SUMMARY REMOTE VIEWING SESSION XXXI

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000900280001-3
• Release Decision: RIFPUB
• Original Classification: S
• Document Page Count: 21
• Document Creation Date: November 4, 2016
• Document Release Date: March 27, 2000
• Sequence Number: 1
• Content Type: REPORT

Approved For Release 2000/
?I`er
oo 71
Approved For Release 200
ORCON/NOFORN
INS COM
GRILL FLAME
PROJECT
96-00788R000900280001-3
SESSION REPORT
CLASSIFIED BY: Director, DIA
REVIEW ON: 31 May 99
EXTENDED BY: Director, DIA
REASON: 2-301-C (3) (6)
96-0
11404810AlitE
Approved For Release 200
DP96-00788R000900280001-3
SESSION REPORT
REMOTE VIEWING (RV) SESSION XXXI
1. (S) This report documents a remote viewing (RV) session
conducted in compliance with a target request from OACSI, DA.
This target request was integrated into the target pool on
hand which is being used in the RV training program of the
INSCOM GRILL FLAME Project (IGFP).
2. (S) The protocol used for this RV session is detailed
in the document, GRILL FLAME Portocol, AMSAA Applied Remote
Viewing Protocol, undated. The remote viewer chosen for
this session has had previous successful RV experiences when
the on-target time has been in the future with respect to
the time the RV has been conducted. The RV of future events
(location of a "beacon") is not without precedent and is
fully documented in what is now known to the GRILL FLAME
community as the "IEEE Paper." This RV session was structured
to take advantage of the selected remote viewer's ability to
conduct RV of future events.
3. (S) Portions of the following transcript have been
edited for security. The deleted portions relate to
personalities involved which require confidentiality, specific
operational techniques employed which, if divulged, would
allow assessment of RV capabilities and/or development of RV
countermeasures, and the actual date/time the RV session was
conducted in the interest of good OPSEC so as not to disclose
operational patterns of the IGFP office. This data is avail-
able by request from the IGFP Project Manager for personnel
with proper clearance and appropriate need to know but has
been deleted from this report to facilitate its dissemination.
The #100 refers to the designated "beacon" personally; #28
refers to the RV session interviewer; #19.5 has been assigned
to the selected remote viewer.
4. (S) At TAB A is the transcript of the RV session. At
TAB B are drawings made by the remote viewer reference his
impressions of the target area. TAB C is to be completed
by OACSI and will be an assessment of the accuracy of the
remote viewer's impressions of the target area.
Approved For Release 20Q -RDP96-00788R000900280001-3
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900280001-3
TAB A
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900280001-3
a
?tt
Approved For Release 2000 g - DP96-00788R000900280001-3
TRANSCRIPT
REMOTE VIEWING (RV) SESSION XXXI
#28: This will be a remote viewing session. We are
going to go ahead and start right now. This
will be a precognitive session so the actual
on-target time will be some time in the future.
(Edited for security.)
#19.5: Okay, what I'm going to do is . . . a . .
assume a general time that all three of us will
be there. I don't know if I have to or not.
#28: No, I'm going to give you a specific time, okay?
#19.5: Okay.
#28: I'm going to give you a specific time.
#19.5: Okay, why don't you give me a specific time then.
#28: We have a preselected target. Its already been
decided upon.
#19.5: Okay.
#28: We've been maintaining it in the red file here.
#19.5: In the red file.
#28: Your target time is the 14th of May.
#19.5: 14th of May.
#28: The target time is 1530 hours. (Edited for security.)
#19.5: 1530 hours. Okay.
#28: Your individual target is #100. (Edited for security.)
What we'd like you to do is to give us a description
of his location on Monday, 14 May 1979 at 1530 hours.
#19.5: Okay.
PAUSE
PAUSE
Approved For Release 2000/08/
96-00788R000900280001-3
Approved For Release 2000/08 . - P96-00788R000900280001-3
#19 5: I see a . . . I see a large vaulted room. I see
vaulted. Its got very high ceilings. Very high
ceiling. I see a . . . see sort of a decorative
style curtain by ceiling to floor windows. . .
I see a . . . what appears to be a large table.
But its. . . it seems like a counter of some sort.
(Not audible). The lights in the ceiling are
recessed. Nice carpet. This is not his office
either. He is not in his office. He's visiting
someone. More than one person. . . . I get strong
feelings of blue. There's a thick carpet that's
probably. . . probably blue. That's all I get on
the inside. Do you want me to try to get the
outside?
