TRANSCRIPT REMOTE VIEWING (RV) SESSION DC-18

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000500680001-3
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 23
• Document Creation Date: November 4, 2016
• Document Release Date: June 16, 1998
• Sequence Number: 1
• Publication Date: November 21, 1980
• Content Type: REPORT

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INSCOM
GRILL FLAME
PROGRAM
CLASSIFIED BY:MSG,DAMI-ISH
DATED: 051630ZJUL78
NOT REL . Q O ATIONALS REVIEW ON: cJ -Q u
1a LAME
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W. "9
SUMMARY ANALYSIS
REMOTE VIEWING (RV) SESSION DC-lB
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 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 refer-
ence his impressions of the target site. At TAB B is target cuing information
provided the remote viewer.
5. (S/NOFORN) See session report number DC-17 done against the same target.
NOT RELEASAB;JE',TO FOI Er I TN NIAT IONALS
OR
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TRANSCRIPT
REMOTE VIEWING (RV) SESSION DC-18
TIME
#66: This will be a remote viewing session for 1500 hours,
21 November 1980.
Relax and concentrate now. Relax and concentrate. Relax...
Relax... Relax and concentrate. Focus your attention on
the individual in the photograph I have shown you. Focus
your attention solely, completely on the individual in the
photograph I have shown you. Move now through space and
time to 1300 hours at the target; 1300 hours, 21 November
1980 at the target. Move now to the area of this individual,
the target area, and describe your surroundings to me.
#10.5: I'm getting a... impression of...how, how...sort of a bleak,
barren, brick building room... He is standing up, with his
back to a, uh...white upright, uh, cabinet against a wall...
+03 very funny, as though he's...incarcerated.
#66: What is it you are experiencing that makes you say that?
#10.5: I just had this feeling of...it's a mixture, it was like a...
a empty room and a...a mixture of feeling like...an old
public school building...or a sorta goofy like... remember
how we used to think our schools were prisons... Sorta like
that... Like a makeshift incarceration....
#66: Move up and outside this area now, move up and outside this
+05 area, and describe for me in what area of the world are you.
PAUSE
+06 #10.5: I keep a........ I, uh, very funny, some sort of a...peninsular
country.... some sort of a.peninsular country that's... got the,
the right hand side contour, it's a smooth roundness to it like
...a Korea or a Indo-China, it's got the curvy roundness to
it. But where he is is...in a large city, the feeling of a
urban sprawl. When I went out the window he, uh,I thought
there were smoke stacks around, feeling of cityness, many
people..... Korea is predominant feeling.
#66: All right, move now back in with the individual, move now
+09 back in with the individual and describe his situation to me.
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#10.5: I....... somethin's........ somethin's, uh...a little different
here. I can't tell if I'm in...in the building with him or
if he's...just outside the building. The area is very narrow,
barren brick and tall ...warehouse district, very crummy, old
slums. I can't tell if he's...in a narrow room, or if he's in
a narrow alley between two...for one moment I detect a curb
at his feet, as though I'm outside, some sort of a ledge,
like a curb, but behind him are windows and I don't know if I';m
looking.at them from outside or looking out of them from
inside at the...
#66: Describe the type windows.
#10.5: They're, uh, multi--panedd and I'm getting, uh, maybe four or
five panes high with a very long strip of them that goes from
about over his head to the left a long ways, like it's one
continuous window. The predominant thing here is a large
white box that sits in the elbow of the building wall. It
+13 reminds me very much of a...linoleum white...old kitchen cabi-
net. One of those old metal linoleum white pantry cabinets.
#66: Okay.
#10.5: I...to it's right is a...a jog in the building wall and more
and more I'm feeling like I'm on a narrow street, between two
walls.
#66: Okay. Focus now on the individual. Focus solely and completely
on the individual and tell me about the atmosphere of his
surroundings. What is the feeling, what is the atmosphere,
what type of place is this, what is the atmosphere of this
place?
+15 #10.5: It's a deserted alleyway... narrow street... almost like cobble-
stone sidewalk..... I smell a...a stench of decaying garbage
...musty, uh,.old ramshackle buildings..... The...I'm like
on a alley that connects two larger streets.
#66: Okay, now-
#10.5: The- not a very nice or secure place to be. I...feeling of...at
di'sease..to be here....like somebody might get me.
#66: Okay, now, if I understand you correctly, limiting to your
raw perceptions you have, uh, walls that appear like brick
on.both sides of you, and there is a multi-paned window.
somewhere in the area and the streets are stone, the, what's
under your feet is stone. I want you to check one thing for
me. I want you to look straight up ......................
