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-aLUUL
I
SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION CCC-52
1.
(S)
This report represents
a remote viewing
in compliance with
a request for information
on
session conducted
a target area of interest.
(S)
The remote viewer was provided wiht the geographic coordinates
If
the target area at the tine of the session.
He was able to achieve
a relaxed state
of focused concentration during the session.
He had
some trouble holding his concentration due to ambient room noise.
e
the session he expressed some confidence
in his imagery.
3.
(S)
The protocol
Grill Flame Protocol,
used for this session
is detailed
in the document,
AMSAA Applied Remote Viewing Protocol
(S),
undated
4.
(S)
Following
is a transcript
of
remote viewing session.
At TAB A are
his impressions of the target
site.
the viewer's impressions during the
drawings made by the viewer reference
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RDP96-00788R000300340001 -2
TRANSCRIPT
REMOTE VIEWING
(RV)
SESSION CCC-52
TIME
#51:
#66:
This will be
a remote viewing session for
9 April
1980.
We have
an on-target
of 1400 hours.
PAUSE
Relax and concentrate now.
Relax and focus Y°u
^
attention
on the target for this afternoon.
Relax
and concentrate.
Relax.
+08
+10
SG1A
Relax
,
relax and concentrate on the target for
this afternoon.
SG1A
Observe the target for today and describe it to me
PAUSE
#31 :
Ahmmm.
. .feeling
a.. in
of
a low ceiling with
almost natural there,
a closed feeling.
a sandwich type place.
Feeling
some sort of supports that look
Almost feel underground.
Like
#66 :
#31
#66 :
What goes on
in this place?
PAUSE
feeling of salt pillars,
salt pillars came to mind
hat this is
a long lengthy thing.
And
I
saw
a
,erson driving
or riding on
a little device move
icross the floor.
It was not so big.
Like
a little
ractor
or
a little tow thing that would pull
a wagon,
't appears to be sort of
long.
Like
a storage place.
Jut,
it's oddly squared
out.
Feel things are stored
iway,
here,
but that
it
is a modern place.
Has top
grade equipment.
Tell me what makes you
say
that.
What's the raw
data associated with it?
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#31 :
#66 :
+13
#31 :
Its
.
.
leaning
over,
its finished.
The
.
.
little
vehicle.
.
.
looked very bright and shxney and the
uniform and
.
.
the hard hat of the guy was fresh an
clean
like sanitary
or
.
.
.
industrial sparkling.
.
sparkling clean.
.
.
like
.
.
.
And
it was like
I was
watching them come by.
.
riding his little putt
putt.
Focus your attention
on him and follow him.
PAUSE
Long corridor.
Indirect
lighting.
Low angle lighting.
From the corner.
PAUSE
The walls are flatter that
I thought and
.
.
.
PAUSE
#66 :
#8 :
Describe the area
of the man now.
Man ...
I feel
I
.
.
this uncanny feeling of
occasional cross
.
.hall.
But
solidness between halls
or girders
PAUSE
He goes by ...
a look down place.
That somehow
is
on the edge
of
a girder that he can be seen there.
.
.
like
a room up near
the ceiling.
He goes
in rron
.
PAUSE
On down the
.
.
.
this
.
.
past that
I
feel he
.
.
is
going through
a
.
.
.
port hole to
a
.
.
it appears
structured.
Something else
in this stone to make
a
d
#66
:
Go with him.
+18
PAUSE
#31-
I
.
suddenly feel this
is
a central area.
I
.
.
.
There are wide gaps between
.
.
like he can drive down
aisles that have separated by
.
.
.
.
like
.
.
very
larqe
.
.
grey metal racks which have
.
.
I'm seeing cylinders that look like big radio tubes.
They're striped ground
a base.
I wanted to say
a yellow
strioe.
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#31:
#66 :
#31:
+20
+24
+28
#66 :
They vertalay wi
and the stripe
c
what
.
.
.
size
like
in the back
through
it.
He
96-00788R000300340001 -2
h
a flat end
- but end toward the jaisle
an be seen,
but
I ....
.
can't fell
it
is.
