SESSION REPORT, REMOTE VIEWING (RV) SESSION D-90. VIEWER 10.5.

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000400540002-8
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 24
• Document Creation Date: November 4, 2016
• Document Release Date: June 12, 1998
• Sequence Number: 2
• Content Type: REPORT

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INSCOM
GRILL FLAME
PROGRAM
CLASSIFIED BY:MSG,DAMI-ISH
DATED: 05 63OZJUL76
NOT RELEASA ?REIGN NATIONALS REVIEW ON a.2~.
ORCON ('!
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REMOTE VIEWING (RV) SESSION D-90
SG1A
1. (S/NOFORN) This report documents a remote viewing session conducted in
compliance with a request for information concerning the
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/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 is a transcript of the viewer's impressions during
the remote viewing session. At TAB A are drawings made by the remote viewer
reference his impressions of the target site. At TAB B is target cuing
information provided the remote viewer.
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REMOTE VIEWING (RV) SESSION D-90
TIME
#66: This will be a remote viewing session for 1400 hours,
16 October 1980.
#66: Relax and concentrate now, relax and focus your attention on
the building in the photograph I have shown you. Focus your
SG1A
PAUSE
#66: Move now in present time, through space, to the target area,
and describe your position of observation to me when you are
ready.
#10.5: I'm outside
+04 #66: Report.
#10.5: I'm in a....or bedroom type place. Looks like a wooden head-
board and a closet type door, door. It looks like......
#66: All right. Relax and concentrate now. Move your awareness
out into the hall so that you may have free access to any
room to which I direct your attention and report when you're
in the hall.
#10.5: Okay. It's like a hall, and here I, ah,...drew...near ...this
light, shielded light up here, fixture, waiting.....
#66: All right. Now, I want you to listen carefully. Watch what
is in front of you. Do not move until I tell you to move.
Do not move until I tell you to move. Only listen to what
I say. When I am through I will tell you to move. Don't
mote now until I tell you. These eight rooms,in. only
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#66: these eight rooms, ask yourself, don't move now, ask yourself
is there a teletype in these rooms. Ask yourself, is there a
teletype in these rooms. If there is, if there is, move now
to the room with the teletype. Move now.
#10.5: When you,ah was trying to ask me question, I, ah, had the
answer before you asked it.
#66: Report.
+09 #10.5: 1508...with the numbers (mumble) came in quick. I have a
feeling of a, sort of looking at a white limoleum. Looks
like a desk(phonetic) of stension(phonetic) narrow thing,
narrow thing like desk extendor. I had this quick shot of
this light tanned keyboard console on top of this narrow
desk top thing t-cased(phonetic) by a revolving, black and
white, commercial, ah, business chair.
#66: Hold your position.
#10.5: Some little, some little partitioning affect here. It's(phoneti c)
I can't quite make out of it. In my view, it's very canalized
(phonetic) at, ah,at the machine here.
#66: Confirm your room location, and describe the operator of the
teletype.
+11 #10.5: Something funny. Ah, the operator has headphones on, and
types. T-a minute here.
#10.5: I'm in like a sandwich(phonetic)ah, red, acoustic, partitions
...ah, the operator, I'm trying to focus on who sits there.
+14 #66: Relax and concentrate, relax and concentrate. Provide police
like description of operator.
#10.5: Umm....Every time I cut in at this, I get a woman.....but,
'I had to, ah, make sure, and I did, so I could see, ah, out-
line of her figure. It was very womanish, but she wears,
she's about 5, umm, about 5,6, and, I'm getting this feeling
of this short dark, black hair, and it's funny, because of
the way it is, it's ...... it flops down on her forehead, is in
a curl. Something;about it.....it lays in a curl on her fore-
head, and..,.the, ah, picture I had of her;,her here was a...
wearing of a shiny(phonetic) white blouse, sort of billowey
at the sleeves, and with little buck shot, the black dots
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#10.5: on it, and she is about,. she's hard to discern between
a young man or a woman. She's in, doesn't necessarily have
a pretty face....