#10.5: It's open up above me.
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#66: Okay. Now find the individual in the photograph and tell me
what he's doing right now..........
#10.5: He's walking, I think.
+19 #66: Okay. Now, concentrate solely and completely on this indiv-
idual, solely and completely on this individual. Don't think
anything about the surroundings now, think solely about this
individual, and as I count three we're going to move forward
one day, gonna move forward one day of our present time win-
dow to 1300 hours his time tomorow. I'm going to count now.
One...two...three ...
+21 #10.5: (Mumbling).... getting this feeling of ...sorta conveYance...
like a ferry.... getting on a ferry boat or a harbor boat...
I don't understand it. I'm also getting some big... massiveness
of nothing. It's wild, I'm not gettin' anything. It's a...
like I was up...looking through a microscope at a...something
huge. I'm just...that, the one feeling conveyance was strong
...and I was tryin' to figure out what mode. I struggling with
this biggess.... big nothingness, but very spontaneous I had
this feeling of a boat, like a patrol boat or a harbor boat,
with the skyline in the background, like... skyline in the
background like... conveyance is the main thing.
#66:
+22
#10.5:
#66:
+25
Okay.
But not traveling far. He's not traveling far. He's going
a short distance like a...on a ferry ...or just across the
river to another place or something.
Okay. Now focus once again on him. Focus once again solely
and completely, solely and completely on him. Solely and
completely on him, and move now one day from your present
time, move down one day from your present viewing as I count
to three. I'm going to count now. One... two... three...
#10.5: I had a....feeling, uh...of a wooden arch, uh...like a door-
way, with a...something hanging in it, like a, uh...large
oriental bell. Feeling of being at a park ...very spontaneously,
something like, uh, Shin- Shinto sohrine, or something like
that. Like I'm out in the open now, but there's these thinqs
around me that...and there are trees, very, very nice,
ornamental garden. And there's this large bell hanging
in a, uh, a big wooden ...looks sorta like a gate, but it's got
a bell hanging in it. Oh, that was all spontaneous ...sorta
cockeyed, actually, it was off my screen, I had to got look
for...the rest of it. I feel that now is a, uh...uh, looking
down at a large,wide, white... sidewalk. Sort of a wide boule-
vard. There is this, uh, bell hanging along the sidewalk.
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#10.5: In the background I'm getting this ...feeling of a very orna-
mental. temple building, multi-layered, green space he, trees.
I'm out in a nicer part of town.
#66: Okay.
#10.5: I'm not...I'm like in the renewed part of town that has this...
nice parks and not. the depressing, uh, inner city. Have a
feeling I'm in a main part of the city, it's just that it's
spread apart and the buildings are more modern around me.
#66: Where is the individual in the photo?
+29 #10.5: As you asked the question I had him walking up some sort of a
ramp leading to a structure like in the park.
#66: I didn't understand you.
#10.5: Up a ramp, leading to a structure in the park.........
+30 #66: Okay. Focus on him once again and move ahead in time one day
from you present scene as I count to three. Focus on the
individual one more time and move ahead in time one day from
your scene as I count to three. I'm going to count now.
One... two... three...
PAUSE
+32 #10.5: Um....keep seeing a...a large white...gray-white block, big
building. It's as big as the city block and it's got a dome
on it. Some sort of a roundedness in the middle of it and...
but.......the, uh..... there's somethin' really weird here now.
It's, uh, uncannily American.
#66: Focus more on him and tell me about his immediate surroundings.
#10.5: This is like on a...street outside this. big metropolitan...
big metropolitan, uh, office building ......... large building,
like a public administration building... like, uh, you would
expect some country's senate to be in.
#66: Okay... Focus on him once again. Focus on him once again,
+35 and as you focus on him once again move one day ahead in time,
one day ahead in time as I count to three. Move one day
ahead in time as I count to three. I'm going to count now.
One.. . two... three...
#10.5: Have this, uh, feeling of old warehouse... red brick. I see
arched windows that are bricked up. Then, um .............
like I'm under a...I wasn't feeling, I was just up at this...
the ceiling as though I was in this larger room. I figured
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#10.5: I was inside the red brick building...a large room. I keep
goin' up, I don't wanna go in for some reason. It's, uh, I
+40 can't get in the building very easily, I don't know why.
I don't know what this guy's doin' but he sure is wearin' his
shoes off... Seems like he's on the go all the time. At least
I always end up...along some street or somethin'. This area
is, um...in the neighborhood of where we started from, but it's
a little bit different.
