TRANSCRIPT REMOTE VIEWING SESSION 834

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000700100001-4
• Release Decision: RIFPUB
• Original Classification: S
• Document Page Count: 26
• Document Creation Date: November 4, 2016
• Document Release Date: June 17, 1998
• Sequence Number: 1
• Publication Date: December 11, 1981
• Content Type: REPORT

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INSCOM
GRILL FLAME
PROGRAM
GRID, LAME
CLASSIFIED BY:MSG,DAMI-ISH
DATED: 051630ZJUL78
NOT RELEASABLE TO FOREIGN NATIONALS REVIEW ON:--
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1. (S/NOFORN) This report documents a remote viewing session
conducted in compliance with a request for information.
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 user.
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. the session the remote viewer was
interviewed for his impressions.. At TAB A are drawings, and
a narrative concerning the drawings, completed by the.remote
viewer. At TAB B is the target cuing information provided
the remote viewer.
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#72: This will be a remote viewing session for 11
December 1981 with a starting time of 1300
hours.
It is now 1300 hours. Our target for today
is the man who's photograph you have been
shown. We want you to go to the hotel that
you described yesterday.
#27.5: Okay.
#72: Is the man in the photograph at the hotel?
PAUSE
#27.5: I don't see him right now. I see a white car.
He's moving in a white car somewhere. Its like
an Olds - new model - maybe one year. Have a
rental car feeling.
#72: All right. I want you to go back to the hotel.
Go back . . .
#72: . . to the room on the third floor. Describe
its contents.
#27.5: Standing inside the front door, I got a . . . .
its like an "L" shape two-piece daybed type
couch. Cushions. Table - small. Small table.
Very sparsely furnished.
#72: Is the material that was there yesterday still
in the room?
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#27.5: Yes. Some of it. Got papers. Papers.
PAUSE
Many papers are already burned.
PAUSE
I see . . . . . see guns. Couple guns.
PAUSE
I think automatics of some kind - 9 millimeters.
Hand guns. Nine millimeter handguns.
#72: Is the black box that was there yesterday still
in the room?
#27.5: I see it in the . . . Believe its in the back
room.
#72: All right. I want you to go downstairs to the
lobby of the hotel and go to where people would
normally check in.
I can't find the lobby. Have an entry . . . Its
. . . Its stripped. I don't see any . . . . . .
I just have an entry.
#72: All right. I want you to out on the street and
face the front of the hotel.
#27.5: Okay.
#72: Is there a number on the door or the front of
the building?
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#27.5: Had a flash of a number. I'm not sure if its
a building number. It was yellow numbers etched
with black on a small white background. Block
numbers. 1010. One zero, one zero.
#72: All right. Now I want you to go down the street
until you come to the first intersection.
#27.5: Okay. Its going. . . Its going towards the
the . . . runway. . . area.
#72: I want you to look up and locate the sign post.
#27.5: Ah. . . floor.
Small word. I'm sorry. Floor? See a floor or
something.
#72: All right.
PAUSE
#27.5: It looks . . . . F - starts with F for sure.
PAUSE
Don't see a name for the other sign though. Its
like compact up and down lines.
Like a zig zag. I don't know what that
Zig zag.
#72: Describe any activity at that ;intersection.
#27.5: Pedestrians. A lot of pedestrians. Kind of a.
. . . sleasey area of town. Some people hanging
on the street corner. Mixture of race. Get a
distinct foreign feeling,--now , like there's
a lot of foreign. . . foreign people. . live in
this area.
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#27.5:
ings, apartments.
Across the street is . .
. side cars are
parked
on. Seems like they only
park one side.
Predom-
inantly . . . . . . . large. . . . .
. build-
#72: All right.
#27.5: One block from the, mairi road with dividers, its
like tunnels or something. Overpasses. Wire
fences.
#72: All right. Let's go back to the front of the
hotel.
#27.5: Okay.
#72: Cross the street. . . to the building on the
other side.
#27.5: Okay.
#72: . . and go inside the building. Describe it for
me.
