Approved For Release 9nnn/Q^fjpP0C-TnPQR.nn7ftftPnnn^nn9Qnnni -i
INSCOM
GRILL FLAME
PROGRAM
SESSION REPORT
CLASSIFIED BY:MSG,DAMI-I5H
DATED:
051630ZJUL78
REVIEW ON
Approved For Release 2000/08/07
iJ
:
l fciA-RDP96-00788fQMlIj^Qofi'jLAME
Approved For Release 2000,
I-RDP96-00788R000500290001 -6
SUMMARY ANALYSIS
REMOTE VIEWING
(Rtf)
SESSION D-78
1.
(S/NOFORN)
This report documents
a remote viewing session conducted
in
compliance with
a request for information
on
a target of interest to USI.
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 inter-
mediate analysis,
evaluation
or collation.
Interpretation and use of the
information provided
is the responsibility
of the requestor.
3.
(S/NOFORN)
The protocol used for this session
is detailed
in
the document
Grill Flame Protocol,
AMSAA Applied Remote Viewing Protocol
(S),
undated.
4.
(S/NOFORN)
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 infor-
mation provided the remote viewer.
At iTAB CC
are analyst comments.
5 .
(S/NOFORN)
This session
is
a follow-on to Session D-76 and
is run con-
currently with Session D-79.
NOT RELEASABS
NATIONALS
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TRANSCRIPT
REMOTE VIEWING
(RV)
SESSION D-78
TIME
#14:
This will
be
a remote viewing session
for
10 October
1980.
Mission time
is 1400 hours.
All right,
#10.5,
the time
is now UO^iours^Your mission
for thi s afternoon
is to focus
on
The loca-
tion
The time
is 9:50 a.m.
local time today.
I want you
to locate
9 : 30 a.m.
When you have acquiredHI^^^I
please let me know.
Relax.
Relax,
concentrate.
Focus
on
PAUSE
#10.5:
I'm getting....
#14:
Okay.
Now
I want you to focus
on
and ask yourself
SGI A
this question.
Is
concerned
in any way with a
otjIA
radio?
PAUSE
#10.5:
(Mumbling) .. .1 don’t know,
I been all over the place...
Hit everything that
I. .. (mumbling) .. .had
a large brownstone,
fieldstone,
quaint
old,
two-story building with
a walk
with bushes
on the end.
I
had
to find the
(mumbling).
I had a,
what
appeared' to
bb, a. .. .thickly tiled steps,
like
on
a... front
of
a house,
or maybe step-ups
off
a sidewalk.
Red tile with cement
in between
'em.
I
had
a hand moving
a switch,
which appeared
to be
a chrome,
one inch
long,
a
little knob
on
it like a four way guidance
thing.
Big
switch goes up,
down sideways and can revolve around,
like
you would use
in playing
a table top game of some kind.
And then
I'm looking .... I
' m getting nothing,
hitting nothing,
hitting nothing.
Then out
of
the middle
of nowhere
I'm
in the
ocean and there's a... a larger boat,
looked like
a trans-
eh,
like
a steamship,
like
a troller.
And it's somewhere
in the ocean.
So that's all
I
got so far,
but now let me... now that
I
have
cleared those away
let me go to work.
PAUSE
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#10.5:
I'm getting nothin'.
#14:
Okay,
I want you,
want
you now to focus on^^^H
I want
you
to move back to
a point
in time when
you
find him using
a clipboard.
I want you to move back to
a point
in time
where he
is using
a clipboard.
When
you
are there tell me
what
is on this clipboard.
PAUSE
#10.5:
Square
is drawn
on
a white piece
of paper... on the upper
right hand side.
It's as though the square
is made of...ss...
straight arrows.
. .pointing
in
a clockwise direction.
I
also see,
uh.
. .walking.
. .and writing notes,
making
notes,
walking
like
a step
or
two
at
a time,
as though he was...
walking along something,
looking
at
a thing and then annota-
ting
it,
and then taking another
step,
looking at
it.
It's
a panel,
it's
a wall panel of some kind.
It's...
something like. ..it's
a funny thing,
it's. ...like something
with... bus
bars.
That thing
is like that,
it's not... and
like meters,
and it's
in,
it's over his head,
but he's...
looking at
it
on
a... eye level
It's
a wall panel...
He marks his annotations
on the left side
of the paper,
and this thing with the arrows
is on the right side of the
paper.
#14:
Okay,
#10.5,
I want
you now to tell me what
does
with
this information
on his clipboard.