It
is,
I would.
.
stop.
He
is now
of
a
.
.
a big bay with these
thirjgs all
lls going
on
down the aisle.
Move closer to
h
I had
a
.
.
.
tm.
Stick very close to him.
a feeling he was
around racks,
bed
on
it and
He's like
.
.
p<
the feeling
of
Climbs back
on
a feeling
of
a
cylinders
of
.
Give me a minutd
PAUSE
can
in amongst racks.
I'm looking
,
.
,
This thing has
a little flat
PAUSE
drked.
.
in the aisle.
He's
.
.
.
making notes
on
a clip board type thing,
this thing and putts off.
Earlier
I had
drate
of
.
.
.
possibly twelve
or sixteen
being place on the bed thing.
PAUSE
go get back.
#66:
All right.
Focus your attention
at this time solely
on
this individual.
Focus your attention
on him.
Locate
him again.
Focus your attention solely
on him.
PAUSE
Ask him to tell
you about this place that
you have found,
PAUSE
#31:
Selecting
(not audible)
by
lot number
for
random.
.
.
testing.
Shelf line
PAUSE
Like to detect
deterioration
in the container.
(Not audible
- mumbling)
in this container which
There's some kind of
a
Those containers
have some kind
of
a
.
.
almost want to say they
look like
liquid
in them or
a
.
.
a slosh.
.
like
if
I
move one,
it
slosh around and
not that it
really would,
but that
it could slosh around and
All right.
At this time
I have no further questions about
the target area.
Reexamine your imagery.
If there's any-
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?
&!
PAUSE
#31:
I'm trying to get
an outside shot,
but all
I'm getting
is this inside.
#66:
That's fine.
That's sufficient to identify the target
for now.
Is there anything else you'd like to add?
#31:
No.
#66:
Okay,
let's draw the perceptions that you've had.
PAUSE
#31:
Okay,
let me see,
where was
I.
I got some outside.
.
.
something outside.
I'll have to think about
.....
how
to describe
it.
It was
.
.
.
This was at the very
beginning before
I
even knew what
I was doing or where
I was.
It was
a very,
very peculiar
edge,
like the
edge
of
a canyon
or the edge
of
a mountain face or
something that was ...
had
a wrinkle
in
it
is all
I
remember as
I was sort of
like had a wrinkle
in the
thing
like it was like that.
PAUSE
I
.
.
I didn't know
if this was a building
or what.
Okay.
Or what.
And
I didn't have any feeling for the
surrounding terrain much.
Except that this was,
you
know,
some sort of a funniness like that.
Something
like that
on
1.
And then
I got this funny,
very,
.
.
funny feeling that somehow associated with this thing,
this
is just
a real quick fleeting type stuff.
.
.
there
was like this
.
.
like this some sort of
a building
either
in or
on this thing
in
2.
PAUSE
You
know,
that had
.
.
#66:
At this time,
this
is prior to your inside
or underground
feeling?
#31:
Yeah.
This
is
just boom boom like that.
And then,
is
when
I started talking.
There's a multi-tiered layered
type feeling there.
I remember
it being sandy.
PAUSE
Those were just two fleeting quickies.
Whatever.
PAUSE
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#31 s
Before
I
even knew
I
had them,
they were there and gone.
PAUSE
Okay,
then.
.
.
PAUSE
I had this feeling of
a
.
.
Wait
a minute,
let me come
back to that.
The first feeling
I
had -
I'll come back to that.
Three
is
.
.
.
Okay,
this feeling of
This
.
.
almost.
.
It was almost
as
if
I was looking
in a gas station
drive.
You know,
this orderly thing.
And that this was
a low
.
.
a ceiling that like went
way back off here.
PAUSE
I was under
.
.
I had the underground feeling.
Some
sort of
a corridor underground.
You notice its rough.
Its not
.
.
Its rough.
These pillars are
.
.
round but
they're.
.
.
There was
a roughness to
it.
An irregular-
ness to
it.
It made me feel like an underground,
carved
out type thing.
And here's this
.
.
what goes way back
down into the
Okay.
