TRANSCRIPT REMOTE VIEWING SESSION CCC71
Document Type:
Collection:
Document Number (FOIA) /ESDN (CREST):
CIA-RDP96-00788R000800960001-9
Release Decision:
RIFPUB
Original Classification:
S
Document Page Count:
28
Document Creation Date:
November 4, 2016
Document Release Date:
March 27, 2000
Sequence Number:
1
Case Number:
Publication Date:
April 23, 1980
Content Type:
REPORT
File:
Attachment | Size |
---|---|
CIA-RDP96-00788R000800960001-9.pdf | 1.34 MB |
Body:
Approved For Release 2000/ _ ~JW-00788RO00800960001-9
NOT RELEASABLE TO FOREIGN NATIONALS
CLASSIFIED BY: MSG, DAMI-ISH
05163OZ JUL 78
REVIEW ON:LI~A-
02
Approved For Release 2000/08/07 CI - 8P96-00788R000800960001-9
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
TRANSCRIPT
REMOTE VIEWING (RV) SESSION CCC 71
TIME
#66: This will a remote viewing session for 1.500 hours,
23 April 1980.
Relax and concentrate now. Relax and focus your
attention solely on Kevin Hermening who's picture
I have shown you. Locate Kevin and describe his
surroundings to me.
#31: I have a . . .
PAUSE
a . . . Not clear.
PAUSE
+02 Momentary image of a balcony with railing. Shown to
me against a white background. It was above my head.
Before that, I had another feeling of . . . a horizontal
thing. Darkness in under it, lightness on top.
Before my vision; so I was . . . floating even with it.
Had I been down, it would have been over my head.
I seem to be getting a linear. . . . . disappear into
horizon. . . feeling of a. . inclosed long place.
PAUSE
I feel curiously. . . . familiar . . . peculiar . . .
On the right side are . . . dark squares against a
light background. . . background. in a line.
Disappearing away from me. Possibly . . . (not
audible - mumbling). I feel that I . . . . .
am outside. . one of these squares . . or rectangles.
#66: Find Kevin.
Approve f Or RW as 24} 8/?7 ? ' :1 -R 7 8 0490 6W
Approved For Release 2000/08/07 CIA-RDP96-00788R000800960001-9
+10 #31: Kevin . .
PAUSF
Kevin. . .
Kevin . . . is i.n. . . sort of long room which has
a cutaway inside the one corner.
PAUSE
He . , is asleep. Right near the . cutaway or box.
PAUSE
There is, oomething against that. . . wall that makes
it bumpy . . down. Something . . . Something piled
against the wail. . . . from my . . . . . Its like
doubled up mmiattresses, . against the wall of the box,
the cutaway.
PAUSE
I had the name "Jay". He's with a man with a beard.
Known as "Jay".
PAUSE
I would . . say that . . .
PAUSE
I . . . got a . . . second floor feeling. That 1 came
out of the place a little above and to the right of . .
a . . porch. The building appears . . . to be long and
sort of a brown tone. Not light and not dark. I . .
got a glimpse of some sort of a ribbed roof. Has lines
on it. And, somewhere off . . . to my right I . . . .
keep seeing a . . . little . . like a little turret or
another bump that sticks up. Like a. turret house. Small
compared to the building. It keeps coming into the corner
of my eye. But, I keep wanting to say its on this
structure which has a slightly peaked roof but not much
of an angle.
I . . . It just . . ? . , . Up one end and then . . .
slightly to the .. . . right side now, I think I . . .
am just slowly moving around the building very methodic-
ally, Someone is doing it for me. I am not. But . .
p oved_F..o_r_ se 2000/o810T7___GLA-,R.D,P,
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
+20 #31: But. . very easily, I had a feel for a . . surrounding
white strip on the ground and a funny thing on the ground
outside the other end. The . . like a . . funny shaped
low wall. The top of which I could see around the corner
of the building. Sort of relfecting. That was all very
spontaneous. I was not trying to figure out where I was.
PAUSE.
+21 #66: Is this building familiar to you?
PAUSE
#31: Yes. I know which one it is.
#66: Which building is this?
#31: Its the one with the boat. And the kitchens. I worked
here before. That's my feeling. I haven't seen them.
those things, but I think that's where it is. I don't
remember what else is in the . . . I think, I think, I
thin[< - is all 1 can say.
#66: Um hm.
#31: Let me clear again and . . . . do a lot more.
