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GRILL FLAME
PROJECT
SESSION REPORT
DIRECTOR,
DIA
CLASS IF IH)
BY:
DECLASSIEY
ON:
EXTENDED
BY:
DIRECTOR,
DIA
REASON:
2-301
C
(3)
(6)
f
“
.-k wnjc.-r.i~*
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SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION
1.
(S)
This
report
documents
a Remote Viewing
(RV)
session
conducted
in compliance with
a request
from SOD,
J3,
OJCS,
Pentagon,
Washington,
D.C.
The purpose
of
the session was
to provide information
relevant
to the hostage situation
in
the
U.S.
Embassy compound
in
Teheran,
Iran.
2.
(S)
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)
The protocol used
for this session
is
detailed
in the
document,
Grill
Flame Protocol,
AMSAA Applied Remote Viewing
Protocol
(S),
undated.
4.
(S)
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
cueing information provided the
remote viewer.
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TRANSCRIPT
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REMOTE VIEWING
UU/)
SESSION CC52
This will be
a remote viewing session
(edited
for security).
PAUSE
For
the past few minutes now you have been
studying
a photograph
of Malcolm Kalp.
Move your
awareness
now,
and
join Malcolm.
Relax and
concentrate your attention.
Focus
on Malcolm.
Find Malcolm and describe his location
to me.
PAUSE
I
have. .uh. .this feeling
I'm floating. .face up
under.. uh
a rather big ceiling
(phonetic)
like
it's
a.. like
it's
a trap that
I’m caught under.
PAUSE
I
got
the feeling
that. .uh. .like. .uh. .furniture
on the side of
the
room makes
it
a separate area.
Uh. .feel. .uh. .there' s some sofas
or something...
a
little
sitting area.
There's something large
behind
the
sofa.
Have. .uh. .feeling this
is side
of
a larger open room
(mumbling)
glass.. glass and
and. .uh. .along
the
front.
Feeling
of.. uh.. many
much .. uh .. hustle and bustle.
Tell
me
the impression
that gives you
that
feeling.
Have. .uh. .many . .uh. .feeling of many
people standing
around
in near the doors
..uh..in
this open
floor
area
or
so people standing around
and this
PAUSE
V
I
think
I
have
my
man.
He
is. .uh. .sitting
a funny
place
in this open
room.
He's sitting
in
the..uh..
one
of
the sofas off
on
the
side
and his back
is
to
\
.
the group
of people
and
•
. uh
. .1
sau/ him. .uh. .first
looking over
the back
of
the sofa
at
the people and
he’s
in slightly
L shaped
sofa looking over
the back
l
of
the
L
in this little
group
on
the
side
of
sofas.
I
\
Who
are these other people?
|
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I
had. .uh. .a visiting feeling.
People being allowed
in with cameras and being watched by
a larger group
of people bringing something or doing something.
I
first had
a big feeling
of
a shoulder carried
cameis somewhere
in
this crowd.
When
I
was looking
at
it from afar ....
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PAUSE
Are there other hostages besides Malcolm
in this
area?
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PAUSE
I.. uh.. think that there
are here.
I
see
them..
(
other people, .uh. .one
at
least... I
think
is
a woman
. .uh. .man,
woman,
man... I
don't know about
the
last.
My
first impression was man,
woman,
man,
woman sittinc
across
a small
isle from him to his right
front.
All with their backs against
the wall
on
a
longer
sofa as though they were waiting to
be
seen,
or
waiting
to be looked
at.
Uh..
Do you feel
these
are hostages?
Yeah.
I
do.
Uh..have
a feeling
of lighter clothing
and lighterness around them than
the others.
They're always darker.
All
right.
Work more on
the
room.
Tell
me more about
the
room.
The room is..uh..a familiar place
again.
It has..uh..
I
think it's
a
lobby.
A central place.
It seems
larger with an outside
door.
There
is something
in
the center
of
the
room.
I
had
a.. over
my
right
shoulder
looking at
the
front
I
had
a fleeting. .uh.
