TRANSCRIPT REMOTE VIEWING (RV) SESSION DC-17

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000500660001-5
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 18
• Document Creation Date: November 4, 2016
• Document Release Date: June 15, 1998
• Sequence Number: 1
• Publication Date: November 21, 1980
• Content Type: REPORT

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INSCOM
GRILL FLAME
PROGRAM
e47V cps"
CLASSIFIED BY:MSG,DAMI-ISH
DATED: 051630ZJUL78
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ORLON A"U411]Ca~.E
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REMOTE VIEWING (RV) SESSION DC-17
1. (S/NOFORN) This report documents a remote viewing session conducted in
compliance with a request for information on the activities of an individual
in a photograph.
2. (S/NOFORN) The remote viewer's impressions of the target are pr_ov'ided
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 (5), 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.
5. (U) See session report number DC-18 done against the same target.
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REMOTE VIEWING (RV) SESSION DC-17
#66: This will be a remote viewing session for 1300 hours,
21 November 1950.
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.
+03
#01:
#66:
#66:
+05
#01:
#66:
#01:
+OS
Ah...high, high roof.....short building.... it's like....ah, early
morning, still dark.
Focus through time to 1300 hours, his time, 1300 hours in
the afternoon, his time.
PAUSE
1300 hours, 21 November 1950, time at the target.
PAUSE
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.
All right. I will wait.
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, hi's coming up on something that looks
like a, shaped like a piano. But, I don't know what it is.
I r'T
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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.
#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,
+11 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.
#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?
+15 #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...... I'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 #01: My whole picture changed.....I have a....I'm now like a,
coastline or something....hills go into the water, and
it'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?
+18 #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.
#01: Ah...I, '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'll
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.......
+21 #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.
#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
+23 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.
+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.
#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 stone.
#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 thi 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: Ah, and he was just sitting in this car, this auto, black
auto, and he's just waiting there, and he had another person
in the car with him, but they weren't talking. They were
just sitting and waiting. And, ah, then I went to day three
.....and I had this really small room on day three, and the
room was possibly.......ten by twelve feet, at the most, and
I don't remember seeing any other furniture in this room,
except the bunk beds, and he was laying on the bottom bunk, and
there was no windows; I had a feeling the walls were metal....
and the reason why is because I was gettin' this edging like
with rivets .....edging with rivets, and back over here was some
other room , small room ..... that was, you know, connected to
or fastened to this room that he was in. But, this, this was
a really tiny room. That's all I got there.
And, I, and I.....think I described this feeling that's being
a lot more relaxed, but......
#66: Okay.
#01: ....you know, resting, that sort of thing.....and then the
fourth and fifth day, I had him in the same place......
that was on the corner of a building, behind a wall, outside
of which there was a very small garden, and a balcony.....
with a big double doors in front of it..... and he was sitting
at a table.....I'll label that target person sitting at a table,
and I'll write in front of these double doors that were open,
and it was very warm, and, I'm sorry. This is wrong. This is
not fourth and fifth day. This is the fifth and sixth day.
#66: Well, just a minute here.
#01: This is the fifth and sixth day, because I had him on a.....
a dock on the fourth day.
#66: Okay. You've skipped the dock then?
#01: Yeah. So, that's the fifth and sixth day. So, I'll have to
go back to the....let me finish the fifth and sixth day, then.
And, there was a bed ....dresser, bath. This was really a
high grade apartment compared to where he's been at......
#66: Okay.
#01: So, on.....there is going to be one day out of order here, and
that'll be on page five. That'll be day four.
#66: Okay. Which is standing in the open air a catwalk off to his
rear right.....group V people with him, joking with him......
of
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#01: Yeah, right. Yeah, I got this......
#66: Coastline with hill tops ..... comin gout 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 comin' 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.
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TAB
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TAB
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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.
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 SGFOIA3
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