#66: 1 have no further questions about this target; however,
I would like to give you the opportunity to explore
the target area on your own and add anything that you
would like to add.
#31: Okay. I'll. be away a couple minutes.
#66: We have plenty of time.
PAUSE
+25 431: They. . . . . The words came very clear to me. . . . .
that they . . . only lock the back. They do not
have anyone in the hall. The man in the hall leans
against the wall on the open end. They do not make a
man walk up and down the hall. They do not make a man
stand at the end of the hall. On the outer end.
On the outer end, they . . do not have people there.
I can see the only one. I think I'm on the second floor.
And he leans . . . He has a automatic type rifle and he
leans to the right.. down. . looking down the hall
towards what I think is the middle. And, . . . . . .
about . . I think they are . . . afraid to put a man
out on the end because he could be ganged-up on and he
is isolated. So, they keep the man in near the middle
part. The central part of the building. And only lock
the exterior door on that end. And that is, again, I
feel there is some kind of stairwell on the left side
Appro ed Fo elease 2 1 .w tA 0Q4 ,0 r vas
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
that would connect with the two halls up and down.
You know, of course, there is no door on this floor.
The door, if any feeling, a door is there, is on the
ground floor is the one that is only locked.
Hmm, I lost it but I had it, but I was losing it as
I was trying to describe it.
#66: Okay, fine. You can draw it for us and explain in your
drawing.
#31: Okay. I had one of those things that I was discussing
with you before. About how out of the blackest comes
this clear-as-a-bell_ picture. And it fades . . .
#66: Yes, I remember.
#31: And that was much, much more than the regular remote
viewing type . . .
#66: Uh huh.
#31: And that was the balcony feeling.
#66: Um hm.
#31: This thing that I was looking up at the underside of
the balcony.
#66: Position inside or outside?
#31: It was an inside feeling.
#66: Okay, inside balcony.
#31: Okay. That will. be Sketch 2, but Sketch 1 was the first
feeling. It was very, very hazy and foggy and dark type
feeling. But that I was like looking at something which
. . . had essentially two levels and that for some reason
I was floating even with . . this - don't get this wrong,
this was just a hazy blockage type feeling and that see,
as though I was looking at. the edge of the balcony. Of
a balcony type of thing. I had the feeling I was definitely
up above the floor some distance. Okay. And you can see
how the walls on either side go in under this dark hazy
thing that blocks. Okay. I had the feeling that this
was an inside shot.
#66: Okay.
#31: Okay, but then the next thing that . . This was like first.
Appro "1 = WW' 0108107
Approved For Release 2000,108/07 : CIA-RDP96-00788R000800960001-9
#31: What I'm trying to describe is as though you were on
top of a semi-trailer truck that was just about to
drive in under an expressway overpass. In front of
you is the big blockage thing of the expressway over-
pass but down and under it you can see where the road
goes down and under it, like that. Its that type of
feeling. Only, this was the room went down and under
this thing that was hanging, like a false coiling.
Okay, that's 1.
But 2, 1 had this feeling that I was looking up at
either a small interior balcony type thing or a portion
of an interior balcony. Which came through clear as a
bell. I'm not kidding. Looking . . It was like a shot
right out of Romeo and Juliet almost. Was a . . . . .
I don't know how far that goes in.
Okay. And the underside of it was dark. You know, dark
shadowy spreading off into the distance. And I had this
feeling of round. . . this was white. Like white trim
paint. Okay and in it were these round bannisters.
Type flavor. Two levels of bannisters.
I'm not doing this right at all. Here it was like this.
You know, pipes bolted together, bannister type thing.
#31: Pipes bolted together. You know, where the Joints are
they're knobby. And it was the pipes had almost a golden
hue. Like a gold or a not yellow, but like a gold or brass
hue to them, okay.
And this was like the guard rail to keep folks from
falling off this little balcony. Okay. I'm not happy
with that, I'll do it again. Because it may he . . .
Okay, we have pipe. . . there's a joint. There's another
joint. . that's what I want to do. That's the feeling,
like that, okay. And these standards come down. And
there's . . that's what I want to do, like that.
PAUSE
That's the feeling, definitely. That's the layout.
PAUSE
Okay.
Approved ,Fo I 0,7. x -R 96 :O OO v:
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
1#31: That's the type of a feeling I had. To be the guard
rails on this. And these don't come down very darn far.
You know, its a waist high type of guard rail. Its not
anything excessive, just a safety rail type thing. And
then in under. . . And it sits on. . under lip of . .
or on the upper lip of . . . And I have to draw dotted
lines, because like I said, I don't know if' this is
a small part or . . . . .
