SUMMARY REMOTE VIEWING SESSION LXVI

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000900220001-9
• Release Decision: RIFPUB
• Original Classification: S
• Document Page Count: 15
• Document Creation Date: November 4, 2016
• Document Release Date: June 17, 1998
• Sequence Number: 1
• Content Type: REPORT

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INSCOM
GRILL FLAME
PROJECT
CLASSIFIED BY: Director, DIA
REVIEW ON: 30 Jun 99
EXTENDED BY: Director, DIA
REASON: 2-301-C (3) (6)
GRILL FLAME
eccarl
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REMOTE VIEWING (RV) SESSION LXVI
1. (S) This report provides documentation of a remote
viewing session conducted for the purpose of orienting a
remote viewer to an applied remote viewing protocol.
2. (S) The remote viewer's impressions during this session
had some correlation to the target. The viewer was so relaxed
during this session that the interviewer was convinced that
the viewer had fallen asleep. This was not the case, however,
and the viewer started describing his impressions after being
into the session for ten minutes. The viewer stated that he
was confident about this session and was satisfied with the
post-session target inspection.
3. (S) The protocol used for this session and which will
be used in later training is detailed in the document,
Standard Remote-Viewing Protocol (Local Targets) by Harold
E. Puthoff and Russell Targ, November 1978.
4. (S) Following is a transcript of the viewer's impressions
during the remote viewing session. At TAB A are drawings made
by the viewer reference his impressions of the target site.
At TAB B are photographs of the target site.
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REMOTE VIEWING (RV) SESSION LXVI
#11: This will be a remote viewing session. (Edited
for security.)
#11: It is now ten o'clock. #28 is at the target
area. Join #28 at the target area and tell
me what you see.
PAUSE
+03 #11: (I think the subject is sound asleep!)
PAUSE
+05 #11: (No response yet.)
PAUSE
+10 #11: (Still no response.)
PAUSE
#11: Find #28 and tell me what you see.
PAUSE
+11 #10.5: Outside. Outside.
PAUSE
Light. Curve.
Green inside.
(Not audible).
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#11: Find #28. Tell me what #28 is doing.
#10.5: (Not audible)
#11: Place yourself thwere #28 is and look straight
ahead. Tell me what he sees.
#10.5: (Not audible)
PAUSE
(Not audible) white.
PAUSE
(Not audible)
#11: Go back to where #28 is located. Look to your
left and tell me what you see.
PAUSE
+15 #10.5: Green hill goes up (not audible).
PAUSE
#11: At #28's location, look to your right and tell
me what you see.
PAUSE
+18 #10.5: Dark. . dark. . white. . flat.
PAUSE
(Next five phrases - NOT AUDIBLE)
#10.5: Cool front, Cool, Dark. Front. Clean.
(Not audible).
#11: Okay, #28. . .
#10.5: (Not audible). . .
PAUSE
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#11: #28 is probably leaving the area by now. But
we can stay at the target and look around and
tell me what you see at the target area.
The beacon has found the target and directed
us to it. Now we can stay.
Do you have a feeling of other people or activity
at this target?
#10.5: Um hm. (Not audible)
PAUSE
#11: Are you still at the target?
#10.5: Um hm.
PAUSE
(Next four phrases - NOT AUDIBLE).
PAUSE
#11: Would you like to draw some of your images?
PAUSE
#11: I'm sorry.
#10.5: Okay. Thanks.
#11: Would you like a little bit more light.
#10.5: Ah. No. This is fine. (Not audible).
PAUSE
#10.5: Two was a . . . One was just that shape.
That was right after you kicked me off.
#11: Okay.
#10.5: And then Two, #11, was I'll say it was a . .
I don't know about this. I don;t know about
that yet. I can't. . .
#11: What you. . If you felt something and weren't
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sure about whether it was there or not, what
I do is normally draw a dotted line to indicate
that I felt that it may have continued on.