I was looking
at
the
crowd
I
had
a fleeting shot
as though out of
the corner of
my eye were several
people sitting at
long table observing the crowd
at
the door
and that their backs were
to some.. a big
solid structure
in
the middle
of
the
floor.
Such as
booth,
and
I
think that
is what
I
was looking
aFwhich "tg-to-Maicolia ',s„ left . _ .In. the far
*X' m
having
a feeling of..uh..on
the
far side
on
the
back... away
from the crowd... it
seems
to be opener
and lighter as though there are windows
on
that
side as well. ..I
had this feeling that back
there
is
bare
tiles
like floor... like
a ballroom floor almost
back
there.
No
rug or any... I
feel
that
I'm on rug
carpeting
on
the floor where
I
am.
"*
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Move outside now with
the crowd and tell me about
the area where they
are.
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PAUSE
They
are inside.
A group
of people. .uh. .they
are
inside
is what
I
mean.
Ok.
The doors that you mentioned...
They were coming
in
like.. now
I want
to say moved
to
my side of the
room and are looking
at
these few
.people who are
there.
They
are looking at them
(and they have.. I want
to
say
they . .uh. .most people*,
are standing around
is exports
(phonetic)
but
I
jj|
have
the feeling of several people taking
their
•
pictures with this big
thing,
maybe,
but they move
from the door
to
them.
Focus your attention
on
the door where
they came
from.
Move through that door now and describe
it to
me.
PAUSE
I
' 11. .uh.
. I' 11
go with
the flow here.
Getting some
loose feelings.
Very
good.
I'm. .uh. .get
a feeling
of
a. .uh. .slight porch...
white... step down .. (mumbling)
.
I'll open
the door.,
feeling
of
(mumbling)
on either side
are some sort of
. .uh..not woods. .grass,
trees,
manicured. .uh. .on
either side
of
this. .and. .uh. .this
(mumbling).
The
side rails un this porch
are- more ornamental than
functional.
They.. uh.. go
on
get out
oftdjere.
. .they
are. .uh. .a flat
top stone slabs that are
rrterely
on
the top. .top deck. .appears to be
only- IB -inches and
they^rppear~~tTX
‘
*s t‘e|) "(Town
one
time with
the staircase.
I'll
go out and
I'll
look back
at the front.
\
. I'm starting
to
fade.
I'm getting, .uh. .a couple
of
I
ji
..looks
like columns.
The building is darker
ii stone
as the
front of
it
is quite contrast
to
the
!
j[building.
Uh. .uh. .Jesus.
I
hope that
son-of-a-bitcfi
1 gets paid
20 bucks for that.
0k.
Let's break off here and do some drawings.
O
A
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All
right.
I
guess
we
can
tape over
the dull
roar
of
the
snou/ equipment.
It's
a conspiracy ... that
’ s what
it
is.
0k.
Where did
I
start.
Started with
the
feeling
of floating.
. .not
on
that
low ceiling but floating
near this rather large ceiling.
I
couldn
' t .
. .ok .
.
what
I
ended
up with... it was familiar.
. .it was familiar.
Just as soon as
I.. familiar,
but rearranged,
from
what
I
remember.
There were differences from what
I
remember.
Uh.
Can
I
ask you about this familiarity now?
Yeah.
Familiar
to when?
Do you remember?
No.
I
don't remember which one
it was.
Familiar
to one
of
the first sessions but not very
j
well early
on
three weeks
ago,
four weeks ago,i
maybe.
When we first started
to work we ended up
|
with alot
of.. doing
alot
of... God,
I
don't
know.
We worked
so many buildings
at the beginning.
Just
'..you
know. .. .ok. .. .what' s around
the next corner....
type stuff... but
I
had this feeling
„
Actually,
you are saying you
feel
like ydu've been
at this
particular place before.
Yeah.
I
feel
like
I
have.
The layout was similar
to
something
I
felt before.
That
I'd seen before.
Let me
try
this
on
for size here.
That' s.
. .feeling
of
a couple.. uh..
sucker
is still going at
it.
Isn't
he?
Is that dark enough
to zerox?
Yeah.
Well,
I'll
go over
it once
I
get
it fleshed
out here.
