Approved For Release 2000/08/0
RDP96-00788R000500660001 -5
TRANSCRIPT
REMOTE VIEWING
(RV)
SESSION DC-17
TIME
+03
+05
+08
#66:
This will be
a remote viewing session for 1300 hours,
21 November
1980.
PAUSE
Relax now and concentrate.
Relax now and concentrate.
Relax now and fix your attention
on the individual in
the photograph
I have shown you.
Focus your attention
on
the one individual
in the photograph
I have shown you.
Move now through time in space to 1300 hours,
21 November at
the target... 1300 hours,
21 November 1980 at the target.
Focus now on the individual and describe his surroundings
to me.
PAUSE
#01:
Ah. ..high,
high roof
short building. .. .it' s like. ...ah,
early
morning,
still dark.
#66:
Focus through time to 1300 hours, his
time,
1300 hours in
the afternoon,
his time.
PAUSE
#66:
1300 hours,
21 November
1980,
time
at the target.
PAUSE
#01:
Ah,
small hallway,
front rows
of,
ah,
rows of doors on,
ah,
both sides,
he's in
a room,
a room next to
a hallway.
Multi-
storey building—3 stories,
ah, maybe more,
but this. .. .think
this
is the third floor.
He's.. I saw
a
"L" shaped cabinet-
's doing something with the face
of the
cabinet.
Gettin'
this,
ah,
view is breaking up,
ah,
I'm not seeing any other part of the
room.
Give me just
a few minutes.
#66:
All right.
I will wait.
PAUSE
#01:
I got this.
. .like corridor again. ... .stone. ..
.
Walls are like
stone.
I'm,
I'm tryin'
to see something else there,
but
it's like he's moving down this corridor.
It's
a
"T"
intersection
in the corridor.
It's
goin'
left.
Corridor has a round roof.
An arch roof.
It's
a,
lie's coming up
on something that looks
like
a,
shaped like
a piano.
But,
I
don’t know what
it
is.
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#01:
It's got
a,
it's made up
of boxes,
and he's,.. I think he's
conversing with someone else with this,
someone else
to
his right who
I think is conversing with him.
#66:
Okay.
Let's,
let's leave him now,
and
go up and outside
this area,
up and outside this area,
and tell me where
in the
world are you.
PAUSE
#01:
Ah,
there's very ... .craggy and rough,
and high hills with
gray rock.
It looks a lot like... looks a lot like northern Greece,
Bulgaria or something like that...
Slovic country.
The...
buildings are rock and adobe.
Some thatch roofs.
It's not
many buildings.
Ah......
#66:
All right.
Now, move back inside down to the individual you
found.
The individual
in the photograph
I have shown you.
Move back down inside with the individual and describe his
present situation
to me.
PAUSE
#01:
I'm standing in front
of this piano shape again.
It's like
an
upright piano,
but,
it's not
on... piano legs.
Apparently,
talking to someone that he can't see on his right.
Ah..... I'm
going to try
to look through this. ... .this thing. ... .whatever
it is.
#66:
All right.
As you broaden your perspectives
to look through
obstruction,
ask yourself about the atmosphere of this place.
What kind of a place is this.
What is the atmosphere?
PAUSE
#01:
Feels like it's damp,
it's cold.
It's
a little
light,
for
some reason,
a little light.
I'm gettin'
a, when
I
look through
this thing,
I
get
a grid pattern
like,
I'm looking through
stairs railing.
. .some kind
of interconnected brass things
like clamps
or something.
I
can't see the
guy he's talking
to.
I don't know.
I
get,
I
get an out of the way impression.
Like,
he's like way down inside this place. ... .almost like
he's trapped in this place.
. .but ..... .1 'm not entirely sure
it's accurate.
#66:
Okay
.
#01:
Just looking through this, whatever this thing
is,
that he's looking..
.at.
#66:
I want you to focus
on him,
solely
on him,
focus completely and
solely
on the individual,
completely and solely on the individual
and.... when
I
count to three
I want you
to move forward in
time
one day.
