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SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION DCC-47
1.
(S/NOFORN)
This report documents
a remote viewing session conducted
in
compliance with
a request for information concerning
a target building.
2.
(S/NOFORN)
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/NOFORN)
The protocol used for this session
is detailed
in the document
Grill Flame Protocol,
AMSAA Applied Remote Viewing Protocol
(S),
undated.
4.
(S/NOFORN)
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 cuing
information provided the remote viewer.
Approved For Release 2000/08/07
: CIA-RDP96-00788R000600530001-8
6-00788R000600530001 -8
TRANSCRIPT
REMOTE VIEWING
(RV)
SESSION DCC-47
TIME
#66:
This will be
a remote viewing session for
1300 hours,
12 May
1981.
This will
be
a
pre-session briefing to the remote viewer.
Today’s target
is identified to you
as the building
in the
photograph which
I now show you.
#01:
Okay.
SG1B
#66:
This building relatef^o^he individual you know as
We wish you to help
and his
job,
by remote viewing the
buildinc^n the photograph and scanning the building to
help^j^
SG1B
#01:
Okay.
#66:
,
We'll be scanning the building
in the present time,
right now,
the right now scan
of the building.
Do you have any other
questions pertaining to today’s mission?
#01 :
#66 :
+02
#01 :
+03
No.
All right.
You now have
10 minutes to prepare
for today's
session.
Relax, relax and concentrate now.
Concentrate and focus.
Focus
on the building
in the photograph
I
have shown
you.
Focus and concentrate.
Focus on the target building,
scan
the target area,
and report your perceptions to me
In a.... it's
in a main entry area...
Some,
uh,
decorative
flower work of some kind on
a door,
doors.
It's like
a
open,
open area in the front
of
a counter.
It looks very,
almost
like
a bank.
Glass,
counter work with glass.
Open bay....
Got
a, uh..got a doorway to
a hall
on the
left...
With
a.,
kind
of offices to the sides.. and
a main,
uh,
office area at
the end....
The,
uh,
there's
like a divider wall of some kind.
It's to the right..
This
is
a very luxurious type
of area...
Apparently
a,
like
a more formal or higher class type office..
Got
a row of windows
in the rear, .all the way down^^^ build-
ing...
Let me scan this building for things that
should
be
lookin'
for.
Qm R
PAUSE
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+07
#01:
Feel
like
a, uhu.the
only,
the only
input
I'm getting
is
like
a custom made cabinet
or bar..
Sort of
a
"L" shape,
built
like catty-corner to
a corner of
a room.
I
see a,
looks
like
a tea serving set or silver serving set
of some kind
on
it..
Doesn't appear
to be any kinda alcohol or anything visible
but it's there,
it's like under the cupboard.
This
is
a,
I
got cups,
some kind
of
a decorative tea set.
I
don't
know why
I'm attracted to that.
#66:
Describe the room where this
is
located.
#01:
I'm trying to.
I
get pale blue,
color pale blue.
I
get,
uh..
light,
light furniture,
not heavy overstuffed furniture but
almost
like Dansk type furniture,
very
lightly built.
I
get
some very expensive rugs. .Persian type carpets,, wide desk...
There's a
lot,
like a
lot
of red in the rug. .design.
Get what
looks like
a window mounted air conditioners.
Two flag stan-
chions..
.
#66:
Describe your position
of observation.
#01:
Dead center
in the room..
SG1A
#66 :
# 01 :
#66 :
#01 :
#66 :
+11
And as you stand in this room now,
concentrate solely
on helping
and describe your imagery to me.
I just get
a piece
of wood looks
like a jack.. like
a double
intersecting cross,
small.
Has something
to do with the,
uh,
the bar type counter with the tea set...
Describe the experience which you have that makes you say
it
has something to do with the tea set.
What is the experience
you have?
I
keep moving to there.
I
get this free-flowing imagery of
this
like wooden jack,
double intersecting cross.
It's
like,
uh,
I
get.. keep getting them recurring visions and they're
one after the other...
Try to.. get the color blue in there
as well but
I
keep getting a pattern like a oval,
oval
leaf
pattern
in black,
or very dark green
on blue background.
Something to do with
a counter or bar top and the,
uh,
a wooden
jack.
Keep asking
if there's any kind of
a device
in here
and I'm not getting any
of those,
any direct answers to that.
I
don't,
I don't think there's anything device-wise.
I
just
keep getting this series
of impressions.
All right.
Open your perspectives now broader to cover
whole building and continue,
focusing solely
on helping
SG1A
#01:
Just got
an impression
of
a person.
He's wearing
a light
yellow shirt,
brown
tie,
sleeves rolled up,
no outer. coat,
sandy blond hair.
But
I don't know what the connection
is.
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+16
#66:
Describe the activity
of this individual....
#01:
Paperwork. . .
He's
in some kind of
a management position,
something to do with paperwork...
He's
like in his,
uh,
uh..
mid to late thirties.
He's wear in'
a school ring.
One
of
those big,
bulbous type rings...
I don't know why
I
got an
.
impression o^him.
I was tryin'
to isolate another area
of
interest to^^and that's what
I
got.