Anyway,
here
in
the foreground was
the
back
of another sofa,
or something.
GOD!
They're
all
out
there.
He must have gotten his buddies over.
Jesus
all
right.
I had the feeling of
a nest
...nesting
of
some sofas.
This
is
the
thing
that was
different from
the
familiarity,
ok.
Here are some
sofas.
This one
is
like
L
shaped
or
it's
two Ls or
something
like
that
is what
I
mean.
Here,
behind
it
is some big
thing.
Like
that.
See,
walk between
I
drew
it. ...it's some big
thing.
I don't even
know what
it
is.
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’
*
\
'
.
That's what
you called
"like
a booth."
Yeah.
Well,
later
said
I se...was feeling
this booth.
But,
right,
right. .. .what
I
think
I
was doing,
you
see,
I
was standing. ... I
was
like
floating
in
the foreground
of
one and
I
sort
of
like panned around.
And,
as
I
was panning around
things were
taking different.
. .you
know.
. .getting
...I
was looking at each individual
piece.
The first
feeling
I
had was this and
that my
guy
was here. .. right.
. .and was
turned around looking
back over his shoulder.
You
know.
Looking back
this way
over his shoulder.
You
see what
I mean.
Like
leaning back over
like
that with his arm
in
the back of
the sofa and looking over his arm
into
the
it passed me.... like he was looking
at
me but through me.
Right.
I
had
the feeling
that this was like
a carpet line here.
Had
the
feeling the hallway.... I
had fleeting shots
of....
ok
let me
just
go
on
and.... this thing
disappeared
it doesn't disappear
so much
as
there'
some
funny
little hall
down
there
again,
ok.
How
do
I
want
to
do
this?
Something makes
a little hair
on
the side
of
this
room,
which
is really
in
the
background
there... and
I
can't figure
the dam thing
out.
It looks
as
though. .. that
looks weird.
. .looks
as though there's
a partition
or something on the
right
side of
this room that comes down here,
ok.
Let me police
this thing up
a little bit.
Give
it
a
little bit
(mumbling).
Ok.
That's
the perspective
there
that's
a perspective
there... ever
so
slight.
This
goes back here.
There's some kind
of
a little
hallway going back down
there.
Something divides this
I've draw
a partition but
there
is something there.
There's
a way
out that
is not usually
the way
out,
ok.
Here
are windows.
This
is.... this
is farther
away,
now.
This
is yards
away,
ok.
Windows
in
the back
...and
this
is bare,
big,
bare floor
of f
.
.
.
. ok
.
.
.
.
but here
in
the foreground
is carpeted
floor.
It's
like
a ballroom floor.
Windows,
ok.
This thing goes
back
in some kind
of a..uh....you can
just barely
see
it.... some kind
of
a hallway
or passageway
is back
there.
I'll draw that
in dark,
ok.
This whole thing
is some
sort
of a..uh..a hallway .. .parti .... I
' 11
call
it
a partitioned hallway.
Maybe
that's some....
something like
that.
You
know.
It's not
a
real
hallway,
but
it
looks like
a hallway
and
it really
is
a hallway,
but it's not solid concrete walls.
Rather
it's something that
looks
like
it..
a
different
passageway,
but,
it's really part of
the.. the overall
t|ing...and this
is
like
an exit or
something-.'
There'
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a hallway
there,
ok.
Like
that.
OK.
Then
had
the feeling
of... also
I'll throw him into
this
picture
as well... is
that sitting here
on this sofa
•••my
first impression was man,
woman,
man,
woman.,
I
didn't
get
any descriptive
type
stuff.
No sooner did
I
start getting
a good general
feel
for
the place then
all hell broke
loose up here.
But,
(mumbling)
don't
draw
lines
(mumbling)
draw somebody
on top
of
'em.
Ok.
Guy sitting there... had
the feeling
of
long,
dark
hair
on
the
first wo
on
the first woman wearing
a skirt.... and
a man.
That noise outside has stopped.
Yeah.
It would.
Wouldn’t
it?
Couldn't have waited
25 minutes.
And,
then
I wanted
to
put another woman
in there somewhere.