That was the feeling, okay. And then I had this feeling
of depth that it was. That I was like looking up . .
and that it was about as high above me is where the ceil-
ing line is in this room, you know. That would be where
the whiteness was and then up above that were these rails.
I was looking up at it at that sort of an angle.
#66: I would assume then looking at this room that would appear
like it might even be a second floor?
##31: Yes.
#66: About the same height as you might find a second floor?
#31: Yes.
#66: Okay.
#31: 1 had the feeling that I was inside.
#66: Okay.
PAUSE
#31: Here at this time. Okay, there's a good 2.
PAUSE
I don't think there's anything else I need to put on it.
Okay. The other feeling was this inside feeling that
here there was a bottom floor type of an arrangement
that I was standing on. Now, I had come down, from Number
1, I had dropped down and was half and under it and was
looking not only here but. was looking up at it that way.
I'll call it a ground floor. And this was like a upper
floor landing with guard rail. And I'll call this brass
or gold paint. And this is white. . trim. Painting.
And that white trim is the edge of this balcony type
flavor. Okay.
.2 108/07+ . C Ofl $ 3Q b ,
ApproveO,
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
#31: I'll set that 2 aside because that's not any good.
That's definitely . . that was one of these things
that just comes through like you're standing right
there.
Okay. Number 3 was a play that was back to the nature.
You know, it was sort of disappointing, you know, after
having had Number 2's clarity then to go back to routine,
regular type of remote viewing imagery. But, so I tried
to work on it, but it wasn't working. You know, I couldn't
get any, you know, any more of these spontaneous things.
But, from that feeling, I had the feeling that I was
standing at the entrance to a hall type of arrangement..
Okay. That . . . like this. Okay and then. . . . like
that. . . type of a situation and continue it on back
like that.
Okay, and that along this hall, it was sort of dark, I
didn't get any feeling for interior hall lighting being
on or anything like that. It was sort of dark, sleepy
quiet type situation. I had the feeling there were
. . what did I say, 7 or 8 . . . 7 or 8 doors along this
hall.
PAUSE
All I can get is five in.
1166: All right.
#31: They get smaller, 1 guess. Okay.
PAUSE
Okay, 7 or 8 is right, but I can only get 5 into the
Sketch. And these were. . . these were sort of darker
against a white background. Had the feeling of this
repetition. You know, you get this . . . you get this
surge of repetition and . . . . .
Okay. Seven or eight doors. . along hall. Okay and
that my feeling was that I was outside of . . The
important thing is, that I was outside of the second
door in from, I think, this end of Sketch 2, be it upper
or lower, I didn't . . I felt I was the second one in
from that way. Not the second one in from the other
end of the hall.
A
pp ov d f~c r: r' ~ ~ 7. AADFI *99M, Q
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
#31: I felt continuity . . .
#66: Was this hallway upstairs or downstairs that you
#31: Later on, I felt it was upstairs.
#66: Okay.
#31: Okay.
But right now, it was. . I was posted. . right outside
looking for, what's his name?
#31: Looking for Kevin. Outside of second doorway down
hall. Okay. I had the feeling that the same things
could be found on this side.
Okay. Again, dark doors. Now, at this point in time,
I had no idea whether I was upstairs or downstairs.
#66: Okay.
##31: All right, enough of that. Then you told me to
concentrate on him. I had the feeling of something
here in the foreground - this is Sketch 4. Something
here on the foreground was like blocking my view okay.
And then around from that on the right was some sort
of a . . some sort of a bed. Okay. Like this. But
the room went on that way and came on back like this.
Okay. And that Kevin slept here and I couldn't figure
out what this is until I show you another picture. I
think that's doubled up bed mattresses, you know, CI
bunk mattresses, you know how you double them up and
stack them in the corner so they get out of the way.
I think that's what it was. Okay, and somewhere down
here. . was the feeling there was another bunk
and I spontaneously had a man with a beard, sort of
a youngish guy with a beard and dark hair. But the
name "Jay" came into mind.. J A Y, okay. I had the
feeling like this was the only other fellow in there
because I sort of said, okay is there anyone else and
nothing happened. I didn't really see any more than
the feeling of two beds. I didn't think that they were
like stacked in there. Okay.
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
#31: All right, so that's for 4. Kevin . . . Kevin is it?
#31: Kevin. And this is JAY. Okay. And its a nice room.