And that these things
continue down like that.
Okay.
PAUSE
That was the first feeling.
And then here in 4,
they
became more irregular.
They lost their even more
regularity than.
.
.
They became even more irregular than
they were before.
Like here's
one
in the background.
And here's another
one.
You
know,
this type
.
.
.
Again
these pillars of salt feeling.
I
had the feeling
as
though
I was
in
an underground multi
.
.
.
possibly multi
-
I
had the feeling
of storage
in the event everything else
was destroyed type of thing
in some areas.
Like
I was
in,
you know how they're using these old abandoned salt domes
to ...
to
-
let me work
on that some more.
.
.
to store stuff.
#66:
Okay.
#31:
That type of
a feeling.
This was holding up this semi-natural roof.
.
.
of some
kind here.
All right.
Anyway.
I
had gotten that and
this is
a roughness
is the best way for me to describe
it.
But
I
' 11 bugger up these lines to show you what
I mean
by roughness almost.
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#31:
Okay,
the roughness
of this ..... There's the
ceiling
-
it was rough,
you
see,
like that.
Not
smooth and shiney.
Okay.
Then
I
had,
in
4,
then
I had the feeling
of this cat
-
I'll do
5,
going
pretty
fast,
so
I'll do
5.
This cat
\i/ith the
.
.
.
PAUSE
And that was
.
.
.
almost
as though he was as big
as
this thing was.
You see what
I
mean,
here he
is
.
.
PAUSE
Just some sort
of
a little buggy that he almost was
bigger than.
Sub.
.
.
Sub-scaled,
that's the best
way for me
to describe
it.
Subscaled feeling.
With
some sort
of
a billed or visored cap.
.
.
that went
over his nose like that.
Okay,
like that.
And he was
driving this thing.
Sort
of casually,
okay.
A little
putt putt type thing.
Okay.
PAUSE
Real subsized,
little jeep like putt putt was the best
way
for me to describe
it.
And he came across
in front
of
.
.
.like down this corridor which had these pillars
in
it and he was
just
.
.
.
okay,
and back there was the
#66:
And at this point
I asked you
to follow him and stay
with him.
#31:
Yeah.
PAUSE
That's to show roof line there
is all these lines are
for.
Okay.
And he was going
in that direction.
The
direction he's facing
-
left.
Okay,
so
I
turn around
.
.
.
and
I started chugging along trying to stick with
him and he was going that way,
okay.
I felt as though
like
in one area
I
.
.
.
left behind these pillars and
this rough cut feeling and
I sent through
a smooth hallway,
a smooth corridor type feeling,
okay.
So moving from
to
6,
it was very peculiar.
It was like
I
looked over
and that's when
I
said,
on the tape,
I think
I remember
saying something
like,
it
doesn't
look as rough anymore,
it
looks shiney.
Something.
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#66:
You talked about being more modern and
I said well
tell me why you say
its modern.
PAUSE
#31:
Yeah.
It was like this guy
in
3 was all suited up
.
.
This was all
.
.
it was rough,
but it was clean.
And
it was like,
well the reason
it looks rough is
because,
this
.
.
they don't need a whole bunch of
fancy stuff here.
It was
just carved out and it looks
rough,
but its still modern.
You
know,
all the equip-
ment
is modern.
Its clean inside.
.
type
of
a feeling
and everything
is what
I mean by that.
But then
I got
a place that was
a classic.
I couldn't figure out.
.
I couldn't
.
.
.
throughout the whole session,
figure
out what was
on my left.
For some reason
I
had
a blank
about the left.
I
don't
know why.
Okay,
and then we
traveled down
a section that just had
a nice shiney
regularity to
it.
Okay.
PAUSE
You
know,
off into the distance.
PAUSE
Okay,
like that.
Nope.
Forget that line,
because like
I
said,
I wasn't able to see the left side.
The line
that's scribbled out there,
forget
it,
its just like
its
a blank side.
And this was
.
.
.
shiney,
white,
like tile
or
.
.
smooth stone.
Finished stone.
#66:
At one.
.
.
At one
.
.
point you said that you went by
an area that's
a look down area.