#66: Check your time. Are.you five days in the future? Check your
time. Are you five days in the future? ..............?????.??
#10.5: I......... No...I don't know what I'm doin'. I'm standin' on
some big wide boulevard...like an airport drive-up place, and
there's a big gray. overhanging structure across the way like
it's the...like a big airport buildin' or somethin'...made me
think of that... I don't know, it's a...sort of a straight
drive-up .... not a curved thing or anything.
#66:
#10.5:
+42
#66:
#10.5:
+44
Okay.
Dark in thehunyderhang, and...big massive, gray, blocky build-
ing...I don't know......
Okay, we've been at this quite a while. Do you have any closing
comments? I have no further questions.
Well, I don't know, a...mixture here... some sort of a mixture.
First I thought I was in...in the Far East, but several times
during the session I didn't....I felt almost as though I was
not, and that I was here in the Northeast. It was really
peculiar. I had some sort of a curvy peninsula line. I thought
I was in...you know, some place in Korea because of the pen-
insula shape, but several times during this session cou.lda
sworn I was right in Baltimore .... Grungy, dingy, city street
in the...the big admin building in...I don't know. I'm just
all mixed up.
#66: Okay. I have no further questions. Let's return your aware-
ness to the present and to me here in the room. Remember
clearly and cleanly and concisely everything you have seen
and prepare to draw.
Now, the first thing I wanna do here before we start to
talking about the session, I wanna turn the tape over so that
we have plenty of tape time 'cause we're right near the end
here.
Okay.
#10.5: Okay, um, sketch one. My first...first impression I had of
our target guy was...I was in some narrow place ...uh...narrow,
I first, on the first scout I thought I was inside a narrow
room, as though I was inside some weird, narrow, old, dingy,
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#10.5: red brick, dirty room in a public school. Something about
public school came through. And a feeling of...I said incar-
ceration, uh, but then when I explained it I said like how
kids feel when they're in this public school and they wanna
get out and they feel like they're half trapped. Sort of a
half trapped feeling.
And he was standing with his back to a large rectangular light
appearing cabinet. Like an old 1950's model kitchen cabinet,
metallic linol- um, you know that kitchen white paint and
everything. I thought this was inside. Over his shoulder was
this large multi-paned industrial factory type window, and it
was all very dirty, old brick. Well, I think you had me go
out and look around, try to find out where this place was.
When I went out I thought that I went outside a building and
through, and going through these multi:-paned windows and rose
up. And I had smoke stacks, this industrial feeling, a large
sprawling metropolis. When I came back in...I started looking
around more where I was and where I perceived him to be, and
I finally decided that, well, wait a minute, there's a curb
there, this looks like I'm in a narrow alley way, as opposed
to being inside a narrow room. And then we worked on it, you
had me look up, and I saw a clear sky in between these old
grungy warehouses. And I finally decided that-it ... my number
one scene in sketch one is probably... number two is what I
ended up with, and it's probably.a cobblestone sidewalk on a
narrow alley type place between two dingy old warehouse build-
ings. One of which has the dirty factory style windows in it.
I felt very uneasy at this area. I felt like I was not in a
nice place of town. I felt like I was, uh, sensitive to any-
body being around me for fear of getting ripped off- mugged
in the alley type of a feeling. Okay.
Still this funny old white cabinet, or at least something
protruding from the building that certainly resembles a white
cabinet. Several times I looked at that, I addressed this
whiteness here thinking, well, that can't be a cabinet, it
must be a doorway of some kind. But it never turned into a
doorway, it always stayed rectagular double doored cabinet.
So that's sketch two. Cobblestone sidewalk is added to
sketch one, and-what I ended up with is this feeling of
being on...being in a alleyway outside an old brick building.
That was day one.
You moved me 24 hours in time to day two, 1300 hours, I guess
it was. And...okay, let me talk about the whereabouts. I
think day one- let me go back. Day one in the whereabouts
day. When you moved me up outta the building, or I went up,
and I had the smoke stacks and the metropolitan area, I had
a curved peninsular, definite feeling of peninsular coastline
being somewhere in the upper part over on the left side.
Uh, and at the time I definitely, you know, I really felt like
oh, that's very, very similar or at least remeniscent of like
the Korean peninsula. Or the same curviness is found in the
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#10.5: Indo-Chinese peninsula, but it's, of course, Indo-China's
bigger than Korea. So I sort of, sort of resigned myself to
the fact that, well, that must be where I am, you know, even
though I didn't see any rickshaws (jinrikshas) runnin' around
and even though I in between two red brick warehouses I sorta
felt that that was where I was.