Its not a cell. Its not baren. Its like a . . Its
like a motel. room type of an arrangement. You know,
its got some carpeting, its got some pictures and
everything on it.
Okay, that's four. Five is sort of like looking. I'll
draw a circle. Five is like down here. Looking that
way. Five is that there is this . . .
Okay, and Drawing 5 will be down at the other end where
4 is -- where its noted on four anyway. I'll circle 4
here. Started out with something funny like these
stacked mattresses against this cutout feeling - some
sort of a carve-out feeling about the room, like there
was maybe a little kitchenette or maybe that's the
. . the crapper is in there or something. But I don't
know where the door is or how I got into the room or
not. It could be the doorway. But I was standing at
For 4, 1 was where the circle 4 is.
Okay, I had the feeling of a bed where, which when
standing at 4 was, is still partially hidden. Okay,
a window on the right side. These stacked or doubled
mattresses, I don't know, maybe they did it there
for possible protection against small arms fire or any
number of things. Okay, . . maybe they did, who knows.
And the feeling that . . . here was like JAY, this guy
this feeling JAY, was here. Kevin was there and this
was JAY here. Okay. And. I think the room is
smaller than this, you know, maybe its distorted by
sketching it. In order to get everything in. I don't
know, maybe a chair or something like that over here.
There was something over in the corner but its . . . .
Maybe a chair an table or whatever. Okay. Now. Here's
where I figured out. This is when I left the building
and went outside the building. I was in here and I said
Okay, I'm not getting anymore out of JAY, I was saying
the room layout is gestaltically the same as I'd seen
before. There's nothing new has been added you know.
There's only two people here. And I just sort of like
somebody just said or somebody just dragged me outside.
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
#31: You know, okay, well when I was outside . . This is
going to be be Sketch 6 now. I had a ribbed . . .
almost a ribbed, metal roof feeling, having a slight
peak, almost as though it was metal layers. Ribbed,
outside . . Ribbed roof. Okay, like sheets of metal.
You know, it was flat, nothing that goes vertical
and make it bumps. Its just that there were those
lines in it. It was like herring bone. It was like
a herring bone.
All right. And. . I felt that I had popped out of
the wall. I'll draw a circle 6 on Sketch 5, okay.
I felt as though I had popped out of the wall above
ground. Okay, that's window and that just down below
me and to the left was this peaked exterior porch
roof arrangement. Okay. Having columns holding it
up okay. Now that became - that was a familiar
type outside feeling. But it was spontaneous, so I
figured well, you know, don't make it into, there may
be several of them, so don't make it into what you
want it to be, just be cool and just examine. So,
that's when I felt the feeling of the roof being ribbed,
herring bone like. Had the brown , brown stone type
feeling there and this was white trim. . porch.
type roof.
And, you know, I had the feeling that this building
was long. I'll do another sketch. . of that. Then
I moved to 7. 7 is to the right from 6.
Very slight peak in the roof. Some sort of an end,
little end doorway here. Okay and I had this feeling
of sidewalk type of feeling. Okay. I sort of like
drifted over to the right side and saw right of the
end and saw, let me see how I do this. . . . . . .
Like that, I suppose.
Okay, I had the feeling that this came around, the
sidewalk came around.
#66: Is this the same building now?
#31: Yes. I think its the same building its just that I
just drifted to the right and got a shot at the back.
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
#31: Or the other side of it anyway, See, I moved from
here to there. Or moved from here to here looking
at it the other way.
Okay, but what I saw then that cued me to be where
this may have been - up until now I just hadn't
considered where it might have been. But right at
the end of the session I had the feeling that there
was something here on this back right end which was
the wall okay that I associate with the . . . . .
I forget which building it is, but its the one that's
out in the woods by itself. . that has the two out
buildings out of it and one of them we saw a boat in
there - reported the board. Well anyway, . . . . .
that's this funny wall arrangement goes out at an
angle. Makes a couple square angles and comes back
around like that and that's when I said, Oh, that's
the building it is.
Okay. Okay. For B. I'll do one last sketch. 8, I
go back inside and this is when you gave me sort of
a couple minutes to do my own thing.
I had the feeling that I was back inside the hall
outside of Kevn's room. Somehow. Okay. And that
I was examining for soldiers. You know, I was examin-
ing for where the threat was. I was sitting there
looking and I was just sort of . . . this guy just
magically appeared sort of leaning around this wall
okay. Sort of leaning there is all he was doing.