When
I count to three,
you will move forward
in time
one day,
and since you are focusing on the individual,
you will
then report his surroundings one day
in the future.
Focus
solely and completely
on
the individual and when
I
count to
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+17
+18
+21
#01:
My whole picture changed
I
have a.... I'm now like
a,
coastline or something. .. .hills go into the water,
and
it
1 s near
a small village
of some kind.*..
Like
on the side
of
a hill over this village. .. .there's
a small port,
seaport.....
#66:
All right.
And, what is the activity of the individual in the
photograph?
#01:
He's just waiting,
sitting in
a... like a black limousine.
Just
sitting in
a black limousine.
He's waiting for something.
#66:
Okay.
Now focus solely and completely
on the individual again.
Solely and completely
on
the individual again,
and when
I
count
to three you'll move one day in the future,
one day into the
future from the time you've focused on then.
Focus solely and
completely on the individual.
I'm going to count now.
One,
two,
three.
PAUSE
#01:
Ah.. .1,
's in a small room,
very tiny room,
like with
bunk beds
looking for
a window, but
I don't see one...
It's like the walls are coated with some kind
of metal
but, he’s just layed out on this bottom bunk,
and he's.
got,
he's kind of relaxing.
#66:
What is the atmosphere
of this place?
#01:
One of relaxation.
He's
a little tense,
but,
he's
relaxed now.
Like he's,
he's succeeded
in doing something.
Not
a complete trust of his surroundings,
yet.
#66:
Okay.
Focus now on the individual,
one more time,
focus
on the
individual only*
one more time,
and
as
I
count three,
you
move forward
in time one day from your present picture.
As
I
count to three you'll move forward one day from your present
picture.
I'm going to count now.
One.
• .two.
. .three. .....
.
PAUSE
#01:
It's like
I'
standing out in the open air...
On like
a wooden platform
or something.
There's
a catwalk off to his rear right.
There
s
three people or four people,
more,
maybe
a group
of people,
and
he's talking with
'em,
and they're,
they're joking and laughing,
and there
is
a,
again,
a coastline behind
'em.
It's like it's
across the water... or hill tops that are coming out of the water.
Thi
this... it's
a dock or something,
I
guess he's standing
on.
Looks like a.. a Italian port or something;
Italian port city
of some kind.
The architecture
looks Italian
Like maybe
Naples,
that area.
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#66:
All right.
Focusing once again
on him,
focusing once again on
the person
in the photograph only,
as
I
count three,
you will
move ahead in time one day from your present view.
As
I
count
to three you will move ahead in time one
day from your present
view.
I'm going to count now.
One. .. .two. ... .three.
PAUSE
#01:
Ah,
I have like
a
another,
I
have
a room again.
And,
it's
very much like an apartment room,
like
a,
a very
good hotel....
got
a,
a real clean sheets,
and
a lot of sunshine,
and.....
it's warm, warm out,
ah. .....it's
a. ..it's like a.. ..just
a
little apartment,
and,
ah,
he's eating something,
drinking coffee,
and
ah sitting by,
like
a balcony type area.
This building,
he's
like in
a corner
of
a building that's inside of
a wall
of
some kind....
He's very relaxed.
Seems happy.
Excited..
#66:
Okay.
And,
focusing
on him one more time,
as
I count
to three
move forward one day
in time from your present view.
Focusing
solely on him now,
I'm going to count now.
One,
two,
three,
PAUSE
+24
#01:
Ah,
I don't see any
change.
I
get the same room.
#66:
All right.
Fine.
I have no further questions about this session.
If you have anything you would
like
to add about any
of the
time windows we looked at or anything in the session,
please do
so now.
#01:
I don't have anything to add.
#66:
All right.
Fine.
Remembering clearly,
cleanly,
and concisely
everything that you have seen,
return your focus of your
attention now to present time,
and me,
here in the room
and
let us prepare to draw that which you have perceived.
PAUSE
#01:
Okay.
Ah.
I'm goih'
do this,
do each day as
a different
sheet.