#27.5: Smell incense burning. Very run down bar. Dark.
Strong odor. Coffee as well. Turkish coffee
like . . . . Caters to . . . . caters to . .
many foreign people. No windows. Getting dark
purple, black, dark blue, dark brown alj.'dark
color.
PAUSE
#72: How do you order at the bar?
PAUSE
#27.5: Just order in English.
#72: What type food smells can you smell?
PAUSE
#27.5: No food. No. Food. Get an impression of age,
predominant age. Customers predominant age. .
very early 30's late 20's. I got a flash like
I was . . . A familiar flash - just a minute.
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#27.5: I can't put my finger on it. Just a second.
Got a . . strong feeling for Iranian people here.
Very. . . personalities familiar for some reason
. . that particular area of the world. Student
flavor. This neighborhood's predominantly. . . .
Farsi . . populated. . . many Arab nations.
Populated. Not . . . Clearly not diplomatic area
though. Just populated. Transient quarters area
so to speak.
Sort of like a section of town like the Italian
. section. Only this is a. . . . . . Arabic
section. Foreign student section.
I keep trying to . . . keep trying to establish
this hotel and I can't agree that its a hotel;
its operated like a hotel but its more like apart-
ments than a hotel.
#72: All right.
PAUSE
Lets relax now for a minute. Go out onto a street.
#27.5: Okay.
#72: I want you to lift yourself into a perspective
so that you can look down at the city.
#27.5: Okay.
#72: What are the most significant - what is the most
significant landmark you can see?
#27.5: Its . . . Directly to the rear of the apartment
. . . . is . . . . a large open area at about
. . . about 10:45, 11 hour. Large open area
with a . . . . I keep getting a huge white build-
ing that's bent. Its like its bending. Half moon.
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Many cars there. Many people.
hill slope there as well.
Its like a down
#72:
Why
top
it.
don't you go to the front? Come over to the
of the large white building and look down on
Tell me what you see.
#27.5:
Everything's twisting. Everything's bending. Road.
Bent road. Bent grounds.
All these things are like . . . bent and jammed
into a square area. Very. . . Its . . .
hard. . . hard to decipher. Its very gestalic
image. Its all twisted.
#72: Okay.
PAUSE
Come to the front of the large white building
and come to the ground.
#27.5: Okay.
#72: Put your back to the building. . .
#27.5: Wait a minute. Got a word. Said a flash of
I got the flash of word "Washington".
It might be part of a name. Glass. A lot of
glass. Tall glass. And that's all I got - flash.
#72: Okay. You're at the large white building and
you're putting your back to it.
#27.5: Okay.
#72: What do you see in front of you?
PAUSE
#27.5: See some . . . . . See a curve road. . some kind
of a . . underground parking lot. Three story
gray building. Getting flashes of some kind.
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#27.5: Shipping something. Shipping or travel type place.
PAUSE
Shipping, I think.
PAUSE
Shipping.
There's. . . ar-oad to the right. Slight downhill
grade. Open grass area.
#72: All right, what I would like to have you do now
is return to the front of the apartment/hotel.
#27.5: Okay.
#72: I want you to go forward in time, forward in time,
to 16 December. 16 December 1981.
#27.5: Okay.
#72: Where is the man in our photograph?
PAUSE
#27.5: Have him in another apartment. Different building.
Keeps moving. There may be three people in the old
apartment, but he's not there.
I'm trying to
Always moving.
. Keeps moving. He moves.
#27.5: Impression of . . . Just had an impression of a
courtyard with a . . . . . fountain. An offset
square. White and blue tile.
See iron gates. White pillars. This feels like
a diplomatic area.
PAUSE
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#27.5: But not a diplomatic area. I don't know
how to explain that.
#72: Okay.
#27.5: Got a feeling of calmness.
PAUSE
Much serenity, calmness, for some reason.
PAUSE
He's only there temporarily. I don't . . . .
I don't think this guy stays in one place longer
than one day. He continually moves.
PAUSE
#72: All right.
#27.5: Very . . . . smart.