You know, I'm showing him at a half angle because he's
actually around the corner a little bit.
PAUSE
Okay, you see what I'm getting at.
#66: Somewhat nonchalantly leaning against there?
#31: Somewhat nonchalantly is right. Just sort of leaning
against the wall there around the corner. See, so you
can see him if you, you know, if you had dotted line,
you could see the rest of him. there. He's around
the corner. Just so. . he could probably just stick
his head around and just look down the hall. You know,
that type of a thing. And in the.background, I had
the feeling of this - I had said to myself its almost
curved. That, in fact, I was back up on the second
floor, at my start point and that this was the, again,
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
this feeling of central lobby area. Second floor,
balcony. Okay. Was here in the background, And
I remember saying, it was almost curved, like it had
a slight moon curve to it. It wasn't straight - its
probably less than that. . It would be much less than
this feeling of curve here. But that it. was almost
cut away. This balcony did . . if you look at the
balcony from the front like I did in Sketch 2, it
would look flat - straight across. But if you're up
on the second floor looking out at it from an angle,
it looked almost curved, it was just slightly dis-
torted somehow, like it was just a slight
curve
of
maybe 10 degrees, you know 10 degrees off'
feet or something like that.
every
40
Okay. And this is again when I got the feeling of.
8 . . I got the feeling of why of course. . sort of
spontaneous . I was saying, well where. . you know
there must be someone else around here. And I'm look-
ing around and I'm seeing and it sort of like Well, of
course, there's nobody out there. Meaning down the
hall. The reason is because they just lock the doors
down there. Because they don't want to have a single
man down there isolated and cut off from the main part
of the building at the outer wing see. And it was
like of course, they only put one - they only put
their men here at the head . . at the inner part of
this radiating hallway, see, because if they put a
guy down there then the prisoners could jump him and
steal his weapon and the nearest help would be far
away down the hall., see. So they keep them in the
middle of the building, looking out the hall so that
they're centralized. And the prisoners are on the
outside, see. And the feeling was that at the end of'
the hall, there is a staircase that goes from first
to second floor and that on the ground floor. there
is an outside door that's kept locked so prisoners
can't escape outside that door. And of course, the
door is under observation, you know, from the hall
okay. You know, from the middle part of both halls.
So, I end up with, I'll tell you what. . . I'll
just do a little quicky here. Its like here's one
level and here's the other level. Okay, We'll just
call it a cross-section of the building type of a
feeling and the dotted line is the second floor.
Okay.
I don't know if there's one going up or not I probably
shouldn't have done that. That makes it look bad.
..A,pproved For Relp.ase. 2000/08/07 :. CIA-RDP9.6i-.007,88RO408OO9!60001._9._
PIN
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
#31: Anyway, there's the stairwell doors there.
Okay. The guards are there. Type of a feeling.
At least at night, in night hours, okay.
And the feeling is that they can keep both halls
under direct observations. See.
But that this bottom door here . . . . .
door is locked, okay. And I had the feeling of
maybe chain. . you know, chain and lock.
Okay. Guards are here. Okay. Guards are on interior
of building and observe "hostage halls" by sight.
And I didn't get any feeling of patrolling up and
down but that definite feeling . . definite feeling
that . . . no guards went out down the hall. .
because they'd be cut off. . . Stairwell. . . . .
I don't know it was some sort of a flurry of data
bits that went right at the very end that sort of
went boom boom boom boom boom. . . . . Like . . .
I don't know, like . . . Then I just had this very,
very decisive feeling that they did not put anybody
out on those wings . . at least at that time because
of this possibility of being cut-off. But. . . the
other data that came through is that theoretically
if you were to go. . . If you were somehow to enter
the building here on this outer wing, your hostages
are caught between your entrance point and the guard
force point, okay. But that in a way that was a
handicap but in a way that. it was an advantage.
Because . . . it was an advantage because at least
they weren't . . . behind . . you didn't have to
fight your way through guards in order to get to
them. It was just a matter of who was clever and
could get them out under such circumstances, i.e.
like blowing the walls inbetween the rooms and just
going all the way down the hall. Just you know,
keeping these people in a cross fire and just
blowing the fucking walls, barn barn barn barn barn barn
and getting the people out that way. And keeping
them pinned down in the inner part of the building.
#66: Okay. I'd like to return for a minute, to . . . .
. . . . . . your Sketch 7 here and your feeling of
about. what building that is . Is there any other
things that you say? Is that one singlular long
building like that? Of is that a piece of the building
or a wing of a building, or other buildings that you
saw?