#28: Well, let's draw what you have first here. Before
you forget these images, go ahead and draw them.
(DRAWING)
#19.5: These are like. . . I don't know why I get the
impression that these are glass windows top to
bottom. The doors are some form of . . . glass.
decorative curtains. . . Its all down one side
wall. Then the . . . far end of the room . . .
I don't see any windows on the right hand side.
There's recessed lights in the ceiling. . . There
is a . . . counter type table with probably. . .
six chairs. . . There is a . . . painting on this
wall. Carpet is blue. The entrance is back this
way. The ceiling's abnormally high for a room.
It probably doesn't look this way to scale. That's
all I see, its just a . . . I see all the chairs
filled, you know, people in the chairs. Just
everybody sitting around. That might be . . some
kind of discussion. . . Not a formal discussion.
More like an impromptu get-together to discuss
something. You know. That's all I see of the
inside.
PAUSE
#28: You see #100 in this room?
PAUSE
Approved For Release 2000/08/v6.
2
uo-00788R000900280001-3
Approved For Release 2000/ DP96-00788R000900280001-3
#19.5: Yeah. I see him as being the person on this end
of the table.
PAUSE
That's all I see. I don't even see any other
furniture in the room.
#28: Okay. Thinking about being there in that room,
1530 hours on the 14th. (Edited for security.)
I'm interested in having you tell me something
more than what you see. What are some other things
about that room that maybe you feel?
#19.5: I feel like a . . . its an older building. I feel
like a . . . its not a common place for him to be
. . . I feel like he's a. . . he's sort of like
the center of attraction. As far as the reason
for his being there. . . Sort of like the keynote
of whatever this get-together is. . .
#28: Tell me what makes you think he's the center of
attraction.
#19.5: I get the feeling like he's just. . . he's giving
some form of a briefing to somebody. I don't
think its everybody at the table, but he's giving
a briefing to someone.
#28: Is there anything unique about anybody else at the
table?
PAUSE
#19.5: There's something unique about everybody at the
table. I can't put my finger on it. I get an
overpowering. . . feeling right now that I want
to say a place. But I know it can't be right.
#28: Please express everything.
#19.5: Okay. I, for some reason, I get the feeling he's
in the White House. But I don't see why he'd be
in the White House. Or at least a part of the
White House. . . But my. . . my rationale tells
me no, I just feel like that's where he was going
to be. Keep coming back to that.
3
Approved For Release 2000/08 ii q I96-OO788ROOO9OO28OOO13
Approved For Release 2000/08/00
PAUSE
96-00788R000900280001-3
#28: What are you looking at now?
#19.5: I'm looking at the shape of the building. I'm
trying to . . . I'm trying to get outside the
building so I can look at the shape of the
building. Everything I get about the building
. . . is, I think that's what's doing it to me,
because I'm getting a . . . sort of a flat T
type structure. Something like this. (DRAWING)
And I'm looking at . . . these doors as being
the exterior to this room.
#28: Is this a multi-story building?
#19.5: Yeah. I see. . W011, what my advantage point, I'm
seeing two floors; but I sense there's more than
two.
#28: Describe the location of this room within the
building.
#19.5: Its on the. . . Its on the. . . Southwest corner
of the building. Only because I sense that its
afternoon and this is where the sun is. Like that.
From my vantage point.
#19.5: I sense an overhang here of some sort. But that's
not right. Its a square face. That's all I could
get.
#28: Okay.
#19.5: That's all I could get.
#28: Um hm.
PAUSE
#28: Do you want to take a look back in the room there
for a minute?
#19.5: Okay.
#28: Its now. . . in our time. . . about fifteen minutes
have passed, so. . . look at it as though its
about 1545 now. . . Fifteen minutes have passed
over. . . over when you were first looking at that.
Has anything changed?
4
Yemil
Approved For Release 2000/08 -00788R000900280001-3
Approved For Release 2000/ P96-00788R000900280001-3
#19.5: Yeah. There's nobody at the table. There is. .
I see two people still in the room but they're
not at the table any more. They're all the way
back across the end of the room, the other room.
#28: And what are these two people.
#19.5: Over this way. . . They are sitting at a small
desk and talking. Wait a minute; that's not
right. Can't be a desk in this room.
PAUSE
I've got the entrance wrong. . . (DRAWING). .
That's the entrance and there's a desk at this
end of the room. Here. Almost against the wall.
#28: Draw that in on your picture.
PAUSE
#19.5: Picture. . . Not going to sell as an artist.