Follow him through
and tell me what he does with this
info.
#10.5:
He
is
in this place.
Twice now
I have seen him walk on...
and walk up
a catwalk,
staircase
to
a catwalk... in this
place
He rolls
it from the bottom up
not
a tight
roll,
half inch roll
#14:
Does ^^^^manipulate the information
in any way?
PAUSE
#10.5:
No,
I'm not seeing anything.
He rolls this up and places
it
in
a tube.... like
a tube to hold
it
in
(mumbling)
big around
as
a broom handle.
#14:
All right,
#10.5,
at this
time
I'm going to change your focus
a little.
I want
you
to go back to the plant that you
described
in your previous session.
#10.5:
That's where
I
am.
#14:
Okay,
I want
you
to ask-
#10.5:
I already thought that that was where
I was.
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#14:
I want you now to ask yourself "what
is the function
of
this plant?".
PAUSE
#10.5:
(Mumbling)....
Three times
I've exited the plant,
and three times
I
have
a characteristically
(mumble)
waste cooling tower,
waist
high at the top.
And the.... it's generating.
. .it' s
a
generating plant,
I
think.
Large cooling towers... at
least
one tower.
•
•
He doesn't sneak around,
though,
he's got
free access here.
#14:
Okay.
#10.5:
Matter of fact he is... in his actions and everything
#14:
I want
you now to move to the major operational portion
of
this plant,
the heart of this plant,
and describe your
impressions.
#10.5:
It has,
uh,
a large,
uh... spheres
in
it...
It's where he
was
in the... on the left side on
the top
of the catwalk.
There are maybe
foot diameter spheres over there.
. .there.
Possibly four in
a row by maybe three rows.
These things
look white,
like should have gasses
in them.
They're like
painted clinical
white enamel.
And
I have
a feeling they're
all interconnected.
. .gasses
in
'em.
(Mumbling) condensation
from one to another to another.
Across from this layout
is the panelboard where he was and
the catwalk that he went up.
You're
at the top
of the cat-
walk you
look down
on this
(mumbling) ... .fit
to
go to the final product.
If
I could see the final product
...coming out.
It's this sort
of funny copper greenish
stuff... came out
in
a,
uh,
on
a conveyor belt like thing,
on
a,
uh,
in
a,
uh,
glass vial.
It was like
in,
oh,
I don't
know,
like rough sphere
of maybe... like pebbles
of maybe
buckshot size
of
a little smaller,
double 00 buckshot,
smaller than
a marble.
It's like this tarnished copper
green
in
a glass vial.
And
there's only
a little bit in each
one,
it seems like there's
only maybe... oh,
maybe
10 centimeters
of each one... 10
cubic centimeters.
It's sort
of
in
a loose pile...’that they
just,
like they been dropped down into this vial,
and then
allowed to stay
in the bottom....
#14:
Allriqht,
#10.5,
I want
you
again
to focus,
focus
on
I want
you
to ask the question,
"If,
is
he
worried?".
If he
is worried,
what
is his biggest concern?
PAUSE
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#14:
#10.5:
#10.5:
#14:
#10.5:
#14:
#10.5:
#14:
#10.5:
#14:
All
right,
#10.5,
I want you to maintain your focus,
and
keep working
on that question while
I turn the tape.
All right,
#10.5,
the tape
is back
on.
Relax,
take your
time.
PAUSE
My......... I want... my,
uh...
PAUSE
My biggest concern
is whether the war will end or not...
whether the war will
end.
There's something basically...
and thoroughly confusing about this session.
Tell me the raw data that gives
you that impression.
I'm not getting anything.
I'm zeroed out,
something doesn't
fit.
Something
is
all screwed up.
I'm not getting much
of anything
I
just don't know what the story
is.
I
can
figure
it out and
I can't
get any
data.
It's very sparse.
I'm like wandering all over the universe looking for answers
and
I'm not staying
in one place.
Okay,
that's okay.
To five you something
to focus
on,
some-
thing tangible,
I want
you now to go back to the plant,
and
feel free to search about this plant,
describing anything
that catches your eye.
PAUSE
I think it's got two stacks with
a
fence
a
out
in the middle
of nowhere.
Seems
to be
somewhere,
sorta isolated.
Two
(mumbling)
lot of pipes and tubes and cranks and
dialsj
inner sections
of pipes,
and... all that
ki
keep seeing smoke and steam rising up..
round
it,
it
out
in the country
waste stacks.
A
I mean
,
uh ...
rid of stuff.