#66: What race is she?
#10.5: Well, the, ah, she's caucasian, light skinned; never any
doubt about. that. She has short hair, that's bobbed, very
boyish looking.
#66: All right. 'This is sufficient description of her, and before
we return to the hallway, before we return to the hallway,
ask yourself what is the most unique. feature about this room
that I can identify. What is the most unique feature about
this room that I can identify. Report the answer to me.
+20 #10.5: Well, there's some funny thing that I don't know what to
describe. Something... and, I don't know where it is. This
something that is in..... shaped(phonetic). It reminds me of
a........ ..it's a shape, that's all....... it's on a wall.....
something that hangs down in a curve out from the wall, and
then points back in at the wall sss-see it in a vertical(phonetic)
position. The main thing though I think is this feeling of, ah,
the red acoustic partitions...I s visible from the room. I can
see it in the, across the room.
#66: All right. At this time return now to your point of observation
in the hallway. Return now to your point of observation in
the hallway. Relax and concentrate, and report when you've
achieved this
#10.5: (Mumble)
#66: Focusing now on these rooms in the target area, and only these
rooms. in the target area, do not move until I tell you to do
so. Hold your present position, and listen carefully. Do
not. move. Ask yourself, are there any communications type
radios in these rooms. Don't mo.e now. Ask yourself, are
there any communications type radios in these rooms. If there
+24 are, if there are, move now to these radios and report.
#10.5: Ummm.... mil-(phonetic)place, an',I'm looking at something
that looks like a upward curving wood frame of a, like a
wicker chair. Sort of oriental wicker chair, maybe, sit(phonetic)
chair, in a bedroom, and I look over, something that curves
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#10.5: up like the handle of a sword... feeling. of almost pink,
brownish, beige, brown, pink, brown, and right to my right
and passed it was a bed. Had a feeling that to the left
of the bed was a wall, a closet with umm...with ummm...sliding
+28 doors and, umm. Get out in the middle of the room, and....
but.....it's, ah, s-amilier here, it's that big 'anging frame
on the wall. I had purposely (mumble) at myself so I can ask
where it is, ah, without being cluttered up. I keep getting
the closet, and I keep getting the upper right hand side of
this closet an' the wall way up top. Now before I got in here,
the radio I saw was a, ah, like a, it was, ah, big t-t.....
transoceanic, umm, 5-band type, 6-band job as I saw it....
+30 it's black plastic. I saw that first, and then I cleared and
then I just sort of layed around, hung around and..... and then
I started in this room here. That's a where it would be. It
would be in the upper far right corner of the sliding closet in
the bedroom type place.
#66: All right. Ask yourself what is the most unique feature
about this area that I may use to identify it. Ask yourself
what is the most unique feature about this area that I may
use to identify it.
#10.5: Um...this picture frame hangs on a wall behind the sofa....
um...and I'm getting this feeling of a....in the lower right,
at least, are these massive swirls, ah, irregular spots of
orange and cream-white, like, like a modern painting with
no real pattern to it.
#66: All right. Move out of this room into the hall and stand at
the entrance.....of this room.
#10.5: There's, there's, there's a, ah, there must be a jog in this
hall...I noticed it before in this hall. Outside this room,
looking at the jog, in the hall, the jog is on the right side
obscuring my view.
+32 #66: Turn around and read the numbers.
#10.5: I would have said, the first set of numbers that, ah, came
to mind is fifteen, fifteen (1515) seventeen after it; fifteen
+33 no'ah(pMonetic) fifteen, fifteen or something like that.
#66: All right. Return now to your original position of observation
in the hall. Return now to your original position of observa-
tion. in the hall, and report when you've arrived.
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#10.5: Okay..
#66: Holding your position now, don't move until I ask you to
do so, ask yourself, in these rooms, in these rooms only
is there any dark room equipment. Is there any dark room
equipment. If there is, move now to that equipment and
report.
#10.5: I'm sorry, but I'm getting bothered by an ache in my
shoulder, here.
