SUMMARY REMOTE VIEWING SESSION XVIII

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000900610001-6
• Release Decision: RIFPUB
• Original Classification: S
• Document Page Count: 38
• 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 Apr 99
EXTENDED BY: Director, DIA
REASON: 2-301-C (3) (6)
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REMOTE VIEWING (RV) SESSION XVIII
1. (S) This report documents a remote viewing session
conducted for the purpose of orienting a remote viewer to
an applied remote viewing protocol.
2. (S) During this session the remote viewer described
the target site substantially as follows:
a. Large, modern, square, tall structure with a
covered foyer at ground level.
b. Individual standing in the foyer entrance to the
building.
c. Circular or curved pattern on the ground outside the
structure.
d. Structure is not a business office building, a hotel,
a lodging type building or a commercial building of any kind.
e. Little activity in area. No sense of people in
interior areas.
f. One interior ground level area like a storeroom with
boxes stacked.
g. Another interior area, above ground level is office
or office/den with carpet on floor and leather like furniture
which appears to be a set. Room has a peculiar door with a
white square at eye level.
h. Hallway adjacent to office is carpeted and leads to
a stairwell area. Stairwell area is not carpeted and near
the stairs are two big doors.
At the time of the session the "beacon" individual was at Site
300 (Field Station Augsburg). The remote viewer's descriptions
show a low to moderate correlation with Site 300. His descrip-
tion of the exterior area and the foyer entrance where a MP
stands guard is somewhat accurate. The location of a storage
room could not be verified. The office/den area and adjacent
hallway descriptions show striking resemblence to the commander's
office. Of importance to note is that the "beacon" was located
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in another area of Site 300 at the time of the session.
This area was not described by the remote viewer. This
session was conducted on a Saturday morning. Ambient room
noise was greatly reduced. The remote viewer was very relaxed
during the session and was confident that he was successful.
3. (S) The protocol used for this session is detailed in
the document, Grill Flame Protocol, AMSAA Applied Remote
Viewing Protocol (S), undated.
4. (S) Following is a transcript of the remote viewer's
impressions of the target site. At TAB A are drawings made
by the remote viewer reference his impressions of the target.
At TAB B are items associated with Site 300 provided by the
"beacon". At TAB C is a post-session interview.
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REMOTE VIEWING (RV) SESSION XVIII
TIME
#7.5: This will be a remote viewing session. This is
a remote target location. (Edited for security.)
#7.5: Okay, #31, #19.5 is now at the target site.
He is observing the area. . . Simply look at the
area with him. . . and describe the area to me.
+05 #7.5: Describe the target to me.
PAUSE
+10 #7.5: Tell me about your sensations. Tell me about
your feelings. Tell me about the target.
#31: Um. . . I sense something long. . to the right
side. . .
#31: It seems like. . . There seems to be
(PAUSE). . . Something overhead. . .
#31: (Long sigh)
#31: (Not audible)
PAUSE
+14 #31: Large. . . structures.
PAUSE
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#7.5: Describe their color to me.
PAUSE
#31: Um. . . No color. . . (not audible).
#7.5: Describe their shape to me.
PAUSE
#7.5: Describe the architecture.
PAUSE
#31: Modern. . . Square. . . and tall. . . Now,
I'm somewhere else. . . (PAUSE). . . Um.
I'm inside. . .
#31: (not audible)
PAUSE
7.5: Describe your location.
#31: Now I a . . . .
#31: I see tops. .
#31: Right down. . on the bottom there is a . .
overhang. Its like . . . Its . . . like the
bottom. . . has been . . .
#31: Like the bottom has been. . . hollowed out.
and its. . . dark. And cool. . . in there.
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+21 #31: And. . . Umm. . . looking in . . . the dark
. . a circle.
#7.5: Okay.
#31: (not audible) . . . (not audible). . . .
Round. . . circle. . . edge. . . in the dark.
In a line. . . in a row. . . circle. . . is
in the light. Next to the dark.
PAUSE
+24 #31: Let's try a. . . I'm going to try inside.
PAUSE
#7.5: Tell me about the inside.
PAUSE
#31: Hmm. Hmm. . . (not audible). . . glass. That
goes somewhere else. . . .
PAUSE
#31: No. . . Hmmm. . . Red.
#7.5: Describe. . . Red?
#31: Darker. . . Umm.
PAUSE
#31: Black. . . chair.
#7.5: Okay.
PAUSE
#31: Umm. . . Umm. . . Umm.
PAUSE
#7.5: Go to where the black chair is. . . Go. . .
over there. . . turn around. . . look out.
see the area. . . and describe it to me.
3
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#31: (not audible) draw. . .
#7.5: You don't. . . would like to draw?
#31: (not audible)
PAUSE
#31: Two events. . . The first. . . was just this.
I'll draw it small. Okay?
PAUSE
#31: And that was. . . That was the first one I had.
. . . But that. . . this was light coming in.
It was three sided. Okay? And. . And this was
sort of darker, but like shaded. Okay? With
the shade in here. But this didn't seem to be
shaded. The bottom here. It seemed to be light.
That was the first one.
#31: Then. . . I started seeing. . . that. This was
the edge of the bigger, like a bigger structure.
Okay? Ending up with . . . something like that.
But this got pretty huge. . . Okay? Like this
is like a little niche. . . taken out of the
corner of this big building, or something. Now
whether it was street side. I don't know. I
don't have any idea about that. But what it was,
was, you know, dark and light. But, remember I
told you there's an overhang; the overhang was
solid. It wasn't like an awning or something
that was just out for a shade or anything like
that. It was like. . . the overhang. Like this
was building. . . We could walk directly. . . no
wall. . . just say a street. . . but right up
there was all structure. Like a foyer down on
the lobby level. Open-breeze way lobby, foyer
in a building or something. But those were the
first two.