I
ok ,
places
I,
ng released,
different places
Here and there,
everywhere,
one place
I
lo
you
know,
get the feeling there's steam be^
spurting out here and spurting out there,
Uh,
I
just can't understand
it.
It's like he's
legal here
or he's so clever
he can get
in and out of here,
he doesn't
have to worry about
a damn thing at all,
it's like he works
here.
t
»
*
«
Okay,
that'
very
good.
Describe-
I mean,
it's
just,
he doesn't have to worry about
a thing.
Describe some
of the other people,
the
engineers that are
working
at this plant.
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#10.5:
I
see,
uh,
a bald headed guy in
a white
lab coat...
He's
very,
uh,
experimentalist type... has hair right
around the
ear,
but the top
of his head
is
bald.
Looks like he's about
mid fifties
to sixties... to sixty.
It' s something funny about
him,
he's.
. .not.
. .he's
funny,
he's like he's,
uh,
he's
different,
he's,
uh,
different nationality,
like he's...,
oh,
god,
I
don't know.
Like he's "Paki"
or.
. .ss.
.
. Semetic
but not Semetic,
he's like he's.. .Hindu,
or,
but he's not,
doesn't wear
a turban,
he's,
like he's funny,
he's just
pale,
almost
a high yellow.
. .complexion,
pale,
mulatto,
almost.
But he's a smart
guy,
I
mean,
he's not
like he's pushin'
a
broom,
he's... who else we got here?
#14:
Before we move
on,
this individual you were describing- what's
his
job,
or what
is his-
#10.5:
He
is
an
observer.
He's
like
a trainee.
But he participates,
but he's
a trainee.
He's learning as well,
and so he's sort
of
out
of the machanics of
it,
but he
looks very closely and
he sort of helps here and there,
but he's like an
overseer,
but he's there for two purposes,
to oversee and to maybe
learn
a little about
it
too.
#14:
What's his expertise?
#10.5:
Okay.
What's his expertise?...
I
see him standing over
beakers with boiling stuff and bunson burner flames and
stuff like that.
I presume he's
a chemist...
#14:
Okay,
#10.5,
very,
very good.
I want you to feel free,
if
you
like,
to move on and describe any other important
engineering type people at this location.
PAUSE
#10.5:
See men wearing blue coveralls.
. .having black rubber gloves
on their hands,
and these coveralls.
It's
a weird combin-
ation,
their coveralls are
deep blue,
they're not special,
but they're wearing black gloves and boots,
rubber gloves
and boots.
But they
don't wear anything
on their bodies,
they observe pressure dials and watch for safety things,
make sure everything goes the way
it should
be.
#14:
All right,
#10.5.
#10.5:
But they're technical people,
they're not flunkies,
they're
technical people too.
#14:
I have one final question.
I
want you to
go to the final
product of this plant
as
it comes off of the line,
the final
product,
and answer me this one question.
Can you
just pick
this product up and walk away with
it?
PAUSE
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#10.5:
No...
You could.
. .maybe.
.
.
#14:
Describe what the problems
are.
#10.5:
There
is
a guard desk.
. .somewher e down the hall... and you
would not want to walk through there carrying the beaker.
You would not want to do that.
Now let me look around there.
When
I
saw the guards
I became fearful,
while
I was carrying
this... but
I
don't real-... I
know there
is,
there
is some-
thing here,
there is some electrical apparatus here
to assist
the guards.
But it's
a nominal security thing,
because
nobody 'd
be dumb enough to take any out anyway.
I'm be-
ginning
to think that this
is
in some sort of
a radioactive
stuff.
Shoot,
nobody would wanna sneak out anyway.
It'd
do
'em
in anyway,
but they have the guards there to try to-
just
a token reminder that thou shalt not walk off with this
stuff.
But there's nobody inside, which
is not,
you
know,
smart enough
to know not to do that anyway.
It's like....
#14:
What
is
it
that... that the raw impressions that tell
you
that this stuff is radioactive?
#10.5:
Well,
it's...
it's two things,
like
I see these things on
a,
when they come to the end of the conveyor thing,
they're not
touched, nobody touches
'em.
They're,
I mean,
the part that
I saw has forked thing that pickes up these beakers and moves
them away behind this wall... I
don't know.
I mean,
there
ain't no guy there that puts these beakers
in the... a card-
board box for shipment,
that's for sure.
These things go
somewhere else.
And there's only
a little bit,
it's
like
a residue
in the bottom of this
glass.
It's,
it's just
a
little pile.