#10.5: Yeah. I don't know. I don;t know if it was
a circle or what but it was this curve thing.
#11: Okay.
#10.5: It seems like this white curve thing, with a
white edge around it, is ground level.
White edge there. Ground level throughout, green.
And inside was . .
And the third one, you asked me what was ahead.
What was in front. Oh, this is dark. And the
third one, and you asked me what was ahead. . .
#11: (Not audible) dark.
#10.5: Yeah. Just darkened up.
PAUSE
I got the feeling of pull.
PAUSE
When I was close to . .
PAUSE
I said it was a building or something. A tall
thing with the magical overhang again.
#11: Ha ha ha. It could very well be an overhang.
#10.5: I don't know.
And a curb like that. And you asked me what was
on the left. What I had on the left was like a
little hill. Not that steep. Okay, this is
grass at the top. . . with a building in the
background.
4
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#10.5: Ah. . I want to say that there is something
up here. Somewhere between the top of the
hill and this building in the background. Or
rails. Something in there.
#10.5: Okay.
You asked me what was on the right. The right
was dark in the foreground. . the edge of the
dark and like grassy, flat. And then somewhere
in the background it drops off. Down the side
of the hill. Flat. Open. I'll just say grass
is there. And then I just . . curves away.
And then. . . its not a high hill. A slight
hill. And then it continues on in the distance.
If I was to put it all together, it would look
like this. Something like this anyway. How do
you draw a hill?
PAUSE
I don't (not audible).
PAUSE
These are like contour (not audible).
PAUSE
Somewhere up here it was (not audible) less.
Then it comes two because I started in the
middle. Somewhere down here is the curve thing.
This from left to right. Somewhere down here
is this curve thing which is Number 2. This
is Number 4.
#11: You might even want to put an "X" approximately
where you felt you were standing at the time.
#10.5: Well. Okay, well then let me start here. Two
would be here. And then for Four I was like
right down here. And Four. Five I was here
in what would be the foreground on the other
side of this - dark foreground.
5
2CCAL
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#10.5: This is this white curve. And then here it
just . . then what did I have, I had the dark
. . . and. . this is the edge of the dark.
And then down here is the down slope. Flat.
And then. . gentle slope.
I went inside the front of the thing. And I
. . all I had was its white. . its um. . How
do I draw this damn thing now?
Let's see, here's a clue. This is the entrance.
Which is behind me so I can draw that. I was
like standing in a corner. Oh Boy, draw a
floor plan of that. (Not audible) in the right
perspective. Okay. I had the feeling that there
were people in there. But there were seats.
Okay. Rows like bench seats or rows of seats.
They were padded seats. Padded benches. Or
seats. And that there were several pilars
going across and the room but these seats you
know were amongst them. What am I doing here.
(Not audible). Okay. Goes back here there was
some more.
And this was all white. The floor of it was
all white. And these are colors, which would
look, in perspective, from where I was standing,
then they're yellow or tan.
And this is all earth tones. These are like
a light brown. What's my number? I got six.
This should be. . this is 7. But 8 is, let me
put it in perspective if I can. (Not audible)
background. Pilar in the foreground. And then
like a . . here. . Okay.
Over here in the back here like hidden behind
this one is the end of one. Whoops!
t%rJInr,T-
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#10.5: This wall goes off - shooting off that way.
White tile is what I want to say. With spots.
Again, this side of the wall goes down and
this is an interior wall. And that's a disappeared
corner.
PAUSE
#11: Can you think of anything else?
#10.5: No.
#10.5: There are trees around this place somewhere.
I didn't put in here. Like this is the building
front. Okay.
#10.5: Downside of the hill, I'll draw arrows. I say
that on the left side of this in the distance,
are trees. Okay. Tall trees. Like right in
close. Okay.
#11: Okay.
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TAB A
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L r (L~ t`
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r
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7,
W.1
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TAB B
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