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#72:
Describe the inside of
the van.
PAUSE
#27.5:
Black leather interior.
Uh
gold trim,
for
some
reason.
This has
got
all
that one way mirror junk on the windows
in the
rear.
Rear
is
a strip.
Its padded carpeting.
Like
a shelf type area.
A lot of
.
.
weapons,
nothing
else.
#72
:
Okay
.
What
I want you to
do now
is ...
.
#27.5:
This
thing.
.
.
I
just
got
an impression of
a.
.
.
.
of the seashore,
but.
.
.
I
just wanted to
say
that.
But
I
don't khow
if that's important.
#72:
I want you to
wait
while
I
turn over the
tape.
Stay
at the van.
Wait.
Wait.
Wait while
I turn over the tape.
PAUSE
- TURN OVER TAPE
I want
you
to start
at
the front
of the van.
Walk around the van and describe
it
for me.
PAUSE
#27.5:
Its
a GMC.
I
see the letters,
the yellow GMC
in
the grill.
Fairly
new,
not quite three years.
Dark purple color.
Very light oblong designs.
Gold fleck.
Its got
a
.
.
.
.
small window in
the rear up
high,
both sides.
Double doors,
rear.
Side door.
.
slides back.
Don't
see any dents.
Its got white plates.
Dark brown letters on the
white plates,
or red maybe rust
color.
PAUSE
#72:
All
right.
I want you to go again
to the front
of the van and describe
for me the car or vehicle
that
is parked
in front of the van.
PAUSE
#27.5:
Light blue,
four
door,
square trunk.
Dodge or
something,
maybe eight years
old,
seven years
old.
Kind of
dingy.
That's
all
I
get on
that.
Definitely
light blue.
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#27.5:
#72:
#27.5:
#72:
#27.5:
#72:
#27.5:
#72:
#27.5:
#72:
#27.5:
#72:
#27.5:
#72:
Got
an impression of twelve foot
trees.
Somewhere
.
I want
you
to
go
to the van and
sit
.
.
. inside.
PAUSE
How long will
the van
stay
where
its
at?
PAUSE
Its not
supposed to be moved,
but
it
can
be,
it
has
an alternate place to
go.
Impression of
more than one alternate place that
it
can
go.
But
.
.
.
its not
supposed to move.
Why would
it move?
PAUSE
Different plan.
Get
an
impression of Plan B
requiring separate traffic pattern.
Just
got
a impression of
a
lot
of confusion and traffic
jam.
Its
a requirement
for Plan
B.
All
right.
Van's important
for some reason.
All
right.
PAUSE
Starting to
lose
it
here.
All
right.
The van.
.
.
Why
is the van important?
PAUSE
I
don't
know.
I'm getting.
.
.
Getting two
different kinds of impressions on that.
I
got
an impression that
the van's
not
important.
But what
is important
is what's
in
it
.
I keep
trying to
decide what’s important
in
it
and its
not
the people.
All-right.
I want you
.
.
.
I
don’t
.
.
.
I want you now to
relax.
I want you to return
to this room.
It
is
11 December
1981.
11 December
1981.
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#72:
I want you to take
a deep breath.
A deep
breath.
.
I want you to move your hands; move
your fingers.
Move your hands.
Stretch out
your toes.
#27.5:
The stick.
PAUSE
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TRANSCRIPT
REMOTE VIEWING SESSION 834
DESCRIPTION
OF DRAWINGS
#72:
Okay,
we've had
a break and now we're ready
to
draw and give some impressions on the drawings.
#27.5:
Okay,
Drawing
is my most talented attempt
at
the side
of this van
- what
is of primary
importance,
I
think,
in describing the van
is the
.
.
the gold.
.
the very lightly sprayed gold pattern on the purple,
purplish background - which I've drawn on the van
here.
I that's very
important.
And also
I
drew
the way the GMC is imbedded
in the grill... that
I saw the GMC,
because that might give
a year or
model or something.
I
had
.
.
the plates were
front
and rear and
I
had an impression that the
plates didn't belong with the van.
That was
a
very fleeting thing,
so that may or may not
be
correct.
#72:
But
the van
.
.
the plate
is white?
#27.5:
The plate's white with rust or reddish color
lettering on
it.
I guess this
is the place to
also state that
I
.
.
you know,
in this search
for the material
that was located in the room
yesterday and
.
.
.
and all of this abundance
of material
that these people are obviously setting
up with or using.
I
just
have
a very strong gut
feeling that
all
this material's
in vehicles and
being moved on
a day-to-day basis.
That its
not
.
.
its not something they stash
in their closet
;
its already
in the vehicles they're going to be
using
in whatever operation
it
is that's coming
down,
and they're moving
it around.
.
on
a day-
to-day basis.
So the white Olds.
.
.
the white late model Olds-
mobile
is very important
as well.
I
also
got
the
distinct
feeling that whenever they're done they're
just going to abandon
the vehicles.
PAUSE
13b
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#27.5:
Page Two
-
is
a graphic street
layout showing the
hotel or apartment building and the street corner
marked with an
"X"
to which
I went
to look at
a
sign.
The sign
is multisided,
its either six or
eight
sides.
And the
.
.
.
the labeled signs
themselves
are edge fastened to this sign post.
And
I
got
a distinct
"F L"
and either
a
"C 0"
or
"D"
or something,
some oval type letter and then
the
rest
I
couldn't differentiate
from.
But
the
sign pointing towards me was distinctly
a zig zag
of
sorts.
I
don't ...
I
drew
it
as best
as
I
could remember
it.
It might be
some form of
symbol
or something
for bus or
it might be
a street.
