enjoys being where he is,
in
it's entirety.
And the only thing
I can think of
is the. . .training
is his,
uh,
I
get the idea of training young people,
something about
much younger people like youthful people and some... some-
thing,
I don't know........
#66:
Do you still perceive him sitting at this desk?
#31:
For
a while he was up and looking out the window.
Now
I
have him back at his desk again.
#66:
All right.
What time is it as he looks out the window?
#31:
The sun's on the horizon,
light's shining
in,
it’s like he's
looking over the city at dusk,
it's
like it's later after-
noon
or something.
#66:
All right...
Move around to the front of the desk now,
move
away,
back away from the desk,
about
5 feet from the desk.
Describe the area behind him.
#31:
It
is
a flat wall and... behind him,
and then to the right is
a opening like a walkway.
And
I'm in like
a suite of rooms...
something.
By his left elbow
is
a doorway that you can walk
past his desk.
. .or.
. .table. ..
#66 :
SG1B
SG1B
SG1B
Okay...
Now turn to him again.
You have had some time
to
come
to
. know
I'd H-ke
to pro-
qq^io
vide you with
a little more information now.
His nickname
is
by
to
to
His nickname is|^|
this name,
as you
know him.
land identify with
me.
You may now address him
"And as you once again turn
| ... .describe his personality
SG1B
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PAUSE
#31:
He seems
to me
a very
dottering. . .very,
very dottering and
old.
Every time
I ask him. ..he comes across
very weakly
as... very,
very tired. ... .very retiring.
. .excessively old...
like he's,
uh,
now put in
a out of the way
job and he's
served well but now he's getting readies to be retired.
I
don't know,
every time
I
look at him he^s... every time
I
see him walk he walks like an old man.
His,
uh,
one state-
ment was "you'll never succeed"...
Let me work some more.
I
read these plans which are... yes,
it
is
a good plan.
It's
a... some sort of
a survival plan... like not general civil
defense,
but,
uh,
something to do with an elite remnant,
or
a controlled remnant to survive...
#66:
Okay,
I have no further questions about our work this after-
noon,
but
1 would like you
to take
a look now maintaining
your continuity at the building in which this
room is
located,
so that you might be able
to describe it to me...
And when
you are ready we can prepare to draw...
#31:
All the things
I
get are of defensive nature.
Everything
is
like... him;
or involved
in,
the security
of .. .defensive
nature.
I did not get any offensive work
or. .. exporting of
any
interest or anything,
it's all internal,
to the country,
or internal to the bureaucracy,
I don't know which...
He
has many
of these plans though.
Many of these plans are sub-
mitted,
and he reviews them.
And they're all alike...
"what
if"
plans,
they're all plans, what if something happens,
they're not the plans that are put into effect autom-
oh,
of
their own volition,
they're plans that are taken
if something
happens.
#66 :
Okay
#31:
Contingency plans of some kind.
#66:
Okay.
If you'll hold your comments for
a moment
I'm going to
turn the tape over now.
Just relax and concentrate for
a
moment.
You may continue.....
#31:
Mm... I provoke him,
I
say our plans must be better than yours.
He says no,
your plans cannot be better than
ours.
And
I
say well,
how do you know this?
It is as though they have
lived these plans before.
Very interesting feeling,
like we
have been through this,
they have been through this so they
know much more about it than we would,
so therefore their
plans would be better,
because
like they've already done
it
and
so they know what it's all about
I'm...hmm,
that's about all
I
can
get.
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#66:
Okay.
Let 's prepare
to draw then the images that you have
concerning^^^^^^^^^^^J
SG1B
#31 j
Okay,
urn...
The first thing
I had was a... a street side
scene,
a snowy city street side,
you
know,
with the snow piled
up and all dirty and slushy from passing cars and everything.
Sketch
1 shows
a.
. .standing on a street corner,
looking along
the side of
a building from the left.
A car pulls up.
Guy
gets out of the car.
That's some sort of
a pullover.
Pull-
ing off,
you know,
drive-up like thing on the side of the
road and the guy gets out and walks
up
into the building.