It's not like the beaker
is filled to the brim,
it's like it's
a premeasured amount
in
each beaker,
which
is about one sixth of the volume of the beaker.
I
don't
know.
#14:
All right,
#10.5.
I
have no further questions of you.
Is
there anything else you can add?
PAUSE
#10.5:
No
no.
#14:
All right,
at this time,
#10.5,
I want
you
to come back to
this
room,
present
time.
It's now
10 after
3.
I want you
to take
a deep breath,
stretch your
arms.
, .stretch your arms,
stretch your
legs.
The first requirement for drawing that we have
is
of the
clipboard
.
#10.5:
Oh,
shit.
You want the clipboard too?
Or can
I
just draw
it
on the piece of paper?
#14:
Y-you
can,
what we're interested
in
is what he was
doing
on
the paper on the clipboard.
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#10.5:
Okay.
Sketch number
1 will
be just that,
precisely.
Have
I made myself clear?
And have you made yourself clear?
I'm going to draw
on sketch
1 what was on the board,
not
the board and what was
on
it.
#14:
Okay.
#10.5:
Is that all
right?
#14:
That's
good.
Right.
#10.5:
Okay
I
can't put anything
on sketch
1 now,
'cause
it
has to
be just what was
on
it,
right?
#14:
Yeah.
#10.5:
So
I'll just have to start over again,
'cause
I was
gonna
write an explanation.
This
is unusual.
There we
go.
Sorry
about
that,
#14.
#14:
That's
all right.
#10.5:
I screwed up...
Okay.
And then,
now
that was,
this two
arrows were on the upper right hand page.
And down,
I
cannot
reproduce what was written
on the left hand margin.
But
this is where; he was making notes.
#14:
Okay, make some, make some squiggly lines there
like,
uh-
#10.5:
Yes.
These were like.
. .numbers and...num,
they were numbers,
okay?
So
I will write some like exemplary num,
numbers.
#14:
Okay.
T hat'd be-
#10.5:
They're examples,
because
I
did not see
the numbers,
I
knew they were numbers that he was writing.
Like percentages
like 19.5 and 32 and
1.7,
and that's what was going on
down
in the left margin.
So
I will write those as examples.
Okay,
uh.
. .okay,
and then
I will squiggle
in,
'cause they
were like... okay?
#14:
Mm-hmm.
#10.5:
That's all
it was.
That's all that
I
saw.
Isn't that
intriguing?
#14:
Put number
on that.
#10.5:
And number
1 was not on his page,
number
is only
on my page
#14:
All right.
#10 . 5 :
Hahahahahaa
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#14:
Gettin'
flaky.
Uh,
okay.
You described
a kind of
a buzz
bar meter device?
#10.5:
Bus bar.
#14:
Bus bar meter
device,
or whatever?
#10.5:
Yeah.
#14:
Uh.
. .and.
. .d-,
am
I
correct
in assuming that he was looking
at this thing as he was taking notes?
#10.5:
Yes.
#14:
Could you
draw
a picture
of this meter device?
In-
#10.5:
Well,
this was
a big bank of mach- equipment.
This wasn't
just some little thing stuck on the wall,
this was
a big wall
bank
of stuff.
All right.
And he was
like,
it was section-
alized,
and he would like
look
at one meter and write down
a number,
and then he would like move
a step to the right,
look at something else and write down
a number,
and then move
another step or
two to the right and look at something else
and write
it
down and a couple more and write
it down.
That
type of thing.
#14:
Do you remember the layout of the-
#10.5:
No.
It was all
very,
very confusing.
I
mean,
it was so
detailed there was no way
I could
d-,
I
could,
I could give
you
the general perimeters
of the way
it was,
and
I could
give you
the general feel
for where
it was
in
an overall
sketch and then
I could maybe show you
a cutout
of one small
part
of
it which
is the bus bar type of an appartus.
#14:
Why not?
#10.5:
Okay.
#14:
Would you
like
a triangle?
#10.5:
This'll
do.
This
is all right.
I
just need a couple straight
lines for horizons sake.
PAUSE
#10.5:
The background here,
somewhere
PAUSE
#10.5:
Okay
.And this
is all the
damn
thing looked like.
It was
just
a bank of electrical
paneling.
. .nothing
very,
very,
uh... rather enigmatic,
I
guess
is the word for
it.
You know,
just sort
of eehhh,
so what?
Bf
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#14:
Thank god it's Friday.
#10.5:
And he would like... stand here,
okay?
I'll draw little
footprints.
#14:
As
if you were
in his shoes.