#66: All right. Let's stop the session now, but before you lose
your concentration review, briefly, that which you've seen
so that you may draw it for me.
PAUSE
#66: All right. Move your arms, move your legs.
#10.5: I don't know what causes that, ah, it's about the second
or third time it's happened.
#66: Okay. Let's get ready to draw.
PAUSE
#66: Okay. When you found yourself finally focused in the
hallway in the target building, I asked you to focus your
attention on the possibility of a teletype machine, any
teletype machines that might be in these rooms, and that if
there were, then go to the teletype machine. So, in sketch
one if you would explain then, ah, what your imagery was in
response to that question.
#10.5: Okay. What I had in sketch one, I had the feeling of two
sound deadening partitions being placed against an opposite
....ah, a wall opposite a door, opposite a door, and these
partitions were the artificial type, office type, commercial
office type of metal frame and cloth weave. They were a
deep reddish color, and in between these two partitions was
a light linoleum topped...like a thing like a table extension
....on a, on a desk....an office desk extension or a small
light credenza or something.....faced by a black and a light
colored.... plain standard commercial rotary chair with
casters or, I don't know. I think it's a rotary chair.....
I had.... for a fleeting moment this is....this thing sits
sort of to the right side of a room corner...I'm sorry......
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#10.5: It's to the right side of a wall off-set against the wall,
so that it's closer to the right corner, and I had, for a
moment, a fleeting feeling that possibly this keyboard
teletype thing tucked away, that it was fixed on top of this
credenza top and that it could roll in under. I had this
fleeting feeling that it would roll in under. Flop sideways
to switch so that it was upside down and couldn't be seen.
#66: Okay.
#10.5: Okay, and, ah, just before having acquired that imagery while
you were asking the question about it, not even knowing what
the question, I sort of presumed you were going to ask me about
something, and where was it. So, I asked myself, okay, let's
get a leg up on 'im. Let's find out what the room number is.
So, while you were even asking a question, I acquired the
number 518, 508, I'm sorry. 508; 1508. Oh, not reading here,
I'm trying to figure this thing out. Okay? 1508.
#66: Okay. I think I understand that. And, then I asked you who
is the operator of this teletype. Could you explain to me
what you saw then?
#10.5: Well, I saw someone sitting at this keyboard type thing.
Looked almost like a typewriter, not a teletype, but, sitting
on this, sitting in this chair facing this keyboard wearing
headphones.....
#66: You thought that was unusual.
#10.5: I thought that was unusual, because who would sit and use
a teletype machine and wear headphones at the same time. You
know. Unless they were real,ah, you know, Rockmonanoff(phonetic)
freak. Ha, ha, ha, but, the idea I got was that some sort
of transcription or monitor might be, being transcribed;
monitoring might be being transcribed here at..put on the
teletype and being sent out. I don't know. The person
sitting there was really a confusing type person. I couldn't
figure out if it was a guy or a girl until I got a shot in
under the arm. The, ah, I decided that it's a woman who has
short, black hair, sort of page boy hair, and, at least when
she wears the damn headsets she's got some sort of funny
curl, almost a man-like curl of hair that flops down on the
front of her forehead. You know. Like a guy would have.' Ah,
you know, some cuttie-pie from Sha-Na-Na or something like
that. Ummm....and her facial features, first of all, her
complexion, she was light skinned like a caucasian. Her
features were essentially caucasian, but they were hard to
distinguish. For some reason they were sort of........
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#10.5: misleading. They were non-identifiable features. Like
you would associate, they were a mix of male. and female, okay,
is what I'm trying to say. Like a masculine featured woman,
or a feminine feature guy. There was some sort of a mix-mash
in there that did not fit together. I couldn't easily
identify with the face. You know. It was, it was as though
I was looking through a opaque plastic shower window at a face
just on the other side of it, and so it was blurred, and you
can't tell if it's a guy or a girl, except by other characteristics.
Such as the si-relative size or if it was a woman, you know,
you'd see the lipstick or something or makeup, but this was
essentially devoid of any such identifying marks, identifying
things like that I could pick up on. So, I just don't know.
