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#44:
Yeah.
PAUSE
Okay.
It was not in the sense.
.
.
the lower
case
"h" was not in the sense of being a picture
but perhaps
a word associated with
the target.
I don't.
.
.
I didn't see
it
as
if
it was
a
part of
a sign.
I didn't see it
as
if
it was
.
.
.
because
I
can imagine only very few circum
stances
in which you'd have
a lower case
"h".
It seemed to be at the left hand
side.
.
of
.
.
Okay,
if there
is anything in the field that
I
was
looking
in,
it appeared to be over here and
diminishing in perspective.
Gothic
"h"
.
. which means it doesn't have any
(not audible)
on
it.
But it had some good size
to
it.
The ascender and the vertical bar,
is
quite
tall.
But
I
couldn't say that it had.
.
I couldn't say that it was part of
a sign,
it
sort of came more under the heading of
a
.
.
.
I'd rather go back and try.
.
or I'd like to
now go back and
see
if
I
can do anything with
this first shape,
if
I can find
it.
PAUSE
I can't find
it.
PAUSE
I got the feeling that anything that
I add at
this point
is going to be analytical overlay.
#14:
Okay.
#44:
And
I think that the best thing to do is hang
it up.
#14:
That's
fine.
Is there any more you think you
can add
to
the description of the drawings
that we have here? That we might want to get
on
the
tape.
#44:
Considering Drawing Number One:
if
I did go
back and look at it again,
it seemed that the
corner between the two shapes was sharper than
I drew it at first.
#14:
Okay.
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#44:
But this
is
.
.
the flat portion is still
flat
and the vertical portion is still vertical.
It's
white.
The pole
its attached to or the surface
is
dark.
PAUSE
This
is where
I made the analytical overlay
comment because
I went back to Drawing Number
Two which
I described as
a ramp leading down or
a downward walk
surface.
I am tempted to say
wide brick stairs.
.
with
a brick.
. with
a
.
.
sidebar either being brick or wood in broad,
flat
staircase made out of brick leading down into
a
brick courtyard that has
a curving side
to
it.
PAUSE
#14:
Why don't you go ahead and label it brick.
PAUSE
#44:
In Three:
analytical,
the wall.
.
the smooth wall
boards type surface,
painted.
Dark blue.
On the
order of magnitude of royal blue or something that
dark.
#14:
Um hm.
#44:
I had the feeling that there was
something in
Four
at the arch configuration.
That there was
something affixed.
Maybe
a sign taped up.
Right
at the point where
the arch shape attached to the
surface,
whatever it was.
Five:
Looking down on the Picea Pungens.
Here
I
try and draw a
spruce,
but that isn't going to
work.
I can see
it inside my head but that isn't
going to work.
But it was
a doggone good size
tree.
But
I have
just fooled around with the
the original.
But order of magnitude
to
15.
#14:
Is there any possibility that this arch shape
could be related to the lower case
"h"?
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#44:
No.
I
see the shape similarity that you
see.
But its almost.
.
.
well,
most of the things
that I've drawn are things that
I have
seen
as
shapes.
But this
came
to me
just as
a
non-picturial.
.
.
I didn't get
a picture of
the letter
"h",
I
got the
idea of the letter
"h".
Let's call this
.
.
it shouldn't really
be Six.
It should be before One.
I'll put
that in parenthesis.
I'll put down some
sort
of
a drawing.
. which
I don't really understand.
This
is
a
"just
in case".
When
I was
looking
out over the flat area,
I described
a sensation
of being concerned because there wasn't
a hand-
rail.
I
got the feeling of,
perhaps,
foilage
in the distance.
Maybe
a tree
line.
But the
area in the foreground here seemed to be flat
and
I got the feeling that it had some good
distance
to
it.
Like
it might be several
fields
worth.
But then
I
got
to thinking that it might
also be
the sort of broken up angularity that
you get in
a large flat size parking lot
in
a
shopping center.
#14:
Okay.
#44:
I had the feeling at this point,
in Seven,
that
I was
up in the air one story,
one and a half
stories high.
It is possible that Five and
Seven,
the Drawings at Five and Seven,
are con-
nected in the sense that as you went up on to
the surface that you looked out in Seven
at,
you.
.
.
that was
the reason for looking down on
the top of trees
.
That
' s enough
.
mnr—
VLUIILI
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TAB A
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Q788R000900340001 -6 \ RDP96-0 ase 2000/08/07 : CIA- Approved For R
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TABB
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TAB C
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POST-SESSION INTERVIEW
REMOTE VIEWING
(RV)
SESSION XXXIX
1.
(S)
Post-session interviews are conducted after the
completion of
a session
to provide the remote viewer with
the opportunity
to express himself concerning his viewing
experience.
2.
(S)
During the post-session interview,
#44 expressed
confidence about the success of his session.
He feels
that the accuracy of his information is
in proportion to
the clarity of his images.
#44 expressed the desire
to
participate in more sessions on
a regular basis.
He
feels
that by exercising his
talents more frequently his target
correlation and resolution will improve.
3.
(S)
This has been
#44 's second session with
#14
as
an
interviewer and facilitator.
#44 and
#14 appear
to work
very well
together.
#44
seems
to be making significant
progress towards more reliable remote viewing.
CTPDLL—
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