SUMMARY REMOTE VIEWING SESSION LXII

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000900010001-2
• Release Decision: RIFPUB
• Original Classification: S
• Document Page Count: 11
• Document Creation Date: November 4, 2016
• Document Release Date: June 17, 1998
• Sequence Number: 1
• Content Type: REPORT

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ORCON/NOFORN
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
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REMOTE VIEWING (RV) SESSION LXII
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 target selected for this session was a rifle
range where live firing was occuring. The remote viewer's
impressions of the target appear to show no correlation
with the target. The remote viewer seemed to be unable to
concentrate his mental forces on the task at hand. Ambient
room noise was minimal. The remote viewer was disturbed by
his inability to access the target. He has done well at
remote viewing in the past and was frustrated that this
attempt was not successful.
3. (S) The protocol used for this session was modified
from that which will be used in later training. The pro-
tocol to 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. This
session's protocol was modified in that a randomly generated,
preselected target was not used due to the unavailability of
the target pool. In lieu of a randomly generated, pre-
selected target the "outbounder" or "beacon" simply chose a
site which, in his opinion, was unique and identifiable.
4. (S) Following is a transcript of the viewer's impres-
sions during the remote viewing session. At TAB A are
drawings made by the viewer reference his impressions of
the target site.
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REMOTE VIEWING (RV) SESSION LXII
TIME
#66: This will be a remote viewing session. (Edited
for security.)
#66: #11 is at the target site. He's viewing . .
what's appropriate at the target. He is one
with the target. Let your consciousness reach
out. . to #11. . and describe what #11 is doing
. . . and where he is. . . (not audible).
#31: Hmmm.
+07 #31: Dark.
#31: (Not audible)
#66: Did you (not audible). . ?
PAUSE
+08 #66: Is #11 outside or inside?
#31: I think out.
#66: Okay. Fine.
#31: (Not audible).
#31: Eight.
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#66: Eight (not audible), . . All right.
#66: Remember the way we practiced describing things
yesterday. You're doing very well. Now, just
stick to that.
+10 #66: Do you see #11?
PAUSE
+12 #66: What are your impressions of the target area?
PAUSE
#31: Not, not (not audible).
PAUSE
#31: Outside. . fence.
PAUSE
#31: I feel like he can't get all the way in.
Something's wrong.
#66: Do you have the feeling that you are not supposed
to go to the target area?
PAUSE
#31: No. . . Its just a long time.
PAUSE
#66: Just relax and concentrate.
PAUSE
#31: (Not audible).
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#31: I got all (not audible).
PAUSE
#31: I got a thing of fencing. It was when I said
I got the impression I couldn't get in.
#31: Chain link fence around this. . . a place.
This fence.
#66: Okay.
#31: I don't want to draw this, so its not (not
audible). I don't really want to draw anything.
Just say chain link fence is what the impression
. . . But with him like looking through it.
There was one arm up there.
#66: Um hm.
#31: But I don't want to draw this.
PAUSE
#31: (Not audible).
#66: Okay.
#31: It leaned forward, like this.
PAUSE
#31: And the shoulder (not audible). . His hand, his
fingers in through the mesh.
#66: Okay. Its not a very good picture is it?
#31: No, its not very good. Flattered.
PAUSE
#66: Okay. Tell me about these other things down
here.
#31: This is a grey, brown. Its curved. I can't
figure out why its curved. But this is like it
was warped around something.
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#31: Okay. And it was like the back of a seat or
something. You know. But its, instead of
being just a straight seat back like this, it was
like its, like its warped. Curved. All right?
#66: Okay.
#31: And that is just like a . . that is just the
impression of a low wall. . with a top on it.
PAUSE
That's all I had.
Okay.
(Not audible) things.
PAUSE
#31: That's about it, #66.
#66: Okay.
#31: I had the impression, the distinct impression
that he could not get into whatever it is he'd
gone to. You know like, you know . . .
#66: He couldn't get into wherever he has gone to.
#31: Yeah. Yeah. You know, like the situation of
showing up at the PX five minutes before it opens.