Some sort
of
a driveway and a sliding gate in the background,
to the back right of sketch #1 and a funny regul- vertical
regularity around the place as though
I was looking at fence
posts,
large fence security,
hurricane security fence posts
with wedgies
on
it,
with V's on the top
to carry concertina
wire.
Well,
I've drawn that in and
I'm pretty sure that the
fence feeling,
but there certainly was some sort of picketing
around the building.
Uh... anyway,
the guy got out of the car,
walked up into the
building.
Guy
in
a dark coat,
bent over.
So
I sorta took
it to be,
you know,
the guy.
In sketch
I've drawn an overhead of sketch one.
Uh...
which,
coincidentally enough,
although when
I first finished
the session
I
didn't said
I didn't recognize the building
or anything,
afterwards when
I looked at the little sketch
I
noticed that the trees along the sidewalk
in the sketch were
dead and that for the first time,
or
they seem to be have no
leaves,
and then they made little forks at the
top of
'em,
you
know.
So
I don't know if
I was at that place or not,
and
the fence may just be overlay or there may now be a fence
since that picture was taken.
But,
uh... there
is,
I recognize and
I acknowledge
a certain
similarity between my sketch
1 and
2 and,
and the little
photograph of the modern building.
_SG1B
#66:
Okay,
as opposed to the
headquarters building.
#31:
Yeah,
well,
there's nothin'
there that
I
can see that's
similar,
you
know.
#66 :
Okay
.
#31:
You
know,
but
I had
a modern feeling about this place,
about
the place
I was at.
And there's
a brick front,
and there's
a brick front here,
you know...
And here's
the,
you
know,
the trees across the front sorta regular.
It's obviously
got snow
on the ground,
you
know.
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#31:
In the background here
I noticed the caption says car which
is seldom moved.
There
is a gate there,
somethin'
like
that,
and
I've got some sort of
a gate and driveway
there.
So... after it's all over and said and done with
I
think that
there's
a similarity
to the little building.
#66 :
Okay
.
#31:
Uh,
okay,
that's sketch
is the overhead.
Sketch
3,
ah, what's his name?
Goya,
Goyeem, Goyem, huh?
qriR
#66:
Well,
his, uh,^^| is his nickname.
°°
SG1B
#31:
huh?.
Okay.
Anyway,
I
find him
in some sort of
a
regularly,
uh,
regularly,
in some sort of
a
L shaped barren
room.
Now that's the kicker
is this
like,
it's like it's
nearly vacant.
Like he's the only
guy that's got anything
in
there.
He sits with his back
to the wall at a desk on some
sort of
a little platform,
not
a big one,
but some sort of
a little platform,
and god knows why they
got him on
a little
platform there.
Urn,
he's
in
a,
along a free passageway
as though he sits with
his back to a partition which separates him from someone
bigger.
And like he's just an artifact sitting out front
that people come and go by and he really
is not
a
guy that
commands
a
lot
of,
urn,
kowtowing anymore.
I'm not saying
that he ever did,
but right now he doesn't really.
You
know the,
you know the situation that
a guy
is
in
that,
uh.
. .uh,
it's really
a funny,
funny situation,
but like
the
guy
who
is
just,
the colonel or the general who
is just in-
processing and he still isn't really the general yet.
So
people still- and he's sitting at
a desk next to the outside
from the real general and he's reading all this stuff maybe,
but people don't have to kowtow to him yet,
so they just
walk by and talk to the old general.
Yeah,
it's that sort of
a feeling,
like he's stuck outside
and people really don't bother with him.
And that the real
power
is back behind him there.
And as
I've written here
it's like he's,
as
if he's not the director but he's
like
the X0,
someone who sits outside the director's office and
nobody really bothers with him unless they have a specific
reason
to.
And he's sitting there,
some sort of linear thing like maybe
flags even.
This about
a seventh floor.
I've written
seventh floor,
but it's about the seventh floor window.
It's
not
a. ..not
a superstructure window way high up,
but it's
not
a regular
two or three story apartment house, which
I
thought
I was
in when
I first started was
like an apartment,
a private residence,
private apartment complex.
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#31 «
Um,
he reads these plans
in the form of pamphlets,
someone
bigger sits back there.
