6-00788R00070031 0001 -1
Approved For Release 2000/08/
#66:
All right.
#19.5:
This guy
is multi-lingual
as well,
getting like three
languages from him,
his thoughts.
English
is not his
predominant
language.
Getting french for
sure,
and
English, for sure, somsttung/ve ry guttural type
language.
#66:
Now,
before we leave the session and do the drawings,
I would like to explore some imagery you had and while
you are still concentrating
on the target,
perhaps you
can go back.
When
I
first asked you to focus
on
a
threat to the building and the activity
in the building,
you gave me the raw data that
yoi| were seeing through
another person's eyes,
so^t'o' ans^r that question,
you became someone else.
You then gave me an analytical
comment that you
felt as though this may be
a HUMINT
agent that was stealing and that this would be
a threat
to this building
in this area.
I am interested in
exploring whether
or not there is any imagery perceived
of stealing
or whether that comment
is only analytical
on your part?
#19.5:
Wait just
a minute...
That's predominantly
analytic,
I think,
concern for theft
is more accurate.
Can't tell
if it's employees concern over theft or
if
it's see this theft,
can't tell,
it 's' just
a concern
for theft.
Hard to tell
if it's stealing,
he's stealing,
don't
know.
If he's concerned of being caught for
stealing
or
if
he' s just concerned over stealing.
I
can't
tell.
#66:
All right.
I understand.
I have no further questions,
however
I would like to provide you
an opportunity
now to comment
on anything
I may not have questioned.
#19.5:
Keep getting
drawn to
light fixtures and
I
don't know
what that has to
do with the questions you were asking,
but
I keep getting drawn back to built
in
or indirect
lighting fixtures,
nothing specific,
just
drawn
to
indirect
lighting fixtures.
#66:
Remember them,
so you may
draw an example for me.
#19.5:
Okay.
#66:
All right,
then,
let's prepare to draw the perceptions
that you've had during the session.
SEE TAB A FOR DRAWINGS
Approved For Release 2
RDP96-00788R00070031 0001 -1
Approved For Release 2000/08/07
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Approved For Release 2000/08/07
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Approved For Release 2000/08/1
-00788R00070031 0001-1
DRAWING NARRATIVE
REMOTE VIEWING SESSION #930
#19.5:
Page #1 is the ground floor,
hallway,
with an arrow
indicating the entry,
main entry and then
I
drew
a
dotted line.
I said something changes here.
I
don't
know what that
is.
It's like gluing two buildings
end to end and going from a different
set
of wall
paper to another set of wall paper or going up two
steps or down two steps,
there
is some weird change
in
the hallway
at that
point.
And then the staircase
is
on the left and goes straight up to the second floor and
then there's
a
"T" intersection, hallway behind the
staircase.
Page #2,
this
is the,
labeled second floor,
and at the
top of the staircase,
you
keep going left and left,
you
know,
you go around to the left,
following the arrow to
the area of importance, which is gained by access
through
a steel door.
It is decorated not to look like
steel.
And also facing away from the stai rcase ,
I
felt
like was another protected area,
I
' 11
because
it had
a
door closing off the hallway.
But
I went
in the
area Wi^nthe steel
door
is.
Page #3
is like
a cutaway of the stairs.
You asked me
what was to
my
front when
I
came down the stairs and
I
had this wavy design,
but there's
a box shape,
you
know,
and
I'm not
sure
if
it was inset in the wall or
out
of the wall or what
it was,
but
it was something like
a,
I
guess,
I
don't know,
like
a phone booth or something.
Looking at these wavy
lines,
reminded me of the old
fashioned metal,
iron gates
in elevators, you know the
exposed elevators,
the old brass elevators,
that
kind
of thing.
#66:
Okay.
So there's,
at the bottom there's this large box
shape that you perceived and then you also think that
there
is something there that
is kind of like
a gate.
#19.5:
Well,
I wouldn't call
it
a gate,
it
just some kind of
metal
design
or something.
#66:
I understand what you
mean though, when you
say an
elevator that would zip off this
#19.5:
Yeah,
right.
#66:
—a criss-cross design.
#19.5
Yeah,
right,
like
a criss-cross design type thing.
Approved For Release 2000/1
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Approved For Release 2000/08/07
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#66 :
Okay.
And the the big box shape at the bottom.
#19.5:
Yes.
#66
#19.5:
#66 :
#19.5:
#66 :
Now,
you're going on to #4.
I
imagine this would be
the office where this gentleman is lookinq at the
files?
[(tfipa-
Yes
,
same metal
door.
I
started to get
a little
screwed up here, because
I'm not sure if
I'm
180 degrees
flip-flopped or what
I
am,
you know,
as
far as this
office goes,
'cause
I'm kind
of like going
right to the
office,
I'm not going through the
door.
Are you saying
thatjyou're not sure whether you turned
left
or
you turned right,
is that what you mean when
you say reversing.
Yes,
I
get an impression that you
go through this metal
door and you
come into an office.
But then
I
get
a
feeling like
I go through another
door,
not metal,
and
I'm in another office,
you
know,
right
out of that
office.
And then
I
get
a feeling like you
go through
another
door and you're in
a room with electronics,
that
room with the stuff in the wall.
Okay? So
I'm drawing
all three together like this,
but
I
don't
know the
relationship of the doors
in the doors,
it was
a
little confusing to
me.
Okay.
The outer office
is pretty bare,
but the inner office is
where
I
see this guy going through files
And,
you
know,
I
don't know if he's stealing anything
or not,
but
I
get this concern with that and
it may be that he's
looking for the thief.
You know there's just this
concern.
I
don't
know how to define
it
in his head.
I don't know
if he's concerned about being caught
stealing
or
if he's concerned about catching
a stealer
or what he's
doing.
And then
I was drawn
to the
light
fixtures,
which
I'll talk about.
I
get
a feeling
like
there is all the indirect lighting fixtures that are
hidden
away,
like
in recessed ceilings and behind
or
up over coving
like,
built
out from the wall.
I
just
kept getting drawn to this,
to these indirect
or
concealed lighting fixtures.
And
so
I was investigating
bulbs.
I found myself looking
down the florescent tube
and looking at the ends,
but
I wasn't seeing anything,
I was just being
drawn,
continually drawn back to these
fixtures.
So
if
I were
a betting man,
what
I would do,
I think,
is tear all the florescent type fixtures
out
and replace them.
And
I
don't
know why.
I
just have
to say that.
Approved For Release 2000/08/07
:
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