I think it is a woman. Anyway, the blouse that I finally,
the description of the blouse that I finally...... figured on
was that it was white, shiny, sheeny(phonetic) nylon type
blouse with fluff cuffs, with puffy sleeves, and then tight
cuffs that make the sleeves puffed in around the wrist.....
having small, very small polka dots on. You know. Polka dots
about. a centimeter in size. And, I felt that she might be
wearing some sort of culottes or some sort of long, brownish
below the knee type of dress or culottescr something. Anyway,
that's about it. Best I can do on her or it.
#66: Aha, Now.....
#10.5: Maybe they had a transvestite working for them.
#66: As I was..... listening. to you describe this room, I knew that
you had told me that you thought this was 1508. I was interested
in some more information which. might help us to identify this
room, and so I asked you what was the most significant feature
about this area that I could use to identify it. What was
your response to that.
#10.5: Well, I think I mentioned something that the most unique
thing.....yeah, in sketch two here, I'll draw in...there was
a comment that really the most identifiable thing was this
red partition idea, and everything,but that as far as looking
for something else that was identifiable I had this funny
pattern, I guess, of lines and color which I've drawn in sketch
two. Ah, it's brown, wedge, curved wedge, if you can imagine
a wedge shaped thing, which is curved away from the wall at the
top, the wide part, and then nearing. the point it curves back
in towards the wall. Some sort of little dot on it, on the
bottom of it, ah......and it has lines, or veins in it. And,
this thing is brown, it protrudes from the wall level, and
then comes.... curves back into the wall a little. The thin
that it reminded me of at, of, it. was very fuddling. I
couldn't figure out, at all what this thing was. It's in a
vertical..... okay, the tape has been changed, ah, ah,......
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#10.5: It was as though this thing was hanging vertically on the
wall, and was a... .brown, an off brown like the off brown
of a dead cocoanut palm frond,;....You know the frond sheath.
The sheath in which the cocoanut palm frond is born in, you
know, and then that falls off, it deteriorates, dries out,
turns this crummy brown and falls on the ground. Almost a
burlap type of texture, burlap brown, okay. But, this thing,
the curvature and the way the lines of this thing put together,
came together at a point, and were irregularity spaced all
through-it, it reminded me of those very same things. Those
cocoanut palm sheaths that fall. off cocoanut trees in Florida,
as an example. I'm sure they fall off from everywhere in the
world, but they, people pick up these long half tubes, they're
open tubes, and-they lacquer them and sand them down, they
paint them up real nice, and then they'd make them into some
sort of a crummy wall ornament, you know..... that.... you know.....
and then they might..... because it's boat shapeed and curved
they might stick some sails and stuff in it, and try and make
it look like a sail boat, and hang it on their wall. That's
what It it was was reminiscent of that type of curviness
...natural irregular curviness.
#66: What were the dimensions of the thing that you saw?
#10.5: The dimensions of the thing that I saw were about .......
It's hard to say. I did not feel I was looking at anything
massive. I felt like eighteen to twenty-four inches, long,
long
#66: Okay. I then returned you to your original starting point in
the hallway, and asked you to refocus your attention on the
concept of communications radios, and then asked you to move
to such radios if, in fact, there were any in these rooms.
Would you now explain the imagery youhad at that point.
#10.5: Okay. Well, the first thing I had was a very quick and
fleeting shot of a regular old, ah, you know, nothing funny
about it, of transoceanic five or six band type, ah, radio.
You know. With a five or six place dial on the front of it.
Like plas-molded black plastic, ah, chrome, speaker circle
on the front of it, and an antenna. sticking out of it.
Dimensions about..... dimensions are about eight inches by
fourteen inches by, I'll make this deep, deep long by about
ah, um, maybe ten inches high, okay. That came and left.