Well, then on day two, then I resolved that, you know, and I
told, I mentioned that and we. started workin' again. On day
two I have th~ iding in the back of some sort of a boat.
He's free, he's, he's not incarcerated, he's not in school, he's
not in prison, he's sorta like riding on the back of a launch.
Like a harbor launch or a small harbor ferry. And in the back-
ground, across the water is a metropolitan skyline, a big city
skyline. And there's sort of, some sort of a bulge out here
on the skyline that are like where the docks and the wharves
are, and it protrudes out into what might be a harbor on a
river or a harbor on some sort of a bay or something. It's not,
as I wrote on sketch three, it.is not on the ocean. It's,
he's, when he's in this boat he's traveling across some small-
er.body of water than an ocean, temporary. Things like the
Staten Island Ferry came into mind. Things like, uh,. things
like Baltimore harbor came into mind. That type of a, you
know, some smaller body of. water. Smog in the background,
major city skyline, water broiling in the wake of the boat,
and he's on this boat with several other people...who were not
his guards. I didn't feel like he was being held captive or
anything. They really have very little to do with him. He's
sorta like taking a complementary ride somewhere.
Sketch four..is the third day. You moved me another third
day...or another day, to day three. And the first thing that
I had was a hanging bell, a oriental door frame, gate frame
with a hanging bell from it...in some green space, in a park
with trees. Nice manicured trees and, and., and hedges. And
off in the background behind that- okay, wait a minute. First
was the hanging bell and out front of the hanging bell is
this unusually wide sidewalk... Usual city-side sidewalk is
10 feet wide, this was like 20 feet wide, like a...a promen-
ade, like a promenade size, okay? Instead of just sidewalk
size. And. this unusually large sidewalk, to the left of it
is this unusually wide boulevard. Okay? Not the type of at
when I say boulevard,. what I mean.is not the jam packed city
street like where the warehouse was. This is some nice urban
renewed area, where there's this nice wide street. And over
on the left, far left corner up near the skyline, but maybe
200 and- I'll write that in now that I think about it, that's
about...200 yards away from this point is this. very modern
office building. About four or five stories, very symetrically
rectangular brick. Uh...the skyline comes across and there's
like smaller buildings. And I had the feeling I was on the
edge of this big city, same place maybe on the edge of this
city. Like where a part of the immediate outskirts had been
cleared away and this little park had been built. But I was
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#10.5: still a stone's throw from the inner city. And there was city
maybe all around me. But it was like suburbs out farther.
All right, as I cruised that from right to left and then I
started to come back into this problem of this hanging bell
idea, I had the definite feeling and rather spontaneous that
there was an Oriental tempo, and the word Shinto schrine came
into my mind. Oriental temple shape in the background, behind
the hanging bell thing. And off in the distance you can see
the smaller buildings of the main city. It's like a gateway
to an urban park, what I've written here.
Okay, you asked me then what- to focus on him. and what he was
doing and I had this really fleeting shot of him thinking
that he had accessed this park area, had like walked past the
hanging bell and had gone back to where this Oriental structure
was and...there was a really interesting thing there. It was
like he was walking up a low ramp, maybe only two feet high
or something like that, to get into. the building. But he was
not going. into the building. It was like the building, you
couldn't, you really wouldn't wanna go into this building,
this Oriental structure. It was like it was more there for
display and show. Like ornamentation. I've written on sketch
five it's Oriental structure, small,.not functional, just to
look at more than actually use. And this low alphalt ramp,
lord sakes, I don't know why that's there but anyway he was
walking up this ramp, which raised him up a couple feet above
ground level and there was feeling was like on the right side
front was like green and asphalt. Like people could walk up
there and look at the building. Some sort of a mixture of
green and a-, not like a service entrance or anything, not
like a truck drove up there. But it was like a mixture of
green and asphalt, like, uh...a walkway made outta asphalt,
you know, where !erowds could come and walk by this building.
And there was some green in it, like, like little grass plots
or something was in the asphalt.
And.. over on the left is bushes and parks trees in the back-
ground. Okay, fourth day I never even got to him. Fourth
day I'm looking down in this... building. It's:a, uh, light
gray, stone, massive blocks, four or five story, city govern-
ment administration building type thing. It's not the White
House, but it's like an expansion of the White House, It's
more modern than the White House, it's got a little dome,.
really a subdued dome in the center of it. But a little bit
of a roundness, a cap stone type dome in the middle of it.
Pillars, big,. massive pillars. out front. Like a justice
building would be. Okay? But I think it's more has to do
with city government, you know, some sort of administration.