#72: Okay.
If you went outside in this area, what would
the temperature be?
#27.5: Ice. Icy. Very cold.
If you go in the front of this building and look
inside, what do you see?
#27.5: Garden, courtyard, fountain, white, heavy door, _
small doors, . . . See a side entrance through another
gate. Its like a building inside a building.
#72: How tall is this building?
#27.5: Got an impression of very tall, five stories. I
got an impression of only one floor. I don't know
why.
All right.
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0600.
56-41
#27.5: Persian rugs. Red rugs. Heavy patterns.
Got a fleeting impression that . . . . . .
just for an instant. . . . Of being addressed
by someone. I don't . . . Its real weird.
#72: Why don't you ask who it is.
PAUSE
#27.5: Its . . . Its a . . philosophic mind. . I don't
No, its gone now.
#72: All right.
#27.5: Philosophic mind. Inquiring mind.
#72: Okay.
I would now like you to move ahead in time to
the morning of 17 December 1981. Describe
where the man in the photograph is.
#27.5: Just get an impression of a cafeteria area.
Looking through glass. Large white building.
Block house like building. No windows.
#72: Where is the man in the photograph?
#27.5: Sitting. . . at a table, looking through glass.
He's waiting.
PAUSE
That's all I get.
#72: All right. I want you now to move to 12 o'clock
on the 17th of December. Locate the man in the
photo. Tell me where he is.
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#27.5: I see him parking a . . . He's parking a white
car in a . . . its either an underground or a
covered parking area. He's . . . throwing a
key away in some trash. He's also armed. Carry-
ing . . . Keep getting an impression of this . .
this automatic nine millimeter type. . pistol.
Carrying it front right belt. Fleeting impression
that he's already killed with it. Just fleeting.
Very. . . . Leaving . . . Leaving the car, I think.
Going into a . . . some public building. Its got
many people.
. . Just walking around. Got an impression, he's
stalling. Stalling for something. Burning up
time without remaining in one place. His
appearance is different. Just then I got an
impression that he's much. . . much older than
in his photograph, for some reason. All of a
sudden I just got that impression. Wearing
glasses now too.
Does he have with him, the items that were in
the hotel/apartment room?
PAUSE
#27.5:
No. These. . . All these items are either
destroyed or in place. He only coordinated
these things. Feeling of coordination. Control.
#72:
Okay. I want you to . . .
#27.5:
Have a flash of the van again. Purple van.
Maybe they're in the van.
#72:
All right. I want you to continue. The day
17 December, its starting to get dark, where
the man in the photograph located?
PAUSE
is
is
#27.5:
He's in the van. Same place as yesterday.
#72:
Okay.
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#72: Describe the inside of the van.
#27.5: Black leather interior. Uh
gold trim, for some reason. This has got all
that one way mirror junk on the windows in the
rear. Rear is a strip. Its padded carpeting.
Like a shelf type area. A lot of . . weapons.
nothing else.
#72: Okay. What I want you to do now is .
#27.5: This thing. . . I just got an impression of a.
. . of the seashore, but. . . I just wanted to
say that. But I don't know if that's important.
#72: I want you to wait while I turn over the
tape. Stay at the van. Wait. Wait. Wait while
I turn over the tape.
I want you to start at the front of the van.
Walk around the van and describe it for me.
#27.5: Its a GMC. I see the letters, the yellow GMC in
the grill. Fairly new, not quite three years.
Dark purple color. Very light oblong designs.
Gold fleck. Its got a . . . . small window in
the rear up high, both sides. Double doors, rear.
Side door. . slides back. Don't see any dents.
Its got white plates. Dark brown letters on the
white plates, or red maybe rust color.
#72: All right. I want you to go again to the front
of the van and describe for me the car or vehicle
that is parked in front of the van.
#27.5: Light blue, four door, square trunk. Dodge or
something, maybe eight years old, seven years
old. Kind of dingy. That's all I get on that.
Definitely light blue.
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#27.5: Got an impression of twelve foot trees.