I'm reading here.
Okay.
That's
that.
And 4 is
an overview
of this room which has two windows
that look out on the city from about the 7th floor...
And I'll write bigger guy's office.
I did see
a view of
safes, when
I was
tryin'
to talk
to him...
Really sort of
mixed up.
Uh... didn't have as much luck really communicating.
I
don't
think he wanted really
to communicate.
It was like you're
not gonna have much luck,
you
know.
You're not gonna
do very
well
in
this,
trying this on
me,
but you can,
you
know,
you're
not gonna do very
good.
Um,
several things really came through.
One
is that he seemed
much older and feeble than
I would've expected.
You
know,
he's like,
uh,
Omar Btadley
is,
you
know,
really,
really old
and feeble type situation.
Like me- and then
this sort
of
fit in with where he was sitting,
like pushed off on the side.
Okay?
Uh... still rather quick but stuck doing some make work until
me could be retired type of feeling.
A feeling of reminiscing
like,
but still had some sort of a legitimate
job,
but he
sorta knew
it was all bullshit.
Reviewing these plans,
very
conser- very involved
in the east-west confrontation and how,
and he'd sort of recognize that
I,
I
think, that
I was
a poten-
tial hostile, with whom,
I felt as though
I was hostile
enemy with whom he was having
a very,
uh,
philisophical and
abstract,
gentlemanly,
very
discussion.
Okay?
SG1B
Uh.. .what are the other high points?
Something
to do with
training of youngsters.
Something
to
do with security.
And
then the
more, and more
I worked with,
I was
like acting,
you
know,
it was
like... I was like provoking him to make
something.
'Cause
I wasn't getting anywhere.
He was sitting
at this desk,
and
I was standing
to his right.
And
I like
put my hand down on the table real fast and
I said our plans
are just as good as your plans.
And then he responded,
he
said no,
they can't be,
or
they,
I -forget what
I
said but
they're,
they can't be as good as our plans.
I
said well
why aren't they
as good as our plans,
or why aren't,
you
know,
ours have
got,
ours are definitely better.
And he said some-
thing like no because you haven't,
the feeling was like you
haven't lived through it,
we have,
so we know what we're
doing when
it comes to this type
of defensive thing.
And it
was like saving things from obli-,
you
know,
from. .. .destruc-
tion.
I was like feeling things
like,
uh,
the fleeting thought
went through my head of how the Soviets evacuated all their
major industries
to the east during World War
II.
And they
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#31:
had it all prioritized and all lined out.
And when Germany
came across and they fought a defensive battle,
and while
they were delaying they could evacuate people,
and they
could evacuate industry
to the
east.
Uh,
something to
do with. saving.
. .small little clicks... or
groups
of people,
like 50,000 here and 50,000 there,
like
maybe civil
defense,
general civil defense planning.
Which
probably would be
in
the KGB's hands,
you
know,
for the
country.
And. almost
a elitist feeling like
the people that
were being saved. were somewhat elite in the sense that maybe
they were. the educated of the country,
or the powered elite
of the country..
Certainly the educated.
Maybe the powered
elite of the country to carry on afterwards,
you know.
Some,
you know,
and this whole thing was
like defense,
general
defense planning.
That's about
it.
#66:
Okay.
I think you pretty well covered,
uh,
the subject matter.
#31:
That's all
I have.
Do you have any questions?
#66:
No.
#31:
Do you have anything further to add?
#66:
No.
#31 :
Ha-ha-ha-ha
.
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: CIA-RDP96-00788R000600070001-9
I
Approved For Release 2000/08/07
: CIA-RDP96-00788R000600070001-9
Approved For Release 2000/08/07
0070001-9
TARGET CUING INFORMATION
REMOTE VIEWING
(RV)
SESSION DC-88
1.
(S/NOFORN)
Information provided
the remote
viewer
is documented as
a presession interview and included
in
the transcript.
Attached are photographs
shown
to the remote viewer.
2.
(S/NOFORN)
During the session
the remote viewer was asked
to elaborate on
portions of his descriptions relating
to the intelligence question at hand.
Approved For Releas^^q^/gg
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