I
wanted
to
say
man,
woman,
man,
woman.
It’s the
first
time
I've ever
seen
a woman.
You
know. In
the work.
So .. uh .. anyway .. that
1 s ... I
’
m
Ok.
On exposed second
level.
On exposed
second level
that. .uh. .all
I
saw of
it.,
the only feeling
I
had
of
it was... let me erase
that.,
somewhere else.. .this comes
out here. .ok. .that was
the flavor
I
got.
Something protruding off
of
that.
You know.
Something protruding
off
the roof
and
that
is
just. .you
know. .once
I
got out here.
. .partitioned
hallway... is what
I want
(mumbling)
this
is
All
right.
Now
two.
Two,
I'm going to swing around
and look up
the
front.
Two.
On
my
lower
right
I
had
this fleeting image of
some sort
of
a desk
thing here.
How am
I
going
to draw this?
Ok.
Just
the
general...
right
out
of
the perferal
(phonetic)
vision
type
of
a
feeling .... there were
a couple
of people sitting here
at
this
desk.
All
right.
That's cool.
I'm not going
to worry
about
that.
Now,
across
the hall ... (mumbling
)
and then front
on
is... I've
got
to draw
it
at
an angle
(mumbling)
sorry number
here.
There.
That's
more
like
it.
That's the
line
I want
to
do.
Here's
the wall.
That looks at that.
All
right.
What else
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.
did
I
gel
here without embelishing anything here.
There
is something here
in
this corner.
There
is
something
in
that
corner.
Behind
it
is windows.
All
right.
Got
like
a double door
set up here.
Got windows here.
There.
That's the idea
I'm trying
to
get across.
Now
the foreground of
two matches
opposite the foreground
of
one.
So
if you
put
them
together
like
that,
the rooms composite.
Although
it's
a
little bit more distorted.
Ok.
Had
the
feeling
of double door. .uh.
. .glass,
big glass windows
on either side
and
glass doors as well.
I don't
thing that protrusion thing there
is funny.
I
had
C
thp feeling of.... when
I was going outside
I
had tb6
"N
feeling
of
a double
like
1 had
to
go through
two
J
e&ts
of doors.
Like
I almost thought
it was revolving
| doors.
You
know how revolving doors... like
in
a big
place and you walk around and you come out... it's
thick... it's
a
thick doorway.
It's not
just opening
a door
and you're across
the portal.
It's
like you
j
have
two. .two. .it' s
like
a
5 foot portal.
You have
to
go through
this little booth,
and out,
ok..uh..
(sigh). .I'll
say
that,
but
I
don't know how
to write
it.
Ok.
Before you
go
on give
me
a couple
of
arrows.
Large globe shape
in
the front left corner.
There
are
two people sitting behind
desk.
. .ish.
. .deskish type
thing
in
the right foreground.
Which
I
think
the back
of this desk is
on.. on
the front face of this square
thing
on
the left
in sketch number
one.
But,
I'm
not
sure because
I'm not very
sure where within
a
20 foot radious where
I was whenl- was getting all
this.
It could be
a totally separate ... two separate
things.
I had
the feeling that
there were
large number'of
people ... that
there was hustle and bustle
in
the outer
area here... like out by
the door... and there were
large number
of people . .uh .. like standing around,
walking back
and forth and..uh..a group here and
a
group here
huh
Basically,
who were, these people?
Or,
who... what
feeling
cffcT you
get about
these people?
I
had
the feeling
that
they were
well,
here's
the
thing.
Now,
the people
at
the _t.ab,lp ... I
had
feeling were
like
gigards-^,.
. .you know.... the bad
guys.
Vhe number... the majority of
the people mulling
/Around
in this lobby
or standing around this door
,
III
thought were bad
guys.
But,
I
had
the feeling that jj
// they were waiting
on
and,
in
fact,
that these people^/
//
did come
in with cameras,
of some
kind,
that
weren't:,
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necessarily bad guys.. you
know.. they were like
other
guys.. that
they were.. and these guys had
all been assembled there
in order
to escort
them.
They were going
to come
in.
They were going
to
take
some pictures
of
the prisoners
that were
sitting back here.