#31: You know, you're just standing outside, you can't
get in to do it. You know, to do what you're
there for.
#66: Yes. Okay. Where was he trying to get to?
#31: Oh. That was inside this fence.
#66: Okay.
#31: Okay. Like say, maybe like one of the swimming
pools or something. Not open yet. The only thing
you can do is walk around outside the fence and look
in at it. Do you see what I mean?
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#66: There was a. . . There was a fenced area. . .
#31: Yeah.
#66: . . That he couldn't get into at the time.
#31: Yeah.
#31: Now, what's inside the area, I don't know. I
don't know if its structure of if its a wood
pile or if its a, you know, what it could be.
#66: How do you feel about this session? You seem
to be frustrated that you couldn't get anything.
+25 #66: Do you want to try to work on it some more?
Now that you've got this stuff down, you can
dump that out of your mind and you can work on
it some more.
#31: Humph! Why not.
PAUSE
#66: He will still be out at the target location.
(Not audible).
I'd like to try to do something that will be very
similar to what we're doing in grid coordination.
#66: When you feel that you're ready to do some
guiding interviewing work towards the target, let
me know (not audible) relax (not audible).
#31; Try it.
5
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#66: Okay. I want you to form in your mind the area
of Fort Meade. Put yourself up in the air. . (not
audible). . I want you to look down beneath you
. . . see all of Fort Meade. Directly below you
in the center. . you see the parade ground. A
little bit up from the parade ground is the officer's
club. (Not audible) north. . just like on a map
. . (not audible). . look down underneath you (not
audible) underneath you down twards your feet and
see (not audible) down in that direction. Look
over to the left and see off to the left. Look
back over to the right and see 175 and the (not
audible) and as this image forms in your mind and
is very clear, hold it (not audible).
You have an entire picture of Fort Meade (not
audible).
#31: (Not audible).
#66: Hold thatimage very clearly. Becomes very crisp
and clear (not audible). Now #11 is on Fort Meade
Because you are supposed to describe the location
where #11 is located. You will be slowly attracted
as though some magnetic force (not audible) more
and more over the area where #11's located. Just
let yourself go. Let the force pull you towards #11.
Very slowly, very carefully. And as the ground is
beginning to move underneath you and this force
pulls you towards #11's location.
PAUSE
As you begin to move towards #11, move again.
PAUSE
Now you are heading in a definite direction.
PAUSE
You begin to recognize that you're moving towards
a specific area.
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Its all quite clear (not audible). Now, still
(not audible). Look down and realize the area
where you are. Is there (not audible). You know
that #11 is down there below you. Descirbe the
area to me.
#31: Something's the matter. I just can't pull it in.
I'm afraid. . of imagining so many things where
it could be. Its not like shooting in the dark
when you don't have any idea.
#66: Tell me what you imagine.
#31: Oh. I don't know. I got him in the woods. I
got him in the Pet Cemetery.
#66: (Not audible) discipline your mind to try to turn
off that I wonder where he could be (not audible).
Simply except, if you can, describe where he is.
Out in the literally hundreds of thousands of
places he could be on Fort Meade, (not audible),
place he could be, on the planet. Its still blind
from an analytical point of view. No one can
figure out where he is on Fort Meade. So simply
disregard the thought for that I wonder where.
Don't try to figure it out. Just let the images
come.
(Not audible)
#31: (Not audible) solid. . that I can put my hand on.
The only thing I'll just have to do what I said
when I was . . just standing in the trees with no
other landmark around. A light background.
And then on the bank down there near the pet
cemetery, down there near the PX. You know,
because of the nature of my description, I know
they are not right. Because I willed this. (Not
audible) hypothesis.
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#66: Based on some sort of recognition?
PAUSE -
#31: No. Based on instant, instant replay. You know,
that type of thing.
#66: Okay.
#31: All right, #66, I just can't . . .
#66: Can't muster the forces (not audible).
#31: I don't know what it is. If I'm not (not audible)
the forces or whatever, I don't know.
#66: Okay.
#31: I'm beginning to seriously wonder about myself.
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