And, I said, oh, well, you know, that's just a regular old
radio. There's nothing important about that. That's just
a big portable radio ...... so I was still hanging around my
lamp out, my, my overhead light out in the hallway, and
ah, ah, I said, well, okay, where is this radio. What does
it, you know ..... you were after me to go to the place, if
there was one. So, I said, well, there must be one, 'cause
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#10.5: I saw, ah, something, and that must be about it. So, ah,
what, you know, where, let me go there. The next I saw, I
was looking at the, a very, very different type of chair.
My sketch of it here is not too cool. My sketch of it here
looks like a starved dromadery (phonetic) camel in sketch
four. In the foreground left in sketch four is this....I
trying to get across this idea of a rattan, wicker, woven,
....bedroom chair, ah, all these lines and everything, all
over and around the frame of it are supposed to get the idea
across this wicker work, this...ah, weave of this thing all
over, and it's a light beige color, and it's a normal chair's
proportions. This is a very poor sketch. This is the best
I can do. It's a normal chair's proportions.....and, I think
it does have arms on it, now, that I sit and look at this.
I think it does have arms.......
#66: So, when you said in your mind that you wanted to go to the
place where the radios were, the first thing that you noticed
was this peculiar chair?
#10.5: Yeah.. I was like down about a foot off the ground looking at
this thing, and it's a ....as Ive written on. the sketch four
here .... it's putrid pink or beige. I guess beige is b-e-i-g-e.
Isn't it. Ah, to the right of it, andjust past it is a bed,
and to the left of the bed is a closet, wall closet with sliding
doors, and, I said, okay, somewhere in this room now, there's
got to be where this radio is, because this is where I've come,
and I was about where....in position, about where this view
was here, and I said, okay, now go to where the radio is.
Where's the radio? And, I would, I was being drawn towards
the far corner of this closet, far corner and up, upper part...
very top of it, like I started to drift up through the air
towards it, then I'd come back and I'd say, okay, you know,
try it again....... and, I'd start drifting up towards the...
upper right hand corner of that closet again. So, that's about
it for sketch four. I interpret that as being where the radio
is, but I did not see it in there, but I felt that that's where
it was or where its hiding place was or something like that.
#66: Okay. And, then I asked you what was the most unique feature
about this particular area.
#10.5: Right. Now, in order to try and get some spontaniety in
imagery, I stood at the foot of the bed in the same position
as sketch four was, I imaged myself sort of spinning around
trying to not make something be somewhere, but rather waiting
for a spurrious thought come into my head about what a unique
would be. As I was perceiving spinning at this area, I had
this very, very spontaneous feeling of imagery that was
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#10.5: familiar to me, and it was the imagery of.....the large square
wall hanging over and behind a sofa against a wall, okay. This
is located to the left of a door frame which I perceive as the
door frame. that goes out into the hall, and there's some sort
of a lamp there between the door frame and the sofa. This, I've
drawn in sketch five as having some relat-relati...some relation-
ship with the place in sketch four. I thought that five was
right around, right across behind me, whenI was standing... sketch
four's position, I thought that five was immediately behind me,
and was a part of the very same room, okay. I.E., the room has
a sofa and it, has a bed in it type of a lash-up. Anyway, the
thing about this picture, it's an.oxersize wall hanging type
picture...made of...I have no idea ..... thing about it, is....
I have....modern impression, a modern impression ..... things
of swirls and non-identi-otherwise non-identifiable color of
blending. The only real part of which, which was not of a
general beige and light brown tone .... hues of brown and light
.yellow, I guess.... beige, yellow,. brown, was in lower right-
hand corner. I perceived that there was a large willowey brown
splotch, brownish splotch down a corner of no real pattern....
just an irregular thing(phonetic). Okay. That's sketch five.
#66: Okay. Now, the, you've drawn in sketch five a doorway, and
to where does that doorway go?
#10.5: I think that goes out in the hallway. I just presumed that
was the hallway door.
#66: Okay. Then, I had planned to. move you to the hallway and you
seemed to flow that direction quite normally. And, you said
something about when you're in the hallway younoticed that there
was jog or an obstruction in the hallway.