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
#31: No, I had the feeling. I didn't foresee any
other building. I had the feeling it was just
a singular long rectangular building - plunk -
from my end. From the end I was looking at it
from.
#66: All right.
#31: Which would be the end which had the front porch
on the left side and then around the backside
essentially a blank backside. Okay, but would
reveal the back of this wall. . at the other end
of the building, okay.
#66: Okay.
#F31: And the other thing that I had and I just remembered
it when you asked me. . . One building. It was
definitely a one building - very . . . building
block contour, just rectangular. A three dimensional
rectangle, I guess. Cube, not even a cube. A brick
side type. Was this funny little add-.on thing. I
don't know where that came from, but let me go back.
This is 7. I probably ought to go back to 7, 8, 6
5, . . Its here, Its on Sketch 6. I'll make it as
an insert - an inset. I kept talking about this
little funny little thing. Will that screw it up if
I make it an inset?
#31: I'll dot line it. Then I'll label it inset.
Was . a funny little hootch like shaped thing.
What did I call it - like a castle keep or like a
bell tower or like a . . . . . Anyway, I had this
feeling of . . I kept being drawn to the right and
I kept being drawn to the left. Mostly to the right
was the feeling, but that maybe like at each end of
the building was some sort of a thing that stuck up.
Okay. Above the roof. On the roof, in other words,
like a place where the roof was elevated.
#66: All right.
#31: Okay. Like a little cube. Imagine this building
is this rectangle box and that both the right and
left ends of it you took those end pieces and raised
them up maybe another part almost to make it look
like an engineer, you know the engineer insignia.
Ate:
Approved For Release 2000/ P96-00788R000800960001-9
#66:
Okay.
#31:
Okay to make it look like
bit raised on each side .
it was just a little
. each end.
#31:
Just having . . . some sort of a little thing
on . . that's all I can say, on each end.
PAUSE
Little square. thing like.
PAUSE
Funny little. . these little extra things. That's
ail, I can say.
#66: Okay.
#31: I don't even know if that's on that same building.
That's for somebody else to figure out.
#66: Okay.
#31: Okay, and I'll just label these. Feeling of
raised roof. . portions on each side of me. Cause
it was here when I was looking at the front of the
building when I was getting this . . was being
sort of something on the right. What is that thing
and I was going . . . well, that's funny, there's
one on the left. . . . . . and its on the right again,
and its on the left again, and I'm sitting going, Get
out of here man. Okay.
#66: Okay.
Anything else YOU' d like to add?
#31: Nope.
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
TAB
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
Approveidi For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
1 i 6
_--Approved For R
ase- 2000/08/07 CIA-RDP96.0 8R0 800960001.9.
7 T 7 . .
Approved For Release 20Qq/RM07 : CIA-RDP96-00788R000800960001-9
C*
c
0
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
Approved- For R
ase 2000/08/07: CIA-RDP96-0 8RO 800960001-%
7~ T
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
r
1~46 4--
Approved For Releasa 2000/08/07: CIA-RDP96-0078811000800960001-9
p....-
Approved For Release 2000/08/07 : CIA-RDP96-00788R00080096/001-9
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
Approved For Release 2000/O0~ CIA-
!
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
Approved For Release 2000/08/07 : CIA-RDP9 0 8R000800960001-9 (4~
Approved For Release 2000/08/07: CIA-RDP96-00788R000800960001-9
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
Approved For se400.0/08/07 : CIA-RDP96-07 tb00800901-9
a
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9
TGT: - ALPHA, BRAVO, CHARLIE,
- DELTA, ECHO, FOXTROT,
- GULF, HOTEL, INDIA,
- JULIET, KILB, LIMA,
- MIKE, XRAY, YANKEE
NUMBER 1 - thru 53
(SEE ATTACHED LISTING)
KEY QUESTIONS:
ALPHA TGTS: WHICH HOSTAGES IF ANY DID YOU OBSERVE
IN THE TARGET LOCAL?
NUMERIC TGTS: WHICH FACILITY DID YOU FIND THE TARGET?
FOLLOW-ON QUESTIONS:
(a) DESCRIBE THE FACILITY WHERE THE TARGET WAS.
(b) WERE THEIR OTHER HOSTAGES?
(c) DESCRIBE ANY GUARDS YOU SAW.
Approved For Release 2000/08/07 : CIA-RDP96-00788R000800960001-9