You
know.
Here
in
the back \L
part of
the
room,
and
I
had
this...
When
I
first
started
I
had this very distinct,
believe
it or
not,
I
know it's
an old
style,
but
I
had
this
very distinct feeling of something shaped like
this.
Like
one of
the old fashioned news real movie
cameras,
almost,
on some
guy...
Where you
can
see
the
two film cans?
Yeah.
Like
the two film.
The
two black film cans.
And,
this
thing being carried
in through
the door.
Not
a huge
thing.
But,
just something
on some guy's
shoulder coming
in through
the door.
Ok.
I'll
draw him there.
Label that
that you've drawn
up
there
so
it
doesn't look
like it's
a gadget on
the wall.
Oh,
yeah.
Ok.
Coming
in on some guy's shoulder.
Coming ... they
' re coming
in
and there are
two,
three people coming
in and more people than
I've
drawn
here standing around.
I wanted
to say
like
20 people coming
in here out here
in
the front
of
the building and them milling back
in,
ok.
Like
I was trying
to
say,
you
know,
people coming
in.
You
can
see them
in
the back.
You
can
see
them outside
the doors?
No.
Just sort
of
like coming. .. like
a group
arriving.
Not
a big crowd outside.
Like they
had come walking
in.
A group
of
15-20.
Then,
they had
to
go through the door
two
or
three
at
a
time,
and they trickled through
the door and built up
in front
of
the door
and
then.
. .slurp ..
.
0k.
It seems as though during
the session you were
getting some
sort
of
real
time action at times the
people would move around
the rooms.
I
think
so.
I definitely
was.
First
of
all,
I
don't usually pick up that kind
of
thing and
I
sort
of looked
at
the front floor and
I
had this immediate
impression ... popped ... to me
of alot
of people.
I
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don't usually,
you
know.
I
don't
think
I
usually
would pick
up, like
I
would pick
up one
guy
out
of
a mob,
but
I wouldn't necessarily see
the mob around
him.
You
know.
That
type
of thing
So you feel pretty good about that impression.
V
1 11 A
eah.
It
u/as
very,
very spontaneous.
Uh
.
. fchreg
or
four. .uh.
.
1 11
use quotations of neutral guys
v/ith cameras,
etc.
I
had images of people writing
on note pads.
This was
latex. .•.^oJt-.-.T-ig^fe-'here -but
laTeT‘r‘^T
t"IT ge t~Eo
that
in another
one.
Another
quickie.
. .and. ,uh. .three
to
four neutral
guys.
Two
guys here
and maybe being escorted,
maybe
ten
or twelve bad
guys,
in quotation marks,
escorting
....and
this
is all.... this
is carpeting. .. .carpeted^
room
(sigh). ..I
don
f t
know.
Three,
then.
IV
take
it
as though
I’m standing
at
the
door
lookings
back
in.
Here
is this funny
table.
Here
is this
funny big square
thing
in
the back
of
it
somewhere.
Here
is sofa with Kalp sitting
at
it.
Right.
That
is
the
L shaped sofa.
There may
be another
one down
there but
I'm not
too sure
of
it.
Along this wall
we have.... come
on #10.5
at
least you could make
them
on
the same
level ... .another sofa here.... and
then,
another sofa here.
Like
that.
Two sofas with
two people
in
them.
I
mean with three people in
them.
And,
all
these
guys standing around
in
front
of
them.
This was
later
on
in
the
session,
Later
on
in
the
session.
.when
you perceived
then
that this group
of people
moved
into
the area where Kalp was?
Right.
Kalp was
still
there.
This
is closer together.
I've drawn
it
all
out
of wack.
More
like
this.
There's
the
L
shape.
It's closer together.
You
see
what
I
mean.
This
little conversational
nook.
Three
or
foMT sofas rave been
set
up around
like
over here
qrt
the
side,
j Now there
arg these
people standing there.
They're standing right
in
f ront
.
You
gan
har d 1 v
se-e
ISecause
there' s
this
b icp c Tustrnx
o
p
1 e
all around
look iny^itT there.
.