Somewhere.
#72: I want you to go to the van and sit inside.
PAUSE
How long will the van stay where its at?
PAUSE
#27.5: Its not supposed to be moved, but it can be, it
has an alternate place to go. Impression of
more than one alternate place that it can go.
But . . . its not supposed to move.
#72: Why would it move?
#27.5: Different plan. Get an impression of Plan B
requiring separate traffic pattern. Just got
a impression of a lot of confusion and traffic
jam. Its a requirement for Plan B.
#72: All right.
#27.5: Van's important for some reason.
#72: All right.
PAUSE
#27.5: Starting to lose it here.
#72: All right. The van. . . Why is the van important?
PAUSE
#27.5: I don't know. I'm getting. . . Getting two
different kinds of impressions on that. I
got an impression that the van's not important.
But what is important is what's in it. I keep
trying to decide what's important in it and its
not the people.
#72: Al l.. right . I want you .
#72: I want you now to relax. I want you to return
to this room. It is 11 December 1981. 11 December
1981.
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#72: I want you to take a deep breath. A deep
breath.F'I want you to move your hands; move
your fingers. Move your hands. Stretch out
your toes.
#27.5: The stick.
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TRANSCRIPT
REMOTE VIEWING SESSION 834
DESCRIPTION OF DRAWINGS
#72: Okay, we've had a break and now we're ready to
draw and give some impressions on the drawings.
#27.5: Okay, Drawing 1 is my most talented attempt at
the side of this van - what is of primary importance,
I think, in describing the van is the . . the gold.
the very lightly sprayed gold pattern on the purple,
purplish background - which I've drawn on the van
here. I that's very important. And also I drew
the way the GMC is imbedded in the grill...that.
I saw the GMC, because that might give a year or
model or something. I had . . the plates were
front and rear and I had an impression that the
plates didn't belong with the van. That was a
very fleeting thing, so that may or may not be
correct.
#72: But the van . . the plate is white?
#27.5: The plate's white with rust or reddish color
lettering on it. I guess this is the place to
also state that I . . you know, in this search
for the material that was located in the room
yesterday and . . . and all of this abundance
of material that these people are obviously setting
up with or using. I just have a very strong gut
feeling that all this material's in vehicles and
being moved on a day-to-day basis. That its not
. . its not something they stash in their closet;
its already in the vehicles they're going to be
using in whatever operation it is that's coming
down, and they're moving it around. . on a day-
to-day basis.
So the white Olds. . . the white late model Olds-
mobile is very important as well. I also got the
distinct feeling that whenever they're done they're
just going to abandon the vehicles.
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#27.5: Page Two - is a graphic street layout showing the
hotel or apartment building and the street corner
marked with an "X" to which I went to look at a
sign. The sign is multisided, its either six or
eight sides. And the . . . the labeled signs
themselves are edge fastened to this sign post.
And I got a distinct "F L" and either a "C 0" or
"D" or something, some oval type letter and then
the rest I couldn't differentiate from. But the
sign pointing towards me was distinctly a zig zag
of sorts. I don't . . . I drew it as best as I
could remember it. It might be some form of symbol
or something for bus or it might be a street. I
don't know, it just looked like a zig zag.
Page - Oh, and this street corner is like one block
up. I'll draw an arrow in the direction its one
block up from. But I had a distinct impression
that following the arrow down one more block would
put you into a very heavily traveled road with
dividers and I got an image of rails - metal
rails and underpasses and overpasses.
Page Three - Part A depicts the square clear area
amongst the whole jumble of buildings. This is
the point of most significance close to this hotel
or apartment and its a square and what it is . . .
It sort of looks like an open . . opening amongst
a whole lot of buildings and congestion. And it
looks as if a building, a road, and a section of
grass have all been curled in order to be jammed
down into the square. But its a very big white
building. And this is where I had the impression
of the word "Washington". And I don't know where
that came from; it came right out of left field.