PAUSE
This is . . the scale's all messed up. The desk
is almost the size of the table and its back this
way. At the end of the room. The table's at that
end of the room. The entrance is . . to the right
of the desk. . . if you could look through the
wall. There are large windows directly behind the
desk. Seem in the corner of the building. I see
a small table over here. . against this wall. . .
. . with a . . something decorative on it. There's
two people talking. #100 is gone. He's not in the
room. I don't know who these two people are, but
they're. . . they're still talking. They're still
discussing what he had come to discuss. I say come
to discuss because he's not any where near the
building where he normally works. I don't think.
I don't sense that he is. . .
#28: In this area. . this room you've looked at, when
you found #100 at 1530 on the 14th, he was there
in that room for a period of time. Is that what
I understand?
#19.5: Yes.
5
Approved For Release 2000/08/ 00788R000900280001-3
4
Approved For Release 2000/Obi 4
A6-00788R000900280001-3
#28: Okay. The room itself now, not focusing on #100
in the room, but the room itself -- tell me what
goes on in that room.
PAUSE
#19.5: A. . . I just sense that there's a lot of paper-
work that goes on in the room. . . Sort of like
a receiving room, more than a work room. . .
That doesn't make sense either. . . I get the
feeling like its not used all the time. But its
only used. . . Its used for work, but its not used
all the time for work. Its only used for . . .
certain occasions in work, okay? . . . I get a
whole bunch of mixed feelings about even what the
hell is work in this room. . . I'm a . . .
#28: Is there any electronic equipment in this room?
PAUSE
#19.5: Ah. . . yes.
#28: Describe this to me.
PAUSE
#19.5: I sense that there is . . . behind this wall is
some electronic equipment. I sense like, maybe
a. . . a projection type. . or a . . picture
display type. . equipment. I sense alarms in the
doors. Its a . . . I feel funny about the rugs
too, for some reason. Its almost like there's
some form of a sensing device in the rugs. But
I can't. . . my mind doesn't tell me there is
such a thing. . . Somewhere in this area. . .
and light. . . switches. There's a recorder some-
where in the room, but its not. . . its like one
of these - hand held type recorder. I get a
feeling of grays. . . a lot of grays and blues.
I think I mentioned that. I think that. . . Blue
and gray. Not necessarily the carpet. But just
a. . . the feel of the whole room, you know, the
walls. . . ceiling. . everything is real light
color, blue and gray.
6
Approved For Release 2000/08 -00788R000900280001-3
Approved For Release 2000/
96-00788R000900280001-3
#28: In looking at the walls of the room, is there
anything unusual that might attract your attention?
#19.5: Ah. . . Yeah. There are . . I don't know. . . .
woody. There's like . . . I'm not getting a very
clear image, but there's like a decorative
historical type thing on the wall. And I can't
tell if its a picture or a plaque. There's more
than one involved. Different shapes. All different
shapes. And they're on the wall on the right as
you come in. Sort of like . . . a . . . round one,
and a . . . square one. . . (not audible) picture.
I think that's a picture there. A frame. . . That,
that. . . there's not really . . . there's. . .
they are lined up kind of orderly but not orderly,
you know. You know all the top edges in a nice
neat row and they just kind of . . . they fit, the
way they're up there. They're decoratively put on
the wall.
#28: Okay.
#19.5: Down the length of the wall. Some are contemporary
and some are old.
PAUSE
#28: Do you feel comfortable in this room?
#19.5: I don't. Because I feel like there's a whole lot
going on in this room that I don't. . Its just
completely over my head. . . . I feel a great deal
of anxiety being in the room.
PAUSE
I get the feeling there's a monumentous decision
being made very lightly. You know, its off-handedly
like. . . you know, its kind of a . . disturbing to
me.
#28: When I asked you about electronic equipment in the
room, you didn't report any communications devices.
Are there communications devices in the room?
#19.5: This is going to really sound weird. . . Okay?
I see a . . what you would assume to be a
communications device in that room. Its a
disguised communications device. Okay? Its like
the . . . its like a power system for a telephone,
okay. Its in a nice cabinet, very decorative
cabinet and the communications device is not
Approved For Release 2000/08/07 :
000900280001-3
Approved For Release 2000/ DP96-00788R000900280001-3
normally displayed that way. Its sort of like
one of these special, custom made jobs that you'd
want to hide the fact that its a fancy communica-
tions device.
TURN OVER TAPE
#28: Is there anything else, #19.5, that you would
like to tell me about this room that you feel
is important?