I
don't
know,
it
just
looked like
a zig
zag.
Page
-
Oh,
and this street
corner
is like one block
up.
I'll
draw an arrow in the direction
its one
block up
from.
But
I
had a distinct
impression
that following the arrow down one more block would
put you
into
a very heavily traveled road with
dividers and
I
got
an
image of
rails
- metal
rails
and underpasses and overpasses.
Page Three
- Part A depicts the square clear area
amongst the whole jumble of buildings.
This
is
the point of most significance close to this hotel
or apartment
and its
a square and what
it
is
.
.
.
It
sort of looks
like an open
.
.
opening amongst
a
whole
lot
of buildings
and congestion.
And
it
looks
as
if
a building,
a
road,
and
a section of
grass have
all been curled in order
to be jammed
down
into the square.
But
its
a very big white
building.
And this
is where
I had the impression
of the word "Washington”.
And
I
don’t know where
that
came from;
it came right
out
of
left
field.
It wasn’t
fancy either
-
it was block letters
-
black block letters.
The
.
.
the arrow labeled
"1"
in parens shows
the direction to the hotel or
apartment which
is about four or five blocks
-
these are standard city blocks.
And then the
roads that pan around
it.
The "X" labeled "2"
in
parens
is what
I
drew as
"B" on this and that
is
looking from what's
labeled
as the front of the
building
- the white building.
Towards
the
"X"
is
the view that
I
had of grass mound,
three or four
story building immediately behind
it on that
road.
With a garage on the left
and
a shipping or travel
agency
in the center.
And then the road going
away to
the right
to
a very
.
.
very congested
intersection.
Very busy area.
I'll
label
that
"B"
.
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#27.5:
Page Four
-
is my diplomatic,
but
not
diplomatic
place.
You go up
these steps and into this build-
ing which entrance
.
.
its entrance-way
is poles.
Up and down poles or roof supports or overhang
supports or something.
But they're vertical poles.
When you get
in through these poles.
.
.
The next
thing
I saw there were some kind of bars here too
but
I
don't know
if
it was
a gate or
I
don't know
what
it was.
#72:
Okay.
#27.5:
It might be overlay because
I
expected
it,
being
a
garden and everything,
but
I
got
an impression of
bars.
You go through these poles and you're
in
a
courtyard apparently with
a fountain dead center.
And there's like
a second building that's inside
this building that's offset
to the right.
And
it
was all square white blockswith
a heavy
door.
To
the right was another building catty-corner and
fastened to the interior as well
as exterior
building.
And
I
got
an impression that
this
is
where all the business
is going on
-
in this place.
Its
also where
I got
an impression that.
.
.An
impression of being discovered in this building
checking things out.
Very weird impression.
First
time
in
.
.
.
#72:
A lot
of
times.
#27.5:
A lot
of
times.
.
that
I've gotten that
impression.
So
I
.
.
You know,
I
don't know what goes on
here,
but.
.
.
Also
got
a very
.
.
a peaceful,
a serenity
type thing.
.
about
it.
And that's
it
I
guess.
#72
:
Garage
#27.5:
Oh,
the garage.
I
can't.
.
.
If
I
draw the inside
of
the underground or covered garage area,
what
it
is
-
its going to look like every undercovered
garage or every covered or underground garage area
in
any city
in America.
So
I
didn't
do that.
There was nothing down there that would identify
it
- other than the fact
that,
I believe you sent
me
in
it
at
12 noon
- Well,
this white Oldsmobile
which was being -parked and then the keys being
thrown
in the trash was the only car visible
in
this underground garage
area.
Now,
in my mind
you know,
this
can't be
right.
. .because this
is
a
very congested city and
at
12 noon
it
just wouldn't
be that way.
But
this
is,
so
I'm struck with
an
impression that
its
a storage area or
a
.
.
some
kind of
a holding place of some kind.
I
don't
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know how to explain that.
But
still functions
as
a garage.
So,
if you could find
a place or
you come across
a place like that,
that's very
important
#72:
Is this the first time where
the subject appeared
older?
#27.5:
No.
That's
an interesting thing that
I
can't.
.
its.
.
a feeling
I
can't
really pin
down.
It was
.
.
when you walked into
a public area,
he was
all of
a sudden wearing glasses,
a lot older than
his picture.
And the thing
I
can't pin down
is
he wasn't.
.
.
He wasn't
disguised,
but his
character had changed.
And
I
don't know how to
pin that
down.
Its
like
.
.
As
an example,
its
like the difference
in attitudes between two
age
groups.
A job being given
to
a
30 year old
executive versus
a
50 year old executive and the
30 year old executive and the 50 year old executive
may
do and follow the exact
same actions to
do
the
same job and have the same result but
there's just
some undefineable difference
in their approach.
It has something to
do with character or reservation
or
.
.
.
But this
is.
.
.
InLany event,
this
is
a
willed change.
Its
like he's making some character
change
- putting on
a role like
a camel ifen of some
sort.
And,
again,
I
stress
again,
that
that
.
.
.
that
leaves me
.
.
.
that
just reinforces my opinion
concerning this guy that
he's
an organizer,
he's
not
staying
in one place,
he's not meeting groups
of people.
He's just
.
.He's sort of
likO keeping
Group
A out
of contact
from Group
B.
He's
.
.
.He's
I wouldn't want
to meet
him,
personally.
I
don't know
- that's
all
I
get.
Oh,
he's armed.
And,
he's very dangerous.
You
know,
this guy kills.,
easy.
Just points the gun
and pulls the trigger and doesn't bother him
at
all.
I get
that
impression
too.
#72:
All
right.
That finishes everything for the session.
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