TRANSCRIPT REMOTE VIEWING SESSION 913

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000700260001-7
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 15
• Document Creation Date: November 4, 2016
• Document Release Date: June 16, 1998
• Sequence Number: 1
• Publication Date: May 27, 1982
• Content Type: REPORT

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CLASSIFIED BY:MSG,DAMI-ISH
DATED:051630ZJUL78
REVIEW ON: -11(&.t. 16()b
(R,TT J F1 AME
NOT RELEASABLE TO FOREIGN NATIONALS
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REMOTE VIEWING SESSION #913
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 requester.
3. (S/NOFRON) 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 and narrative
provided by the remote viewer At TAB B is target cuing information
furnished the remote viewer.
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#66: This will be a remote viewing session for 0900 hours
27 May 1982. Following is a pre-session briefing to
the remote viewer. At this time, I show. you a photograph
of the building which we have worked on before. -You have
been asked to explore a particular area in the building,
which was of interest to the US Intelligence Service. I
now show you a second picture, which is a blow-up, another
photograph',, actually, of a particular section of that
building, indicating,the room in which we are interested.
Now if you compare to-two pictures there, you can tell from
the pattern of the curtains, where the second picture
falls on the first picture, it's sightly to the right of the
center stairwell. The flower covered curtains there, show
you which room we're interested in.
#32: This or this?
#66: Yes. To the, I'm sorry, not to the right, but to the left.
#32: Okay. Yes.
#66: These are the flowered covered curtains right here. And this
is the room in which you':au,_:eoncerne'd with.
#32: This is the one you want?
#66: Yes.. Okay. Now you had mentioned a man and a woman in that
area.
#32: Oh, yes.
#66: We're interested in that man and that woman and the activities
in that room in that area in the building. Now that you have
been shown the specific area in the building, your task will.
be..to return to that area, as directed by the second photograph,
I've shown you, pass right in through that window, and tell
me more about that area and the man and the woman in that
area. Do you have any questions about your task for today?
#66: All right. You now have 20 minutes to prepare yourself for
this morning's session. It's time now to set aside all your
worries and concerns and focus your attention solely and
completely on the target for this morning. Relax now,
relax and. concentrate on the target in the photograph I've
shown you. Focusing your attention perfectly, clearly,
precisely. Move now into the target area and describe it. to
me.
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#32: Right next to the entry door is a....somewhat of a large
painting-of a.war scene, I know a war scene and underneath
the picture, a brownish,.and.white.striped modern couch...
there's something about a black ...black or light pole,
like one of these spring lamps, come in a , extended from the
ceiling to the floor.
#66: Tell me of your raw impressions.
#32: There's something important about that fixture.;'
It's come back twice... It has an ulterior purpose.
#66: Describe the activity surrounding this object.
#32: It's too early to see who, a monitor... messages or something,
I keep getting ..keep going into the fixture. There are wires
in the fixture.... something about being crude but being
effective, I don't know.
#66: All right. Now this activity that you perceive. Describe this
activity in a step by step fashion. Describe the raw data
that you perceive in this step by step fashion concerning
this activity.
#32: It's a monitoring activity. It's a, it's a, it's a listening
activity, kind of thing that has limitations. It is intermittent.
It is, is..is used by the people connected with the activity,
like they are monitoring for themselves. It is not an outside
monitoring activity, although it could very well become one.
-It's to monitor the goings and comings on, of conversations
of...other people that come there, on certain occasions. The
individual overseeing this activity, is a tall, light haired
man,...late 30's.
#66: This activity that you've been describing to me, watch this
activity as the people actually do the activity and describe
your raw impressions to me.
#32: One or two people at a time, coming into report mainly, receive
instructions and then socialize.
#66: And this apparatus?
#32: Huh?
#66: In the apparatus?
#32: What about the apparatus?
#66: Tell me about it. How is it applied to what you have told me?
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#32: It's like behind the tall-man's back and it's put on and off
to monitor. Looks as though those (mumble) conversations
#66: Orient this apparatus in the room for me, you say it's
behind the tall man .
#32: Yes, it's to the right of the couch, and next to the painting.
#66: All right and from this perspective that your perceiving right
now, describe it to me.
