TRANSCRIPT REMOTE VIEWING SESSION 930

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000700310001-1
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 21
• Document Creation Date: November 4, 2016
• Document Release Date: May 8, 2000
• Sequence Number: 1
• Publication Date: July 9, 1982
• Content Type: REPORT

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INSCOM
GRILL FLAME
PROGRAM
SESSION REPORT
00788R000700310001-1
CLASSIFIED BY: MSG,DAMI-ISH
DATED: 051630ZJUL&*
REVIEW ON :_au Lt ?OD
NOT RELEASABLE TO FOREIGN NATIONALS
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SUMMARY ANALYSIS
P96-00788R000700310001-1
REMOTE VIEWING SESSION #930
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 impresssions 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/NOFORN) The protocol used for this session is detailed in the
document GRILL FLAME Protocol, AMSAA Applied Remote Viewing Protocol
(8), undated.
4. (S/NOFRON) 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. Target cuing information was a sealed
envelope containing photographs of the interior of the target building
which was shown to the remote viewer. AT TAB B is the exterior
photograph shown to the viewer before the session. At TAB C are the
photographs which were in the envelope and shown to the remote viewer
after the session. Included at TAB A are Comments by the remote viewer
concerning the target area after having seen the photographs in the
sealed envelope.
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TRANSCRIPT
REMOTE VIEWING SESSION #930
#66: This will be a remote viewing session for 0900 hours
9 July 1982. Following is a pre-session briefing to
the remote viewer. All right, at this time, I'm going
to show you a photograph of a target Wilding. I
showed you this photograph after your last session.
This is to refresh your recollection as to the target
building, we are going after. Today, we will be
exploring the interior of this building. In the sealed
envelope, which I now show you, in the sealed envelope
which I now show you, are photographs of the interior
of this building.
#19.5: Okay.
#66: Having not seen the contents of the sealed envelope,
your task will be to go to the building, in the photograph
which you're looking atl move inside the entranceway and
move to the sensitive, important area within that
building.
#19.5: Okay.
#66: Once, you have acquired that imagery, I will have questions
for you comcerning this critical area in this building.
#19.5: Oaky.
#66: Do you have any questions concerning your mission
requirements for today?
#19.5: No. One. You want me to walk you from the entry door
to the critical area or do you want me to go straight
from the entry door to the critical area?
#66: To the critical and then I will maneuver around the
interior of the critical area. Go to the critical and
if I recognize where you are, then I will then be able
to position you within that area for the appropriate
description. Any further questions?
#19.5: No.
#66: Go directly, then, to the critical area.
#19.5: Okay.
#66: Prepare yourself, now, for this morning's session.
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#66: Relax now, relax. Concentrate all your efforts, your
mind, your perceptions, focus now on the target building
in the photograph I've shown you. As your imagery clears,
as you perceive yourself at the target. Relax, concentrate.
Move into the target building, directly to the critical
area and describe your perceptions to me.
#19.5: Silver discs, I have a metal door
fake wood, low ceilings. Offices
#66: Stop. Return to the metal door.
closed:
hallway covered with
two offices.
Is this door open or
#19.5: Closed, there's an automatic closer.
#66: ANow through the door,describe the area to the immediate
other side of the door.
#19.5: Narrow, short hallway, room, room to the
rooms' to the right, then see a room with
wall, built into the wall.
#66: At the doorway again, to your left.
right, other
curtain on the --
-
#19.5: See a white things, white box 4 safes, cabinets or something,
black metal box, see what looks like white boxes, long(<
side.
#66:
#19.5:
#66:
All right.
Bright lights.
Now to the original critical area around, you started
with a metal door, and found yourself in a room, office
area, return to that area.
#19.5: See table, small boxes on tab1e4
#66: Stop. On what floor of the target building, is this
room?
#19.5:
Second floor.
#66: From this room, from this room, very slowly, carefully,
find your way downstairs, and describe as you go.
#19.5: Just a minute Come out hallway, walk down hallway
going toward center of building, perhaps twenty feet,
thirty feet, right turn and the stairs going down,
like a "U" turn, stairs go straight down.
#66:
Describe stairway.
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#19.5: Straight endlosed stairs, open, like I can see through..
suspendedsteps.
#66: As you face down stairs, walk slowly down stairs and
describe as you go, facing forward... On down the stairs
now, and at the bottom of the stairs and describe.
#19.5: See a cross center section like, hallways, "T" or a cross.
#66: Okay.
#19.5: Straight ahead, long shot of step up to curve ceiling.