#66:
Continue now to help^^^|..
SGI A
#01:
That's all I'm getting.
#66
#01
#66 :
# 01 :
#66 :
+21
# 01 :
Okay.
Getting,
uh,
incidentally I'm getting the pressure again
between the... just above and behind the eyes.
I had that once
before...
Not exactly sure what that means.
Just explore the feeling.
Just relax and concentrate and
explore the feeling for
a moment...
Explore
it.
Just relax
and explore it....
Just pressure behind the eyes,
like
I really cracked my head...
Think that's all
I'm gonna get.
All right.
I have no further questions about the target area.
And focus your attention now back on my voice, back on me here
in the room,
remembering from the beginning of the session all
the imagery you have had.
Let's prepare now to draw the
im-
pressions
of the session.
Okay.
Debriefing here.
Uh,
page one
is
a,
uh,
an entry door.
I don ft know which one
it
is,
but
it comes into
a foyer like
area with seats.
Then on the left
is
a low gate that goes
in
like a hallway.
And then there's office doors
on both sides
and you can just see an office down at the end
of the hallway.
The hallway,
I get a feeling like it angles
"L"
shape to the
right down there at the very end.
Call that
a "RL",
right,
right
L hallway.
Uh,
there's
a bank like counter with the
glass front and everything and the little flip door on
the side
and it's got files and safes
off on
the
left and
a big work
area
in the back.
Like two window air conditioners sticking
out
of the back windows, which are very high up off
the ground.
The entry doors,
the two entry doors
I perceived had some kind
of
a flower pattern to
'em,
or
leaf pattern
I think
I
said.
Write that
on here... leaf pattern...
Uh,
page two is
a separate room,
the real fancy office.
And
I perceived
a door towards the bottom of the page which went
to an outer office
or reception.
And the door, which
I
indi-
cated on the
left of the page
,
goes to the foyer or outer
hall.
I'm not sure where that's
at,
but it's like
an outside
area.
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#66 :
#01 :
#66
:
#01 :
#66
#01
#66
#01
#66 :
# 01 :
SG1A
#66 :
#01 :
SG1A
#66 :
Now,
this area
in two is the one to which you found, th^^^
one
in which you found yourself when
I
ask you
to help
SGI A
Correct.
And
I started out by finding myself at the upper
right hand corner of the page at the tea set
on
the bar.
Why,
I don't
know.
Uh,
page three
I'll
do
a picture of the inter-
connecting cross.
Okay.
Or jack,
what
I was calling
a jack,
which has something to
do
back here.
Also
I have
a feeling for
a predominant blue color
in this room.
Two flags behind the seat behind the desk,
the
rug is like
a Persian design rug with
red,
a
lot
of red in
it.
And there's two bathrooms like
in
the back corner.
One's accessed
from outside the building,
or outside the room,
and one's for
access from
insiide the room.
And that essentially is
it.
Okay, now
in drawing three then-
Will be the
jack.
Okay.
Okay,
on page three is the,
uh,
the criss-crossed cross
or the
jack,
the wooden jack.
And the image, when
I was gettin'
this
image
it was associated to a bar or the
"L"
shaped cabinet
in
the room
on page two.
And that's
it.
Okay,
how do you feel about,
uh,
today's session?
QCl A
Pretty
good.
I still thinkhit his head somewhere.
Uh,
this
is obviously not tfl^Wlhnology that we're supposed
to be pursuing.
Uh,
we could've probably done better by try-
ing to find what ttj^imbassador
' s most afraid of,
rather than
looking for whatj^Bis most concerned with,
because the
ambassador just woT^a have more familiarity with his own build-
ing.
I don't,
uh. .it just isn't within the-
Okay, you and
I of course don't know whether or not j^j^is
here
or when he's supposed to be there
or anything.
I have no idea when he '^supposed to be there
or anything.
I
obviously can't target
for that reason,
'cause he might
be
in Timbuktu,
Iowa,
ancn!u
I'm targeting him in Timbuktu,
Iowa
I'm hardly gonna do a very efficient job
on the embassy
in Kuwait.
Okay.
In this case we weren't told what^^^^H relationship
to this building was.
#01 :
#66
:
No.
But,
this
SOIA
uh,
in scanning the building trying to helpHHHwe find
pecul- you're attracted
to this peculiar
of tFRea set
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i
)
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TARGET CUING INFORMATION
REMOTE VIEWING
(RV)
SESSION DCC-47
1.
(S/NOFORN)
Information provided the remote viewer prior to the session
is documented
as
a pre-session briefing and
is included in the transcript.
Attached
is
a copy
of the building photograph shown
to the viewer.
2.
(S/NOFORN)
During the session the viewer was asked to elaborate
on por-
tions
of his session which appeared relevant to the task at hand.
NOT RELEASABLE TO FOREIGN NATIONALS
-SDaRCT
Approved For Release 2000/08/07
: CIA-RDP96-00788R000600530001-8
SG1A Approved For Release 2000/08/07 : CIA-RDP96-00788R000600530001 -8 Approved For Release 2000/08/07 : CIA-RDP96-00788R000600530001 -8