#32: Again, it's a tall, light aluminum pole, painted in black
(mumble), reaches from the ceiling to the floor, it's about
an inch and a half, inch and a half in diameter. It's like
a light pole, like a lamp pole.
#66: Is it connected to anything?
#32: Yes. yes
#66: Describe these connections.
#32: I'm looking for them. .......Goes, I think it goes,like through
the floor, between the floor and the ceiling with (mumble)
in it.
#66: Follow and describe.
#32: Then it takes off to a....I think, across the hall,as the:-stairwell,
but it. doesn't close up in the wall...and it connected to a
wall outlet, an electrical wall outlet....Can I let this
thing go now?
#66: What is it you report now?
#32: I don't know. The wires want me to go back, because I'm
outside the room.
#66: All right. Let's return to the target room now, and I have
a particular question I want to address. You commented that
this was crude in someway, but it.was still effective, what
is the raw data which makes you say this?.
#32: Because it can't.be left on all the time. It doesn't have
a continuing capacity, a capacity to.kieep running on and
turn out too good. It's got to be put on and off at
specific times.
#66: What is it that causes this limitation?
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#32: It's lack of sophistication.
#66: All right. From your perceptions then,.of this apparatus,
standing the. target room, perceiving that what is going
on around you, I want you to expand your awareness now,
open up your receptors and ask of your greater self this
question. How can this apparatus be defeated? As you ask
yourself this question, describe your impressions to me.
#32: You just cut one wire, if you want to physically-defeat-it.
What is needed is a ...you can not physically-defeat the
apparatus without disclosing that the apparatus is defeated.
Because it requires a physical intervention, which would
be quickly noticed. What you need is a..a.wireless, no wire
transmitter to monitor this same activity, and you can neutralise
the results of that activity.
#66: I have no further questions about the activity in the target
area. However, it's time now for you to explore the target
area beyond the confines of my questions. Do this now.
#32: Yes, let me complete the layout. This is in the livingroom
atmosphere. There is one bedroom, one-small den and the
bathroom. Ther's also a rug in the livingroom that's not
long haired or the opposite of shag, very, almost like indoor-
outdoor carpeting type thing. And it's quite european
flavor all in all. The whole thing is european and german..
I don't have anything more.
#66: All right.
#32: I have nothing more.
#66: All right. Remembering everything that you have perceived a
about the target in perfect detail, let's prepare to draw
those perceptions which you've had.
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DRAWING NARRATIVE
REMOTE VIEWING SESSION #913
#32: Okay, in sketch #1, I made a rough sketch of the
disposition of the apartment, so we could locate the
couch, which is very next to the, located immediately
adjacent to the door, from the stairwell. And next
to the couch is this aluminum pole that I have described.
Then, in the latter part of the session, I described the
perceived outlay of the apartment, to include bedroom and
den, and bathroom. Okay, now.where the aluminum pole
is located, let's simply put a little circle and redrew.
#66: Then we're moving to page #2?
#32: Page #2, ._.a,-.. 8esimile of that particular area, where
the couch and the painting are located. And the thing
that caught my attention is an old battle scene painting
that hangs over this modern couch that I've described. And
to the immediate right of the couch is a black aluminum
type pole, maybe an inch and a half in diameter, very light
and it would seem that it was used as a pole lamp, as we
have known it before, with n couple of golds, striped designs
on the pole that isbm_s -cally.black. And that caught my attention,
in particularly in one of these apertures where you would put
the light bulb in. My attention kept going into those as
though I were looking for some type of mouse or something, and
ended up in the description that I gave you, about the
wires and. the monitoring activity of that thing. Now, the
strange thing is, is that the wires were quite old, in a sense,
crusty, light brown wires, that seem to go through the pole,
through the floor, ran between the floor and ceiling of the
first floor apartment, and then looped back somehow into
the apartment. I followed it as much I could, and then-it
ended up in the wall plug, as if the wires had been doubled
in the wall plug somehow, and that's as much as I could get
out of that.
#66: Okay. If we follow the wires and they come out of the base
of the pole and go into the floor.
#32: Yes They would loop and then they would go towards, towards
the wall. I'll just make some kind of jazzy line here, then
somehow loops up into the wall and to.the ceiling somehow
and ends up in a wall socket and I really can't explain it.