#66: All right. At the bottom of the stairway, take two
steps forward, turn around lobk back at the stairs.
#19.5: See two stairs.
#66: Is there anything between you and the stairs?
#19.5: Wall, no I'd say....something wood, I can't tell some
kind of design that, looks like wave pattern.
#66: All right. Take one more step to the rear so that you're
further away i1,. the staircase.
#19.5: Iron and a wave pattern, gate, I can't tell. Looks like
some kind of old fashioned elevator type gate, only
ceiling to floor, wrought iron or metal.
#66: All right.
#19.5: I don't know.
#66: Move through this and up the stairs and stand at top of
the stairs.
#19.5: Multi-colored carpet, very dark hallways.
#66: Don't move, simply stand at the top of the stairs.
#19.5: Okay.
#66: Describe within five feet.
#19.5: Some piece of old furniture, table, got a table or stand,
corner of a wall, appears to be front left, hallway on
right.
#66: Is there anything between you and the hallway?
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#19.5: Feels like leather, soft, something soft.
#66: Okay. Now from the top of the stairs, from the top of
the stairs, face the area in which you first perceived,
the area identified as the critical area, that you first
perceived, from the top of the stairs, describe how I
get to this critical area.
#19.5: You go left, left, left. around the stairs. It's like
a walkway, parallel to the stairs and it's to the right
as you're walking that way.
#66: All right.
#19.5: Like going back towards the entry of the building.
#66: That's fine. You can draw that for me if you want. You
??kilVow, focusing in this critical area, focusing in this
critioal area, in the present time window, describe the
present activity to me. Take a moment to identify with
the target area.
#19.5: See somebody with gray or green box of some kind. Got
a silver rod fastened to it. He just seems to be
listening to something.
#66: All right. We want to move now beyond the confines of
your everyday descriptions of the area. Want to identify
now with,the area, the activity in the areata,9, your
consciousness expands larger and larger, bellONingione
with that which is the target, search in your mind, search
in your mind, what is it that threatens the target and
the activity? What is it that threatens the target and
activity?
#19.5: Just a minute Get an impression of employee, not
someone out of the building, but somebody at--
#66: Describe Vie raw impressionst. Feel like I'm invading a personality to answer the question.
Feel like I'm. looking through someone else's eyes. See
filessomething%'- pu askPthe question,threat7 Far away
feeling like I'm somebody else, looking at files.
#66: All right. Relax.
#19.5: Stealing, stealing.
#66: Relax now and gain control of this ability to perceive,
narrowing your consciousness even more now, in complete
control, holding in the back of your mind, this raw
data, hold your awareness dimensionally, step away from the
perception and observe, observe from the outside this that
you have understood and describe it to me.
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#19.5:
See a man looking at files.
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#66: Freeze time, freeze time. Stop motion, describe the
room in which this was happening.
#19.5: Pale, pale color wall, like light green or light green.
Map on the wall, single gray safe or metal file. Low
ceilingslsome kind of indirect light built into the wall
to right of table or desk. Got some kind of glass afixed
to it. Bright light, flags, some kind of flags on a
pole. The man is 48 - 50 years of age, short cut hair,
light color, like sand, sandy hair, gray mustache.
Looks like he's rereading files.
#66: Ask him, ask of him does he belong in this office?
#19.5: Yes. He doesn't want to do what he's done, ibut he has
to...has to do it trying, evidently, he's trying
to select, select specific information.
#66: Okay. That sounds very much to me like a conclusive
statement. Tell me the raw data that, I know you
spent some time on the target there, because you were
gone for a minute, Tell me that raw data rather than
the conclusion.
#19.5: Reading line by line by line, by line, all important data,
but just seemed to be selective, or not)overlooking line
by line, by line, looking for something with different
value. If he's judging what he's reading, I don'te,
#66: All right. Let's let time move forward now and patch
him. I will not interrupt you with questions. Let
time move forward and watch.
PAUSE
#19.5: qee , I don't see any variance in the pattern, he just
works there, I guess.
#66:
#19.5:
#66:
#19.5:
All right.
its location
It's like in
Describe the
This room, that you described to me, describe
in the building, so that I may identify it.
acontrolledhallway area.
ralthat makes you say that.
I get a locked door to the hallway and a series of rooms
in this hallway. This is first door to the right,
through locked door. I think it's... oh..it's an office
but it's small. It's like in a wing, a wing of the
building.
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#66: All right.