#19.5: Wait. Wait a second, #28. I want to . . . this
intrigues me, this communications device. I've
got to draw it. Because it doesn't make any sense.
I've never seen anything like it. I see a very
decorative box that is taller than it is wide. .
Very heavy. . . I keep sensing twin decorative
doors. By decorative I mean its very good wood.
Like oak or walnut. Walnut probably. . .
#28: How tall is this box?
#19.5: 21 to 3 feet tall. . . about two feet wide. .
And. . . two feet deep. But the . . the communica-
tions the real box, okay, if you will. . . is
inside this one. Why, I don't know. The person
who owns this communications equipment doesn't have
any reason to prevent anyone from seeing it. All
I can think of. And it has a large. . . front
door that opens. . with a handle. It almost looks
like a safe. A small safe. No legs. Its sitting
on a funny looking pedistal. And its to the rear
right of this desk. Up against the wall. And . .
a. . there is a telephone link to this.
#28: Have you ever seen anything like this before?
#19.5: Ha ha ha. Not in a fancy box. I remember once. .
Naw, that couldn't have been because it was . . .
Its a . . . I guess a lot similar to the. . . to
the. . a. . . I sense that its a lot similar to
the a. . the AOC phone system. Cryptive phone
system. . . But this is smaller than the AOC.
Also, I think of . . . much more advance generation
than the . . AOC. I think this might even power
multiple telephones. Its just that I just can't
believe they would put it in a decorative box. I
don't see any reason. It doesn't make any sense.
But that's what it is. But I sense that's what
it is.
Approved For Release 2000/08/07 : CIA8 000900280001-3
Approved For Release 2000/08/
6-00788R000900280001-3
#28: Can you sense underneath the decorative box,
and #19.5, and describe the interior, inside the
decorative box?
PAUSE
#19.5: I see like a bunch of electronics packed behind a
wire mesh screen. (Not audible) a parts bend. . .
Ah. . . No. . . Its just a wire mesh screen and
behind it a . . row of cards. Like you look at
the edge of a bunch of cards that are. . in a
holder. And there is . . these are insert cards.
. . electronic cards. And I see something at the
end of this row of inserted cards. . . that looks
like silver cylinders . . . and. . . something
behind the silver cylinders that's sort of a
brownish black. All wires. This, I get this,
I sense that this is the guts. The insert cards.
These are what make it tick.
PAUSE
He's unaware of all this. . . He's only there as
a visitor, I think. He wasn't in the room very
long. Probably. . . . thirty-five minutes at the
outside.
That's all I get, #28.
#28: Okay. How do you feel about this session, #19.5?
You've done some precognitive sessions before.
You've done some regular sessions. How do you
feel about this?
#19.5: I don't know. I don't feel like any of this has
made sense. I feel like there is probably about
thirty percent clutter in here. . . Its . . .
Its terribly difficult. . . when you try to . .
piece together a . . . a target; to keep your
analytic. . . keep your analytic side out of it.
I'm not sure, like when I say table, I'm not sure
if its a table of if its a . . like this particular
table that they were sitting at originally that I
had said they were sitting at; I want to say table
but the thing that stops me is that I keep . . .
I keep sensing that its not your ordinary table.
I feel like its a custom made table, you know,
that. . . that nobody else would ever have. You
know, its just a . . . it was built special for
9
Approved For Release 2000/08/07 : 788R000900280001-3
it V V
Approved For Release 2000/08/ 96-00788R000900280001-3
this room. Its almost like its . . . belongs
there, you know. I feel a lot more than what
I'm saying and its hard to translate it. I
don't like. . . For instance, the communications
device. I didn't have any sense or feeling that
there was a . . . I sense there's communications
devices in the room. Even other than this and
. . . I sense that there's perhaps three or four
microphones. I sense that there is perhaps. .
small radio, you know, all these things are corn
devices. But when you asked me to concentrate
on it, then I sensed immediately this real nice
looking walnut box. That doesn't, you know, it
caused me a lot of bad. . . bad things I think
about. I'm not. . . I've never seen a corn device
in a walnut box.
#28: Okay.
#19.5: And. . I say walnut. Its wood. . . Its some form
of wood. I don't know if its walnut or not. It
just seemed so unique to me that . . (not audible).
. . become fascinated with that and I can't see
anything but that. I don't want to get into that.
#28: Okay. Do you have a feeling. . a. . . a. . you've
seen some things and then you've seen some things
precognitively before and then. . gone and checked
them and found that they were quite valid. That
your precognitive feelings about the place were
quite good. What is your gut reaction, gut feeling
about this?