#66: Okay.
#32: I thought it might cross the hallway into another room or
something, but I just seem to form a big "U" and there was
always within the enclosure, either the floor or the wall,
or another floor, to end up in the wall socket.
nnrT
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#66: Okay, this wall socket that you end up at, okay,
I'll put the question to you bluntly. Where is that
wall socket?
#32: Yeas; I don't know.. I think it is on the same side or it's
in a rear. room toward a small room, it's very close, it's
very nearby, okay. And there's a feeling of mechanism there,
on or off mechanism. But exactly I don't know, I'd like to
say.it's.above because it makes sense, but I'm not sure
about that. I don't even know, I didn't even perceive that.
I just know that it makes a big loop and it.follows this
wire between the floor and the wall. It's always enclosed,
ends up in the-wall socket. But there I get completely confused
as to where that dumb wall socket is, but it does loop. It
is a "U", somehow.
#66: Okay.
#32: Okay.
#66: Do you have any other comments then?
#32: No, that was a, kind of a lasting impression, and equally
lasting was the picture of that tall blond individual
with the frizzy hair, 39 or 42 year old, who seemed to use
this place to entertain people of the same like conviction,
listen to what they seem to have to report and very nonsubtle,
not too subtle fashion, really, sort of brief them on what
he wanted to know for the future and then after this took place,
they seem to socialize somewhat in the room. This was
various people, mainly in couples in threes, pairs of threes
that would come in various times.
#66: Okay, now this activity you preceived here, who is monitoring
whom?
#32: He is monitoring himself. He is monitoring himself.
#66: So, this gentleman that you told me about, knows that he
is being monitoring?
#32: Yes, he is responsible for monitoring..
#66: All right.
#32: He puts it on when he wants to, puts it off when he wants to,
like I say, I don't think it's continuing , just.wants a
recording of the proceedings, particularly the business
proceedings on what he's interested in. Not so much the
social aspects of the meetings.
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#66: Now, I asked one other question. And you had some difficult
time working-on it. I'.d like you now in our debriefing here
to see if you can explain a little bit better.
#32: Go ahead.
#66: If.I wanted to defeat this monitoring operation, what method
would I use?
#32: Well, when you said that, I quickly became quite physical,
in a sense that the answer was "hell no, you can't, because
if.you do, someone will know that you have cut a wire." And
that's what you need to stop the activity and it did not seem
to be the solution to what you really want to know. And that
is, sure you can stop the monitoring activity, you go in there
with a pair of pliers and just cut one of the wires and the
whole damn thing won't work. But the guy that is monitoring
will know that this is so. So, the.suggestion was, monitor
what he monitors through another device.
#66: Okay .
#32: To another means., but you can not defeat the line apparatus
of what he's listening to, without it be known to him.
#66: Okay. And how am I to monitor what he's also monitoring?
#32: Bug him.
#66: You had some--
#32: Bug him with a cordless mike of some kind.
#66: Okay. So, in your own mind now, take just a second to review
all the things that you perceived this morning. Is there
anything else you have to add?
#32: No, no. there were two main impressions. There was the
individual with intermittent meetings and he being the_
leader and they reporting from various places and activities,
and he indicating a future interest on which they were going
to report, a.sharing of ideology, a pumping up in a social
intercourse after the'business meetings. And then, secondly
the pole, for what it's worth.
#66: Okay. And how do you feel about this session, your degree
of resolution of imagery and information?
#32: All my imagery, to me, was good, but only saw half the room,
I was quickly brought to the painting and right next to the
door and the couch and the pole. And then the imagery after
that was the man standing in front of the couch and interviewing
people that were sitting at tables or on chairs, long, big
chairs in front of the couch, like coffee tables and
drinking and what have you. That was very persistent.
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#32: Then at theeend of the session, I simply pushed myself to
find. out what the dispositon of the room was. So, I went
through the apartment to see, give me an idea of what it
was like.
#66: What confidence level do you have in what's going on here ?
#32 I don't know. Yea, that's what happened.
#66: That's what you perceive?
#32: That's right
#66: Okay. I have nothing else.
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