That's
gin with.
That's
re
and
talk
to
Uh..I
had
the
feeling)
That's
defj
where
they/
why
they
c^
these
dudes
of bright
1 irfKtc;
f
f uh^Tnn
know, .flickering bright
light/
But,
these
guys were being
put
on display
for
some
j
^
reason.
Some
rat... maybe
ratical
type... maybe
it's
the student's own
type
stuff.
Not necessarily
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some
international
film. .uh. .outfit,
you
know.
or
UPI
or anybody
like
that.
It
could be
just
some propaganda bull
shit
that students
are putting
together.
Well,
anyway,
these guys
are all over
there and that
this film camera had been brought
up
there
on somebody's shoulder
and there was
this
big light coming
from
this crowd. .down. .and
it was
playing against these people... and these people were
sitting against
the wall.
You
know.
Sort
of.. well
here we are.... what
do you want
us
to
do.
So
I
drew some arrows
there.
Ok.
I'll dress
this up
a
little
bit.
Here.
There.
It's closer.
It's tighter
in.
Ok.
Here's the other side
of
the
room.
I..
like
that.
Not much
at drawing
a mob of people.
Am
I?
I'll
go ahead
and
put this
Camera man,
bright
lights,
note
pads,
talking
to
peo
talking,
sitting people,
ok.
Then you got
me outside. .ok
Four.
Outside
view. This
is
a
that's
the idea
I
want
to portray.
Boy!
Wasn't that great?
I'm turning into
one hell
of
an artist
(laughing).
/The view in four
then
is standing.
/ ...on
the front porch,
looking away
from the
building.
Ok.
Again,
you
say
you feel
like
you had to
go
through
two sets
of
doors,
maybe.
Come
to this
point,
and you stood
at
this point...
Right,
right.
Here are
the stairs coming up
in
the
foreground.
Right.
Look
at
that!
Dam,
don't
that
look great?
Uh.
. I
had
the feeling of grass
out-.—
front.
This
is
a walk.
This
is
a dark walk.
This'\
ik-.—
s
-though
cement in front butHfarmack
(phonetic)
going out
through
the
grass,
all
right.
Uh..what did
I say?
I
said.. I
said
trees.
I
saictwoojdSjbut not woods.
Woods isn't woods.
I
had more
of aT&eling
of
a
cultivated,
frppd
1 am than
I
did wood.
tYlch more
. tluin- forest woods,
or woods
manic
would look.
It's all mowed
up nice
and smooth,
anyway.
Grassy,
brown
grass and everything
in
there.
You
know what
I'm talking about.
It's
a lawn area and
there are trees
interspersed on
it.
The trees do
j
go together .... go together
in
their leaves.
It
hard
to describe what
I meant when
I
f inally want
to talk
about
it.
EGRET
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#66
Ok.
In
the scene
that you're drawing right
now,
I
recognize this from
a previous session
that you
and
I
have done
together.
Do
you have
a feeling
about
this scene?
# 10.5
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Yes.
You
know.
It goes right
on with
the familiarity
of
the building.
Was this view to
you spontaneous?
Uh..I
think
it occurred
to
me
just
as soon
as
I
got out
of
the building.
It's not
like
I
had
to
stand out
there
and
look and say
oh,
there should
be
a walk here
or anything
like
that.
It was
like. .outside,
there’s the walk,
you
know.
It’s
there.
I
know it’s there.
There
it
is.
It was
very,
very
quick.
Very fluid.
There were suttle
differences.
I’ll point out
the
suttle differences.
The suttle differences
to
me this time... or things
that would
be unique
to me
that
I'd
stand... if
I
had
to compare
the
two experiences.
The light
to
dark walk
the manicured nature
of
the trees
j
and not
the wood nature
of
the
trees.
I
think
that was
a difference.
But, the main thing
is
the
fact that
this type
of arrangement
on
the steps was
totally un....I
had
no feeling
for
that
and
it
just
popped out... this arrangement
on
the step walls
here,
the
step... the
guide walls
of
the steps. .. .actually
being
step walls themselves instead
of
just
some
straight walls
that
just went
out.