The first day was this. ... .dark,
damp,
cold place
that had very
little light
and this piano shaped
is, was
to his front.
#66:
This is the same place with the hallways, with doors
corridors?
#01:
Yeah,
this
is the very narrow hallways with doors on both sides,
and
I
just got
this,
almost
like
a cryptic,
you
know,
like
a
crypt feeling,
you know,
like walking through these oval type
hallways made
of old stone.
That's what this stuff up here
is.
is stege.
#66:
Okay.
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#01:
And,
I tried
to look through this piano shaped object,
and
it,
you
know,
like the front
of
a piano
....it came down and then
towards you,
then down again,
and every time
I
did,
I
kept
gettin'
this,
boxes stacked boxes impression
or a grid type
pattern with,
ah,
some kind of interconnecting brass plates of
some kind.
And,
ah,
that's all
I was
gettin'
there,
essentially.
And,
I
felt con-,
ah,
you know
#66:
When
I asked you about the atmosphere of this place....
#01:
Yeah,
I
felt constrained
in this place.
You
know.
Like
I was
trapped in this place.
#66:
All right.
You,
you said
it was damp,
and dark,
and then you,
you said something about you thought maybe he was way down
in
this place
#01:
Right,
right.....
#66:
.....and may be trapped
in
this
place.
#01:
Right,
trapped in here.
That's
a very good word.
That's the
way
I felt like
it was.
Ah...... and then
on the second day
I sort
of had
a view of this port,
and I'm not
there's
an
awful lot to draw,
but essentially this is what it looked
like.
This was
a road that went down through the hills. ... .where the
direction of the arrow went into the port,
then there was this
little port village,
and it wasn't
a big place,
you
know,
it's maybe 30,000 population,
and then there was
a,
the harbor
area,
and there's
a couple ships right there.... and then in the
background the hills kind of wrapped around
to the right,
and
just kind of faded out on the horizon,
and all the water seemed
to be
in that bowl shape in front of the..... the village
or
whatever,
and then going out to the left.
And,
I didn't feel
warm here,
for some reason,
but then when
I was at the other
place where there was
a dock
or whatever
it was he was standing
on,
I
got
a warm feeling.
So,
this is probably much further
north.
And,
this also matches the description
of the terrain
that
I
gave you earlier as well.
#66:
Okay.
So,
you figure
this day two
is
in,
may be
in the same
geographic general area?
#01:
Same- right,
same geographic and general area.
Like extreme
northern Greece
or Bulgaria,
or you know
southern
tip
of
Yougoslovia.... stuff like that.... just
a feeling that
I
get,
you know,
from having seen
the country there,
and everything,...
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#01:
Yeah,
right.
Yeah,
I
got this.
#66:
Coastline
vi/ith hill tops
comin g out of the water
port
city. ... .Italian type architecture
#01:
Right
Oh,
and all these folks were dressed well.
You
know.
I
mean they weren't,
they weren't dressed like bums,
or anything.
They were all standing around
on this,
and
I call it
a dock
because
it had slats of wood going back like this.....
and there was
a raised catwalk.
Then,
the background was these
huge hills
cornin'
out
of
the water
like this.
This was water,
and they were all standing out in the
the
sun,
the breeze out
on this dock,
or whatever
it was.
#66:
This
is where you thought it was warm.
#01:
Yeah.
It was very warm there.
I
got
a feelin'
like
it was,
you know,
southern
Italy.
I don't know why
I
say that.
I've
been
to southern Italy.
It just reminded me of southern
Italy.
#66:
Okay.
#01:
I
guess that's about
it.
#66:
Okay.
fi
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TARGET GUING INFORMATION
REMOTE VIEWING
(RV)
SESSION DC-17
1.
(S/NOFORN)
Prior
to the session
the viewer was shown the attached
photograph,
and told that we were interested
in the location of
the individual
in the photograph.
2.
(S/NOFORN)
During the session the viewer was asked to scan one day at
a time
the location of the individual in the photograph.
HOI RELEASABLE 10 FOREIGN NATIONALS
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