#10.5: Yeah. I had noticed this earlier in the session from what I
perceived to be the opposite end of the hallway, is where my
start part was, okay. Ah, which is, yeah, I perceive that to
be just exactly on the other side. Anyway, I was not paying
attention to this jog before because I was working on room
1500, or whatever it was, you know, and everything was cool,
and I just didn't pay it any never mind, and when I came out
of here, the jog was reversed, and that there was this, there
was down the hallway from me, and this darkened hallway, maybe
thirty-five feet from was this protruding jog. that came out
from the right. side of the hallway, and it blocked all direct
view of the other distant half of the hallway, but, it did not
block the hallway off in its entirely. I. had the feeling
that there was a T intersection of hallways here, okay, and
that this jog came out,. and you'd have to walk around the cube
and go on, but that the. place where you walked around the cube
was another hallway or something open area where you could
walk, ah, you could get away and go around.... S..* .........
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#10.5: I'm drawing that here in sketch six, and I, what did I say,
I think I said about twenty-five feet...... twenty-five to
thirty feet from this jog is where I came out into the
hallway. And, to my left, now I don't know if I came out
from. my left or if I came out from my.right side, but, I
looked and there was a doorway to my left, and then I sat
and I played around with the doorway a little bit, and I had
the feeling that the number on the door was 515 or 1515.
#66: Now, are you certain that you came out of door 1515?
#10.5: No. I'm not. I thought I did, but I'm not certain.
Yeah!
#66: So, you. are not certain that you actually came out of that
door. It was just a.door that you perceived as you were
standing in the hallway.
#10.5: Aha (affirmative)
#66: Okay. Now, this point then, I asked you to return to your
original position of observation, and asked you to once
again relax and concentrate and. focus on whether or not
in these target rooms there was any dark room equipment.
Now,. before speaking to me about that you stopped the session
yourself because you had a shoulder pain. I would like to
ask you now, was there any imagery at all in answer to that
question before you were disturbed by your shoulder pain?
#10.5: The only thing that I had, I had the feeling that there was
no formal dark room, relative here, there was no applicability
to a formal dark room. The only thing that I had was the idea
of.a bathroom setting and on the sink part of the. bathroom
having a tin pan that looked like a deep dish, you know. Four
inches deep by two---four inches deep by eighteen inches long
by eight inches wide, ah, baking-pan, rectangular type baking
pan sitting on the sink with liquid, and I sort of said, oh,
well, you know, somebody does their developing in the bathroom
around here. And, that. was all I had. And, by that time.....
and that was sort of just as I was getting ready to say I quit,
I got that.
#66: Okay. Any other information at all relative to the dark room
that you can report?
#10.5: No. Just a bathroom feeling.... makeshift, bathroom type thing.
#66: I have no further questions. How do you feel about the imagery
that you have on the questions that you were able to respond
to? What's your gut reaction, your confidence level?
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#10.5: Ah, Well, I don't see anything, wrong with them. I think I
was really deep during the session . The first part I was
almost too deep. I had to go out, grope around to come up
high enough to start. It was all very spontaneous, I think.
Felt pretty good.
#66: Okay.
#10.5: That's just about it #66. You know, I didn't question that.
Except the last one or two, there. When I got at the end of
the session with the shoulder pain. I'm going to have to
position my arm differently; but that's about it.
#66: Okay. Fine. Thank you very much.
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TAB
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 or
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4o .06
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TAB
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TARGET CUING INFORMATION
REMOTE VIEWING (RV) SESSION D-90
SG1A
1. (S/NOFORN) Prior to the session the viewer was told that he would be SG1A
returning to the a target area which he has
described previously (See Session CD-70). The viewer was told that he
would be focusing on SG1A
The viewer was shown the attached. photograph of the as
an aid in focusing on the target area.
2. (S/NOFORN) During the session the remote viewer was questioned about
the target area. These questions were predetermined by the control analyst
prior to the session. The viewer was directed to respond only to the area of
questioning, and that other descriptive target data was unnecessary for
this session.
snLE TO FOREIGN ZyA,TIQ~~'S
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 SG1A
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