#10.5:
Okay?
And then
he would...
#14:
Did you used to work for Arthur Murray?
#10.5:
Hahaha.
. .No,
but Ginger Rogers and
I used to really get
it
on.
Like he was stopping
in...
pausing here.
And then
he went
up the staircase.
Okay?....
Now,
over here...
#14:
Are those
the,
uh,
spheres
you were talking about?
#10.5:
Mm-hmm.
#14:
Oh,
goody.
#10.5:
Sketch number
two,
three and we didn't even know
it.
#14:
Then we don't have to have... you just took care of two birds
with one stone.
#10.5:
Mm-hmm
some sort of a platform thing that they're sitting
on.
And they're all
interconnected with steam pipes.
. .steam
pi-,
pipe,
steam pipe type things.
And they're all... you
know,
there's
a,
there two,
there are rows of them here.
I'll
show
you
an overview from above... if you want
I'm tryin'
to
give this idea
of,
uh...this eomplexness
about
this.
It's just
a humble jumble type
thing.
Okay,
man
pauses.
. .pauses,
looks,
writes,
walks
on... to next thing.
Okay,
and that's just what he
did.
Like
that.
And that's
the bus,
when
I
said bus bar.
#14 :
Mm-hmm
.
#10.5:
That's
it right here.
In the one,
two,
third one down
to the
right.
It's just
a big electronic breaker
bar,
bus bar.
Like
a mouse trap
lever,
you
know,
it
just goes vvoonk!
Figure that one out.
#14:
Like when they throw the switch
in the electric chair.
#10.5:
Like when
they throw the switch
in the electric
chair,
right.
The big classic- may
I?
#14:
Sure.
. .G inger Rogers,
huh?
#10.5:
Hmm.
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#14:
All right.
#10.5:
And
I perceived that
on
the second deck
at
the end of
the catwalk was some other kind of
a door there.
And he'd
go out that door...
Okay.
So that's
that.
That sketch big two.
Okay?
Now
I'll
do three.
I'll
do you... from the catwalk.
Cat on
a hot tin
walk
Here
in
the foreground
is the door,
walks along
to
the door,
like this. .. .Okay
.
And here along this- how do
I
do it?...
This
is the electrical panel box
that he was looking
at.
Okay.
That's the wall
line,
okay?
This
is the panel
box.
He's walking downstairs.
And there's
a staircase up
to
it.
And over here.
. .background,
way down here
in the back-
ground.
. .let's
see,
we got one.
. .two.
. .we got three.
Okay,
an'
over here we got
one,
two,
three.
Over here we got
one,
two,
and be the third one
like here.
It was like three by three
or three
by
four,
I couldn't figure that
out.
Okay.
And this,
these are the white... 15 foot diameter .. .spheres.
All these pipes coming
into
'em and out of
'em.
Like this...
okay?
Get the message?.
. .like that.
You
know,
all
interconnected
like this...
They were real humble jumble,
helter sketler,
very difficult
to even begin
to discern anything about
them.
You know,
just because they're so complexly...
I had the
feeling
that
in these tanks. .. .there' s some sort of condensation,
processing,
progressive steps
of processing.
Whatever was
started like here
in
"X",
or
in
"A",
was then... piped and routed
into
"B"
and was
then piped and routed into like
"C".
And
then was piped over... into
"D".
That type of
thing.
#14:
Mm-hmm.
#10.5:
All right?
Now,
I
don't know that that's the exact order
of
them,
but,
that there was this interconnectedness,
progressive
interconnectedness
.
#14:
All right.
At this time we'll pause
for the cause,
flip over
to side
C of the
tape.
#10.5:
Okay.
#14:
We're now ready to continue side
C
of tape whatever....
#10.5:
This was
like maybe some sort of
a railing.
. .or pipe bank.
Okay,
that's the best
I
can
do for you,
cause it's... on
sketch three there.
#14:
Okay.
One last request
for
a sketch is... drawing of the-
#10.5:
Mystical beaker.
#14:
Yes,
coming out the end of the mystical conveyor,
to include
these four-
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#10.5:
I
tried to get you
some here,
but
I figured after
I started
working
on
it that...
#14:
Ginger Rogers?
#10.5:
I
figured after
I started working
on
it that
it might kill
us
if
I
got
it
into the
room,
so
I decided to stop.
Nothing
we need better than
to import
a radioactive material into
our viewing
room.