#31:
Yeah,
that's down the road.
#66:
Is that
.
.
Is that the same area that you referred to
as to the left thatyou couldn't see
or
is that further
down?
#31:
No,
that's farther down
on the right.
See,
all
I could
do
is concentrate on the right side
of the wall;
I wasn't
getting any feeling.
For all
I
know,
I could have been
riding along the side of
a massive bay.
Or,
I could have
been going
down
a corridor.
But all
I
know
is like from
here over all
I was getting was the right side and
I
just
had to blank out the
left,
okay.
#66:
Okay.
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#31:
As
I was following the guy
down,
the thing that he
was riding on
.
.
.
there's his hat,
okay,
there's
his neck,
PAUSE
Okay.
The thing that he was riding
on
.
.
.
There was
his shoulders like that
.
,
.
Doesn't look like shoulders,
but
PAUSE
,
.
became more
of
a
.
.
.
flat bed little tri
.
.
like
a tricycle wagon
or something.
Okay,
This
is what
I
thought
it looked like at first.
But as
I was following
him down the hall
it was
like
,
.
it was rumbling along
and
it was bouncing and
it was going,
like
I could almost
hear
it going bump bump bump you know over the
.
.
something
in the floor maybe.
You know how
a wagon
bangs when
it goes down
a sidewalk,
it was like that.
You
know,
sort of
a bang bang bang ba-bang,
irregular
bumping and everything.
And
.
.
.
PAUSE
Like
a flatbed.
Small.
Flatbed.
Okay.
And ....
shiney white like tile.
Or smooth finished stone.
Corridor feeling.
Oh,
the lighting
is what
I wanted to
say.
The lighting was irregular lighting.
It was as
though the lighting was hidden behind the walls ...
okay.
How would
I describe it?
It was
»
.
It was
.
.
indirect
lighting.
It was as though
.
.
.
lighting
indirect.
.
.
Indirect
lighting,
glowing.
.
along
top of walls.
Okay.
PAUSE
That's
6.
I had
a feeling
of irregular,
long distances
inbetween cross-halls.
.
is what
I'm saying.
That's
what
I'm trying to say,
okay.
#66:
So,
you're saying,
by cross-halls,
you mean
as you went
down this there were intersections where you could turn
right
or left
or something?
#31:
Right.
This
is
on the right side.
This would be to the
right down here
-
I'll draw
a little arrow.
To
7 okay.
PAUSE
#66 :
Urn hm
.
PAUSE
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#31
#66
TURN
#31
#66
#31
#66
#31
#66 :
#31:
#66 :
Approved
I.e.,
to
7.
And this
is
7.
Um hm.
PAUSE
OVER TAPE
And
I could do
it with shading,
but
its
.
.
indirect
lighting
is just sort
of coming
down.
.
in the
.
.
Okay and this
is the feeling
of blocked.
.
in here,
okay.
This
is solid here.
There
is no
.
.
.
You can
go around the corner,
you can go down the hall but you
can't go from this corridor to another one.
Or
you can't
go from tis corridor to another
one.
It was very linear.
Feeling.
You couldn't cut through rooms.
I
didn't have
.
.
I didn't feel they were rooms inbetween these corridors
it was like
it was just solid rock.
And that whatever was
done was done along the hall.
Like things might be along
the hall
or things might be at the end of the hall and
in rooms but that you couldn't,
you couldn't go down this
corridor
(Number
7)
and hang
a left and go
in and get
a
cup of coffee.
There was nothing there,
it was just
a
solid feeling.
This constant steady rock
or solidness.
Okay.
PAUSE
Call this side corridor.
On right.
Did you pursue down that corridor?
No.
I
did not go that way.
The guy was going this way.
Okay.
Okay,
where the arrows show.
And this was again solid
on the left.
PAUSE
On the right of
.
.
Did you get any concept
or idea
of why it was so solid?
Again,
this went right along with my ....
,
feeling
underground,
guarry,
stone.
.
salt
dome,
salt quarry
carved out rooms,
but you can't get from rooms
to rooms
except
on
a main set
of,
you
know,
it was all this general
feeling.