#19.5: My gut feeling about this is. . . I feel like this
is where #100 was at 1530 hours on the 14th of
Monday. 14th of May. Or where he will be then.
I think its pretty good.
#28: Okay. I'd like you to look through each one of
your pictures. And I'd like to have you give me
descriptions of each of your images. But I'd like
to limit those descriptions to one word.
#19.5: One word.
#28: Now, I . . . I'll give you an example, okay? I
don't want to give you any suggestions, but I'll
give you an example. An example of where #100 is
on. . . at 1530, 14th of May 1979. One word would
be inside.
10
Approved For Release 2000/08/ 788R000900280001-3
Approved For Release 2000/08/E;C44F,96-00788R000900280001-3
? ra.
#19.5: Oh, I see what you mean.
#28: But go through everything but just one word now.
And rapidly.
#19.5: Okay. #100. . . he's inside with other people.
Talking. . . Briefing. . . He's answering questions.
Its by request. Do you want a . . ?
#28: Okay, that's. . . you've given me good activity of
#100. Now give me good words about the location.
#19.5: Inside. . . Light. . . Lot of light. . . Large. .
Windows. . . ceiling to the floor. High ceiling.
Small table. . . I keep wanting to say its a work
room, but its not really a work room. Its kind
of a mixture room. . . Activity room, let's put
it that way. . Special activity room.
#28: Colors now.
#19.5: Room is very bright, very light. Gray and blue.
A lot of gray and blue. . . The wood is dark.
Real dark. Moderately dark.
#28: One word. Stick to one word.
#19.5: Okay. Wood, dark. . . #100 is wearing a dark
suit. . . I smell coffee. They are drinking coffee.
PAUSE
Jesus, I'm just. . . I'm running around through
this room. . .
PAUSE
#28: Okay. One word descriptions of the building in
which the room is located.
PAUSE
#19.5: White, T shaped
#28: The surrounding area.
#19.5: . . . stories. Forrest. I get the feeling of a
forrest. Not a weeds type forrest, but a manicured
type forrest.
11
Approved For Release 2000/08/07 -00788R000900280001-3
- I
Approved For Release 2000/08/0 96-00788R000900280001-3
#28: Up from a higher perspective now, looking down,
the building's relationship to the geography?
#19.5: I'm in the city.
PAUSE
I feel like I'm looking out the back door of the
building when I'm standing in this room. So where
is it? It doesn't make sense.
And then I can see a long, long way. But its in
the city and you can't see a long, long way.
PAUSE
That's all I can get.
#28: Okay, #19.5. That's just fine. There's one other
little piece of information. One other piece.
There's a possibility. . . Did you want to say
something?
#19.5: No.
#28: There's a possibility now that . . . #100 was
supposed to be at a target and because of the
routine of the day, perhaps the area that you
found him in was not the real target. Perhaps it
was something that came up and this wasn't the
real target. Now, I want you to go back again and
look at the room. Look at 1530 hours, Monday the
14th. Go there and be in the room with #100 and
while you're there ask youself is this the target,
is this where he's supposed to be.
PAUSE
#19.5: All I see is myself standing in that room. Saying,
is this where he's supposed to be? Ha ha ha.
#28: Okay, its 1530 hours, Monday the 14th, look at
#100 sitting at the table as you described to me
before, tell me when you have that.
#19.5: Okay.
#28: Now ask him. Just in your mind, ask him, is this
where you're supposed to be?
Approved For Release 2000/08/
PAUSE
12
OF1
00788R000900280001-3
Approved For Release 2000/03 696-00788R000900280001-3
#19.5: I feel like this is where he's supposed to be.
#28: Okay fine. That's good.
PAUSE
#28: Okay, #19.5. Now this is your opportunity now
at this time to add anything else that you want.
PAUSE
#19.5: Yeah. One thing. I get a seftation that the
ceiling is arched a little bit.
PAUSE
That's all.
#28: Okay. That's fine.
13
Approved For Release 2000/08/07 QQ788R000900280001-3
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900280001-3
TAB B
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900280001-3
I
ApproVed For Release 200046/_04: CIA-RDP96-0
A ^ '
\ - )
,
, )
-.'',.--.k i
?
Approved For Release 2000/08/07 : CIA-RDP96-00788R0009
Aoroved For Release 2000/08/07 : CIA-RDP96-00788R000900280001-3
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900280001-3
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900280001-3
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900280001-3
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900280001-3
TAB C
Approved For Release 2000/08/07 : CIA-RDP96-00788R000900280001-3