It wasn't fancy either - it was block letters -
black block letters. The . . the arrow labeled
"1" in parens shows the direction to the hotel or
apartment which is about four or five blocks -
these are standard city blocks. And then the
roads that pan around it. The "X" labeled "2" in
parens is what I drew as "B" on this and that is
looking from what's labeled as the front of the
building - the white building. Towards the "X" is
the view that I had of grass mound, three or four
story building immediately behind it on that road.
With a garage on the left and a shipping or travel
agency in the center. And then the road going
away to the right to a very . . very congested
intersection. Very busy area. I'll label that "B".
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#27.5: Page Four - is my diplomatic, but not diplomatic
place. You go up these steps and into this build-
ing which entrance . . its entrance-way is poles.
Up and down poles or roof supports or overhang
supports or something. But they're vertical poles.
When you get in through these poles. . . The next
thing I saw there were some kind of bars here too
but I don't know if it was a gate or I don't know
what it was.
#72: Okay.
#27.5: It might be overlay because I expected it, being a
garden and everything, but I got an impression of
bars. You go through these poles and you're in a
courtyard apparently with a fountain dead center.
And there's like a second building that's inside
this building that's offset to the right. And it
was all square white blockswith a heavy door.
To the right was another building catty-corner and
fastened to the interior as well as exterior
building. And I got an impression that this is
where all the business is going on - in this place.
Its also where I got an impression that. . . An
impression of being discovered in this building
checking things out. Very weird impression. First
time in . . .
#72: A lot of times.
#27.5: A lot of times. . that I've gotten that impression.
So I . . You know, I don't know what goes on here,
but. . . Also got a very . . a peaceful, a serenity
type thing. . about it. And that's it I guess.
#72: Garage.
#27.5: Oh, the garage. I can't. . . If I draw the inside
of the underground or covered garage area, what it
is - its going to look like every undercovered
garage or every covered or underground garage area
in any city in America. So I didn't do that.
There was nothing down there that would identify
it - other than the fact that, I believe you sent
me in it at 12 noon - Well, this white Oldsmobile
which was being parked and then the keys being
thrown in the trash was the only car visible in
this underground garage area. Now, in my mind
you know, this can't be right... because this is a
very congested city and at 12 noon it just wouldn't
be that way. But this is, so I'm struck with an
impression that its a storage area or a . . some
kind of a holding place of some kind. I don't
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know how to explain that. But still functions
as a garage. So, if you could find a place or
you come across a place like that, that's very
important.
#72: Is this the first time where the subject appeared
older?
#27.5: No. That's an interesting thing that I can't. .
its. . a feeling I can't really pin down. It was
. . when you walked into a public area, he was
all of a sudden wearing glasses, a lot older than
his picture. And the thing I can't pin down is
he wasn't. . . He wasn't disguised, but his
character had changed. And I don't know how to
pin that down. Its like . . As an example, its
like the difference in attitudes between two age
groups. A job being given to a 30 year old
executive versus a 50 year old executive and the
30 year old executive and the 50 year old executive
may do and follow the exact same actions to do the
same job and have the same result but there's just
some undefineable difference in their approach.
It has something to do with character or reservation
or . . . But this is. . . Ini.any event, this is a
willed change. Its like he's making some character
change - putting on a role like a camelion of some
sort. And, again, I stress again, that that . . .
that leaves me . . . that just reinforces my opinion
concerning this guy that he's an organizer, he's
not staying in one place, he's not meeting groups
of people. He's just . . He's sort of like keeping
Group A out of contact from Group B. He's . . .He's
I wouldn't want to meet him, personally.
I don't know - that's all I get.
Oh, he's armed. And, he's very dangerous. You,
know, this guy kills.. easy. Just points the gun
and pulls the trigger and doesn't bother him at
all. I get that impression too.
#72: All right. That finishes everything for the session.
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TAB
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TAB
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1. (S/NOFORN) Immediately prier to the session the r-
-mete-viewer was shown a photograph of the target.
2. (S/NOFORN) The remote viewer was asked to located the
individual.
Approved For Release 2000/08/07: CIAR[ 6 O78 D00700100001-4