#19.5: This guy is multi-lingual as well, getting like three
languages from him, his thoughts. English is not his
predominOnt language. Getting erench for sure, and
Englishlfor sure, somethingyvery,guttutallype:language,
#66: Now, before we leave the session and do the drawings,
I would like to explore some imagery you had and while
you are still concentrating on the target, perhaps you
can go back. When I first asked you to focus on a
threat.. tothe building and the activity in the building,
you gave me the raw dataath0 yo were seeing through
another person's eyes, seIVInSber that question,
you became someone else. ,You then gave me an analytical
comment that you felt as though this may be a HUMINT
agent that was stealing and that this would be a threat
to this building in this area. I am interested in
exploring whether or not there is any imagery perceived
of stealing or whether that comment is only analytical
on your part?
#19.5: Wait just a minute That's predominantly
analytic, I think, concern for theft is more accurate.
Can't tell if it's employees concern over theft or if
it's see this theft, can't tell, it's'just a concern
for theft. Hard to tell if it's stealing, he's stealing,
don't know. If he's concerned of being caught for
stealing or if he's just concerned over stealing. I
can't tell.
#66: All right. I understand. I have no further questions,
however I would like to provide. you an opportunity
now to comment on anything I may not have questioned.
#19.5: Keep getting drawn to light fixtures and I don't know
what that has to do with the questions you were asking,
but I keep getting drawn back to built in or indirect?
lighting fixtures, nothing specific, just drawn to
indirect lighting fixtures.
#66: Remember them, so you may draw an example for me.
#19.5: Okay.
#66: All right, then, let's prepare to draw the perceptions
that you've had during the session.
SEE TAB A FOR DRAWINGS
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TAB
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DRAWING NARRATIVE
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REMOTE VIEWING SESSION #930
#19.5: Page #1 is the ground floor, hallway, with an arrow
indicating the entry, main entry and then I drew a
dotted line. I said something changes here. I don't
know what that is. It's like gluing two buildings
end to end and going from a different set of wall
paper to another set of wall paper or going up two
steps or down two steps, ?there is some weird change in
the hallway at that point. And then the staircase is
on the left and goes straight up to the second floor and
then there's a "T" intersection hallway behind the
staircase.
Page #24 this is the, labeled second floor, and at the
top of the staircase, you keep going left and left, you
know, you go around to the left, following the arrow to
the area of importance, which is gained by access
through a steel door. It is decorated not to look like
steel. And also facing away from the Ataircaser I felt
like was another protected area, I'l1inT71Secause it had
a door_p49ing off the hallway. But I went in the
area 01a?lhe steel door is.
Page #3 is like a cutaway of the stairs. You asked me
what was to my front when I came down the stairs and
I had this wavy design, but there's a box shape, you
know, and I'm not sure if it was inset in the wall or
out of the wall or what it was, but it was something like
a, I guess, I don't know, like a phone booth or something.
Looking at these wavy lines, reminded me of the old
fashioned metal, iron gates in elevators, you know the
exposed elevators, the old brass elevators, that kind
of thing.
#66: Okay. So there's, at the bottom there's this large box
shape that you perceived and then you also think that
there is something there that is kind of like a gate.
#19.5: Well, I wouldn't call it a gate, it just some kind of
metal design or something.
#66: I understand what you mean though, when you say an
elevator that would zip off this--
#19.5: Yeah, right.
#66: --a criss-cross design.
#19.5 Yeah, right, like a criss-cross design type thing.
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#66:
#19.5:
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Okay. And the the big box shape at the bottom.
Yes.
#66: Now, you're going on to #4. I imagine this would be
the office where this gentleman is looking at the
files?
#19.5: Yes , same metal door. I started to get a little
screwed up here, because I'm not sure if I'm 180 degrees
flip-flopped or what I am, you know, as far as this
office goes, 'cause I'm kind of like going right to the
office, I'm not going through the door.
#66: Are you saying thatiyou're not sure whether you turned
left or you turned right, is that what you mean when
you say reversing.
#19.5: Yes, I get an impression that you go through this metal
door and you come into an office. But then I get a
feeling like I go through another door, not metal, and
I'm in another office, you know, right out of that
office. And then I get a feeling like you go through
another door and you're in a room with electronics, that
room with the stuff in the wall. Okay? So I'm drawing
all three together like this, but I don't know the :
relationship of the doors in the doors, it was a
little confusing to me.
#66: Okay.