Okay .
Okay
.
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#31:
All right.
Anyway.
Let's get
on with business.
All
right,
here's
8.
PAUSE
Okay.
This
is what
.
.
and this was just
a little bit
farther down from
7.
It was almost as though you could see
it from that
intersection.
So,
I'll draw
it
in.
Okay.
PAUSE
-
Okay.
Again,
I
don't have any feeling for what's on the
left
or right.
But,
.
.
I mean
on the left.
But what
I
felt here was this feeling that up here was
a carved
out overwatch.
Okay,
it was
a
room.
Its really weird.
This
is
a room back
in there with glass
on the front
of
it.
Okay.
And the old guy putt putted right
on into
there and then the background here are these metal racks
beginning.
Okay.
But this was like an overwatch room.
Okay and when
I got to that feeling,
that's what really
made me sort of want ...
I sort of wanted to turn
around and look to my left because.
.
hell,
I mean,
if this things and overwatch room,
what's it overwatching.
This little cart,
or why
is
it up so high.
But
I didn't
because the guy was taking off down the corridor
so
I
just kept right on going after him.
Okay.
#66:
But you might have the feeling this overwatch room was
watch over whatever
is to the left but you couldn't
.
.
#31:
To the left which
I had not perceived.
Okay.
But it was like a glassed
in panel,
like
it overlooked
some sort
of
a ...
I didn't get the feeling ...
It
was like
a checkpoint as well as an overlook place.
I
had the feeling
like this,
whoever
is
in this little
square box up here sort of waved the guy
on the tricycle
through,
you know,
like right,
okay,
keep right on going
okay.
But he was also checking some other things out
in front
of him,
you
know,
keeping his eye on other things.
#66:
Okay.
#31:
And this
is some sort
of
a ....
I'll draw
a little
.
.
I'll draw another one of that.
.
What
I got anyway.
.
.
.
was just this feeling.
In
9.
It looked almost
like
it was just some sort
of raised stone.
Half ledge
in
front
of
it.
Okay,
just some sort of
.
.
If you
looked
at
it sideways,
it just looked like this.
Okay,
and go
down like that.
This is side view.
And there was
a little
something that went back in there like that.
And then,
in the background you could see this,
I
definitely had
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#31:
Didn't have any feeling of guy there but
I
felt that
that was why the guy was there
- that there was
a guy
there to do that kind of thing.
Okay.
#66:
As to whether
it was occupied at this time??
#31:
Yeah.
Whether
it was occupied or not,
I
don't know.
And then this was
in
the' shadow where
it was cut
in.
Okay.
PAUSE
And again,
this feeling
of very solid blockyness.
I'll call it watch room.
In Sketch Number
9.
Okay
now here
on the left,
see,
this is way high.
So here
is like ceiling
level.
Its way up close to the ceiling,
here
is the corridor thing and way down here
is that
cut out
- the door feeling,
okay,
is way here.
PAUSE
#66:
Was there some type of open-closable door on this ??
#31:
No.
I wanted to put
.
.
you
know,
I had sliding doors,
I had all the fancy goodies,
you
know,
I
just don't even
know if
it was just an open thing
or not.
#66:
Okay.
#31:
The thing that
I
do remember
is that
its
an
inset.
How
do
I want to say inset.
Its like
if the corridor was
this big,
around,
then inside that corridor
is
a layer
to make the corridor smaller
in circumferance.
And then
inside that smaller circumferance
is where the door
is.
#66:
You're saying that
it
is
a specialized frame construction
or
(not audible)?
#31:
Yes.
That's this here.
In Sketch Number
8.
See how
the door
is smaller than the contour
of the
.
.
.
#66:
Urn hm.
#31:
.
.
of the corridor.
The size of the corridor.
Okay,
there's that.
That's
9.
10.
PAUSE
10 was this inside of the room to the left
of
9.
Okay.
Was these
.
.
.
feelings of
.
.
.
that
a guy,
whoever
it
was that
I
had been ....
chugging along after,
had
entered an almost maze
of high racks.
If
I had been
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