Not a library, but administration building.. It's not a
private office building, either. And this thing is just
massive, takes up an, entire city block, and I have no idea
what.the proportions are. Like a football field in size.
Or maybe even bigger than a football field. And this thing
is like plunked right in the middle of a city. And in the
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#10.5: foreground I've got the rooves of buildings next door to it,
across the street, in the background, and all around it there's
low city horizon, like slum areas off in the background. And
this slumness spreads, you know, it just goes as far as the
eye can see, this, apartment buildings mixed up with.old ware-
houses and thatkinda stuff.
And this building was new. I mean, it was like...I won't say
it was new. New means in the year, a year or so old even.
I don't think it was a year or so old, I think it might be.
five or six years old, but it is definitely fifty years newer
than anything around it. That's what I was tryin' to get
across. It was 35-50 years newer, more recently constructed
than all the slop in the background... Okay. That's the fourth
day, sketch six.
Now we're. on the fifth day, sketch seven. Now fifth day,
sketch seven I had a quick feeling that I was back on this
alley sketch two. You asked me if I checked my time or not
and made sure about that, and the feeling I had was that the,
the funny alleyway and brick building did have some relevance.
It has some relevance to this guy. Like it's where he works.
Or...there's something that draws him there. .He's- there is
some relevance there on the fifth day. He's back at the same
place. He goes by the place or something. But the main thing
I got on the fifth day at 1300 after you told me to check my
time calibration is a massive gray br- stone overhang of a
massive, typically downtown urban renewed structure again that
has like several lanes of drive through traffic in under this
overhang. Uh, with pillars. The traffic cannot drive in and
around the pillars, the traffice must go in straight lines from
right to left. It was like I was on a one w-, it was like I
was on the. delivery, the drop-off point at a major. airport.
You're drivin' under the overhang and you swing over in the
right lane of traffic and you can park, meanwhile the cars are
going by you on the left. And then even the fast lane is
outside, and that's the, just the quick and dirty through
traffic, people who've already dropped off and are headin' out.
And it's, that's what it is, it's like an airport for...drop-
ping off departing passengers or some sort of, some sort of
overhang, plate glass windows and double doors and the back-
ground, like it's very modern and very, maybe some very mod-
ern shops in there, somethin' like that.....
At first, as I continued on through the session there were
two very sim-, startling similarities that started to come
out.. First of all was I really began to wonder about my ori-
ginal call, having put, pegged this thing to be somewhere
in Korea, some major metropolitan area in Korea. I really
became more and more and more convinced' during the course of
this sess- not convinced, that sounds bad, more aware during
the session that my first call mighta been bad, and that I
realy was like maybe in someplace here in the northeast. Like
in Baltimore. Or the Baltimore area somehow. Now I don't know what
`? .e.t.a
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#10.5: the heck a Shinto schrine has got to do with the Baltimore-
Washington area, but... Um, the other thing is that more
and more as I went through this I began, I was having the same
difficulty, uh, not the same, but I had a similar difficulty
to when we ran the J.C.S. Springer... Okay? That was the
subway number. And very, very remeniscent of that this inability
to really find anything. Like I was looking for something that
wasn't there. I was looking for something that was of im-
portance and it wasn't there... Like when I, in my session,
I had the guy in this weird tunnel and everything, and then I
was lookin' for him and I said he was behind the lockers. And
he was back in this big dug out area, and he was hiding behind
the lockers right? Well, that was all screwed up. The subway
was right. But then I had to look for. something to be.of' +=-
importance, and I made something to be of importance. In this
case I just took what was given to me. Okay? And I just
definitely got this flavor through the thing that why am I
out, why am I here trying to find this guy when it really
doesn't matter where he is 'cause he's not in any trouble.
He's, he's a ringer of some kind. It's a test pattern. He's
just having fun in Baltimore, somethin' like that.
#66: Okay.
#10.5: That's it. I don't know.
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Approved For Release 2000/08/07 : CIA-RDP96-00788R000500680001-3
 Approved For Release 2000/08/07 : CIA-RDP96-00788R000500680001-3
TARGET CUING INFORMATION
REMOTE VIEWING (RV) SESSION DC-18
1. (S/NOFORN) Prior to the session the viewer was shown the attached photo-
graph 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 at the location of the individual in the photograph.
N 0 T -" .Rf r NATIONALS
ORCON
Approved For Release 2000/08/07 : CIA-RDP96-00788R000500680001-3
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Approved For Release 2000/08/07 : CIA-RDP96-00788R000500680001-3
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