That's different,
I
think
if
we were
to compare steps we would
see
that that's different
feeling. .. .you
know. .. .different
thing came
through.
And,
I
also
got
the feeling
for
a little
sort
of an overhang which
I
can't
say whether
I
got
a
feel
for before
or
not.
But,
I
think
it was
relatively spontaneous.
You notice nothing
is at
the
end whereas
it
should
be.
That was
the
limit
of what
I
was seeing
so
I
didn't. .. .you know.
Nothing was
at
the
end
of
the walk,
is what
I'm trying
to
say.
Because
I
just didn’t
see that
far,
this
time.
But,
you
know,
it
felt... it
felt
ok.
I
knew
I
was
on
dangerous ground all
the way
through
it because
it
was
all
very
familiar.
Now,
unfortunately,
it was
at
this point that you
began
to
lose .....
Yes.
...focus because
the outside noise became tremendous.
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Here that number
20. 5.... the outside noise
became... you know
at noon
on
a work day
that might have been only peanuts,
but
in
the
middle
of
the night
that sounded
like
the guy
was going
to drive through this place.
I
thought
he was going to end up sitting
on my
chest.
OK.
Last
look.
What was it?.. This was when
I was starting
to
fade
out.
You
told me you were going to go out away from
the building and look back.
That's what
I'm working
on.
By that time
I
was
really slipping
fast.
I
had
the feeling
for
a
column
or
two.
A column
or
two.
This entire thing
was held
up
by one column
(laughing).
Ok.
That
kind
of
a wall
there.
All
right.
There we
are.
Let me
just
get
this straight through here.
All
right.
I
did not
get
any feeling
for capstone
type figuration
or anything
like
that.
What
I
did get
a feeling
for
is... I'm only drawing
two,
because two is
all
I can
remember
out of
it because
I
was really falling out
j. of
the saddle
fast.
.
. .is. .uh. .a. .how do
I describe
ijthe dam thing. .. .it' s an overhang. .. .small little
L overhang outside.
When
I was standing right here,
^on the porch,
if
I.... when
I
looked up there was
about
a foot
of roof over
the top of my head.
So
I 'll... let me
try... you know.. half of this is trying
to figure how you
do the perspective.
There was some
little type
of
a roof and what
it
is... or whether
it
is
just part of
the building
or
not,
I
don't know..
that's
all
I
can
do for you
no,
wait
a minute.
That's not
all
I
can
do.
This
is darker gray
than
the white steps
and
the white framing and
the white
color.
Ok.
I
had
the feeling
of
some windows.
That
level.
That was about
it.
You know how you
talk.
this sketch here.... we
spent
45 minutes on that one
target before.
You
know.
You know
I
get this detailed
in-depth description
of
the front porch... you
know.
That's all
I've
got #66,
really.
Ok.
Anything else you want
to
say about this session?
You
say you recognize this area and
I
can
see from
looking at your drawings that
I
can recognize
the
area myself from your previous one.
I
really
do.
I
couldn't begin
to
tell
you what
the building
is because
I
don't
know,
but,
I
can
definitely
go back through
my sessions and
I'll
match it
up with
the ones... the one or two possibly
two or more
that
I
did working on that building.
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QEORET
TARGET CUING INFORMATION
REMOTE VIEWING
(RV) SESSION CC52
1*
(S)
The viewer haa been exposed to open source news media infor-
mation,
classified overhead imagery and photographs of many of the
hostage personnel.
He knew he would be working against the hostage
situation in
Iran.
2.
(S)
At the time of the session the viewer was told that he would
be locating Malcolm KALP,
The viewer was shown the attached photograph
and was asked to describe the surroundings of the individual in the
photograph.
This was the first time this viewer had attempted to describe
the location of KALP .
.
.. r
..
K
^
_
(<,<•*
W
'
'
/ f
ADMIN NOTES:
Sessions CC51 and CC52 were conducted at the same time
with different viewers in separate rooms using the same target cuing
information.
(See also CC53 and CC54. )
The viewer made reference to
a location which he recognized from a previous session.
See Session CC19
n
Q, l"\ A **
secno
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