#19.5: The outer office is pretty bare, but the inner office is
where I see this guy going through files And, you know,
I don't know if he's stealing anything or not, but
I get this concern with that and it may be that he's
looking for the thief. You know there's just this
concern. I don't know how to define it in his head.
I don't know if he's concerned about being caught
stealing or if he's concerned about catching a stealer
or what he's doing. And then I was drawn to the light
fixtures, which I'll talk about. I get a feeling like
there is all the indirect lighting fixtures that are
hidden away, like in recessed ceilings and behind or
up over coving like, built out from the wall. I just
kept getting drawn to this, to these indirect_or
concealed lighting fixtures. And so I was investigating
bulbs. I found myself looking down the florescent tube
and looking at the ends, but I wasn't seeing anything,
I was just being drawn, continually drawn back to these
fixtures. So if I were a betting man, what I.would do,
I think, is tear all the florescent type fixtures out
and replace them. And I don't know why. I just have
to say that.
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#66: Okay.
#19.5: I'm just very suspicious of the lighting fixtures, that,
I .Wept being drawn back to these indirect lighting
fixtures, these florescents that are hidden away. That's
all I got.
#66: Okay. Now that you have completed your drawings, I want
to spread out these picture here, so we can look at them.
The drawings #1 through #4, the area you perceived here
and at this time I'm now going to open the sealed envelope
and show you the photographs of the area here. And
I want to see how you compare these photographs with
what you found and then perhaps actually seeing the
photographs, you can direct me to the area of importance
within the photographs. So I now show you the photographs
of the interior area. Now the photograph here, labeled
#1, is a picture of an entrance to an upstairs area and
it's a very large conventional vault door that apparently,
somehow, closes off the bottom of the stairway. And
once you go up the stairs, we move to picture #2, in
which we have a security door of some kind, as you see,
it has some locks and:it has a little shelf on it, okay.
Now, if I were to walk in passed that door and close
theAoor behind me and look back at the door, we would
move to drawing #3, which is looking back at the door.
#19.5: And also there's, you then have your series of three
offices, 1 2 and 3.
#66: Okay.- We have some, it's hard to tell from these pictures,
where we would go from here, but obviously there are some
different inside, in drawing #3, behind the protective
door, we see there is the area we are standing in, plus
there's an area off to my left and off to my right.
#19.5: Yes, okay. The area of interest is,...my opinion, judging
by the pictures and my drawings is the area that I. was
in with this guy, that I felt was the area of interest,
is this room or where the third photograph was taken
from.
#66: Okay, if we look at drawing #2 and look straight back then,
you think that is the area that you saw the guy in.
#19.5: The guy in, right. And the area in, looking in picture #3,
looking towards the, I guess the top of the stairs or
whatever, yeah, the top of the stairs, the room to the
right, behind that metal door, is the area that had
electronics or whatever, in it.
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#66: Okay, from the way you can perceive things nowlooking
at it.
#19.5: Yes, the way I perceive things now that looking at
it.. And I think that my box shape, in my drawing #3,
I think is the door that's open. I think it's a 180
degrees flip-flop and the door's open.
#66:
#19.5:
#66:
#19.5:
#66:
#19.5:
Oh, I see, you're saying that--
The box shape is the door that's open.
---In photograph #1, the door matches your box shape
in drawing #3.
Yes, I get that impression.
q
Ey the mere image of it.
Yeah, I get that impression.
#66: All right, do you have any other comments concerning this
morning's session, now seeing the photographs of the interior
of the area?
#19,5: Just in my drawing #4, where I had these three rooms, I
see where the hallway is now. It's the line. It's the
line between the electronics and the inner office. It's
kind of weird, but a..
#66: So_what youtre saying, I think, is in drawing #4, you
have 3 offices, but they are not put together in a way
that you see they probably are, in the pictures?
#19.5: Right. I also see that in photo #3, I see a florescent
light back behind what appears to be some kind of a
window or glassed in area, you know. And that's the kind
of way I'm seeing florescent lights through this whole
building, you know, in this upstairs area. I get an
impression like, getting an impression like, you know,
that rings true, so whatevar floregcent fixtures .are
inside, particularly_in #3, where the guy was standing
in the room, that's visible in picture #2_and in picture
#3, the room to the right, which I perceived to be the
electronics room. I would be very concious of the florescent
fixtures in those areas.
#66: Okay. Is there anything else you would like to add.
#19.5: No. That!s all. I'm a little disappointed in my
staircase, but at least it was a straight stair and
it wasn't a twisty stair or spiral staircase, or anything
like that.
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TAB
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SG1A
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TAB
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