Anyway
This
is
the only view
I
saw of the finished pro-
duct,
which was really
in.... okay'
There
' s .. .that here
was sort
of
a big heavy wall
in the foreground. .. .but the
end this-
I
had the feeling like
in this wall
it passed
open,
you could see
it,
but then
it went behind this wall that some
sort
of
a veiwing port
in
it.
Okay?
Oh,
sugar,
let's
see... so you
could actually see
it
in there
..Okay.
You
know,
I
don't know where
I
was,
I
don't have any contin-
uity.
This goes t-t-t-t-t,
back like that.
This... this thing
like comes down
a little bit.
It's.
. .squarish.
I
don't know
where that
goes.
And this goes,
this
is now floor
level.
Like that,
okay?
Beakers were about
14 inches high.
Uh...I'll show you
one.
In this thing
inside the beaker,
like
I
said,
it was about,
only about one sixth the size... of
it.
And
you,
some time
in
the session you asked me how come you make,
think this
is radioactive.
Well,
here is where
the... the thing,
that feeling came from... is
some sort of
a remote
con-,
people did not touch this.
Remote.
. .control hooked
pincers.
. .remove beaker from conveyor .. .Okay?
Then
I
don't
know... I don't know what they're attached
to,
I
just saw that
sterile white,
pharmaceutical white.
Okay?
Heavy white,
this heavy .. .everything was... heavy,
heavy white enamel
What's that number?
#14:
Four.
#10.5:
Okay.
And the size
on
this beaker... is maybe
to
14 inches
tall.
Uh,
the size of the pebble... the pellet,
pellet
is what
is was.
It's loaded with pellets,
is about.
. .close to this
size anyway.
I,
I said
it was
a
1-,
well,
I
guess maybe it's
not.
I said
it was
a little bit
less than double 00 buck,
and that's about,
that's closer
to the size
of double
buck
than the other stuff
isn't...
The pellets were about the
size,
or the radius
of that.
#14:
That was close.
#10.5:
I'm gonna
"X"
that
out.
I'm going to say the pellets were
about that size.
Okay,
the coloration
of the pellet was this
sick corroded copper green.
Okay?
I'll call
it sickly,
'cause
it's really
a
yuk color.
Sickly .. .corroded copper
green....
And the glass view port,
thick wall.
Okay?
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#10.5:
This is- all
I
can say
is this
is finished product,
finished
...finished product.
I
like to buy finished products,
you
know...
Finished
(haha)
product. . .end point.
#14:
Okay.
That's good.
End of session.
Approved For Release 2000/08,
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Approved For Release 2000/08/07
: CIA-RDP96-00788R000500290001-6
i
TAB
Approved For Release 2000/08/07
: CIA-RDP96-00788R000500290001-6
Approved For Release 2000/08/07
: CIA-RDP96-00788R000500290001-6
Approved For Release 2000/08/07
: CIA-RDP96-00788R000500290001-6
Approved For Release 2000/08/07 : CIA-RDP96-00788R000500290001-6 & e Q a8 8. oo > a en - PAu30s, books writes luifeks on Te hexrz THINS Approved For pala: 1EH08
Approved For Release 2000/08/07 : CIA-RDP96-00788R000500290001-6 Approved For Release 2000/08/07 : CIA-RDP96-00¥88R000500290001-6
( Approved For Release 2000/08/97 : CIA-RDP96-00788R000500290001-6 ( WA avg. vy oA é Pp “oS 1 P oto i Algo? | Approved For Release 2000/08/57 : CIA-RDP96-00788R000500290001-6
Approved For Release 2000/08/07
: CIA-RDP96-00788R000500290001-6
TAB
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: CIA-RDP96-00788R000500290001-6
Approved For Release 2000/1
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TARGET CUING INFORMATION
REMOTE VIEWING
(Rtf)
5E5SI0N D-78
^^(S^ORDRN)
The remote viewer was shown the attache^ho^qrapl^^^^^
The vinjwe^i/as^dTer^askec^^cjc^^^^^^^H^^H^^^^^^^^H
SG1A
He was asked to locate
I and describe his surroundings*
NOT RELEASAB^E|»t|iSM NATIONALS
Approved For Release 2000/08/(fiP:
C£lA-RDP96-00788R000500290001-6
SG1A Approved For Release 2000/08/07 : CIA-RDP96-00788R000500290001-6 Approved For Release 2000/08/07 : CIA-RDP96-00788R000500290001-6
Approved For Release 2000/08/07
: CIA-RDP96-00788R000500290001-6
i
TAB
Approved For Release 2000/08/07
: CIA-RDP96-00788R000500290001-6