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#31: Then. . . Then I had the feeling. . . that.
this. . . What I actually started to do was
ex. . . I don't know if it was expanding on it
or not, but I was trying to refine that. You
know, somehow. Trying to get closer detail of
it. And . . . what I ended up with . . . is
Three. . . Which is . . . this thing here if
I can draw the right perspective. So, we don't
get that screwed up with the other picture.
#31: Ah. . . edge of building. . . edge of building
like this, okay? This would be the way to go.
All right?
#31: And ah. . . this is the . . . you know, I can't
tell what's holding the building up, right?
But this is that same dark and under it. I had
the impression; fleeting impression of like
pillars but. . . (not audible). And this being,
in like . . . Umm. . . You know, this is the
actual floor. . . Okay? (not audible). . This
is the floor and this is just shade (not audible)
shade (not audible) would do it. . . There. The
dark would be confined to back in there. Okay?
And then I said there is something circular and
that is. . . like . . . there.
#31 Here to that circle here. So-called aerial view,
Huh? Like a driveway. But its a circular
pattern on the ground like that. In here. . .
and this is like looking down, along the edges
of the building, right? In there, is where this
thing is. . Okay? Okay. Now. I don't know the
true shape of that dark. But, I'm. . . on this
. I'm going to color it in as though it was
dark. . . Okay? . . .
#31: There's some sort of a funny edge on that build-
ing. I can't. . . I didn't get a good feel for
it. It was just like a jog or some sort. I,
that's. . . I don't know that it goes back that
far. . . Okay? And then here would be this
circle. Like this. . . and the darkness and
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and under there the shaded area. . . is under
there, okay? Now, where did I go in the first
one when I said the . . . what'd I say, card-
board boxes.
#31: But I was thinking about here. . . this will be
interior. This is like that actual structure.
And this is like the covered porch, okay. Effect
. . . About here. But I just got a . . . you
know, okay. I said I'd try to see what's inside
there. And the next thing I had was I was
standing in midst a bunch of just (ha ha ha) Well,
it was like a store room or something and all
these. . . fair-sized, just boxes. . . square
things. All around me. And I got the idea that
nothing was happening here, so I would go back
out and try again. And, quite frankly, I don't
know where I was that time. Because, I . . . my
next impression of an interior scene. . . I
thought, this is, oh like that. My next impres-
sion of an interior scene, which would be, okay,
let's cut out these two here, okay? There, that's
the edge of the building. That's the next one
there. That's right. . . Like that. See. There.
Now. In this general quadron is where the boxes
were. Okay. Somewhere behind. . somewhere in
there. And the other one (not audible). Now
the other one was towards in the back. I thought
I was still on like the ground level. But, when
you told me to turn around, and. . . like the
black chair. . . and look out, I got an aerial
view. You know, I got a view of looking. . . I
was. . . I thought I was. . . just at a ground
level type thing. Then when I, when I. . .
started thinking about well, where am I? I got
in a little entrance way and I got a red carpet
and I got a black. I turned around and I got a
big open. . . um. . . I got a big view. . . like
. . like being from the 25th floor of the build-
ing or something. Instead of on the first floor
and that threw me out of whack.
#31: You know, here I thought I was mucking around in
the basement somewhere and, a . . somehow I got
up too high. I don't know how I did it. . .
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#31: I'll try to improve on this (DRAWING). .
#31: Okay, now you see how the different side of the
damn thing is changed. Going from first to
where I am now. You know, the depth of the
whole. . . Oh, I don't know, maybe my first
stand, I might have been standing near a corner
or something. And then got the full feeling
for it. Um. . . But I can't tell you what's
along that wall. . . Okay. I can't tell you
anything at all. Its dark. And this is the
ceiling. And I remember. . um. . I can't tell
you anything about the ground either. You
know, the. . . oh, the so-called whatever it
is on there (not audible). I remember looking
up and seeing. . . It seemed to me a set pattern.
But, I can't really say where the darn thing
was. But what would be front and in here. .
would be a . . a, in the roof, okay?. . . A
ceiling, I guess is where. . . This is in the
dark, right? This is down underneath this thing
still. Okay. This is like a back-to-back,
whatever would be the back okay. As though,
like, as though, say I was standing like here
looking into this thing. That would be that
wall. And then this is the ceiling over top of
it.
#7.5: Describe the height to me.
#31: Its a 20. . . No, its a . . . a . . . a good
twelve feet. Its not like, its not like lobby
height. Its a little bit above what would be
a regular floor height. But its not, you know,
its not (not audible) reach.
#31: Okay, let's, let me do that while I'm thinking
about it. Let me do that. Its something I
haven't done. Here. Approximate height or
anything. . Let me talk distances, okay. . Let's
see from there to there, was forty feet, okay?
What other distances do I have. I don't know.
This one. . . although, I don't have much of a
feeling for it. . . I can't really. I don't
really recall it. I mean, it was a . . . what
we call a perspective, a size perspective on
that.
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#31: Well, it was um. . . I didn't really get any
color. I got the light/dark. I really didn't
get any color. Even this thing, which is
apparently a drive or some sort of form, shape
out here. I didn't even get a color on that.
I was saying, you know, I said, I had the shape;
and then when I started to work on that, I backed
off of working on it because I didn't want to
get into a decision of white and black. Is it
asphalt or is it gravel? For some peculiar
reason, I had the fleeting impression that it
was gravel. Which, just doesn't. . . doesn't
. . . unless it is not a drive. It could very
easily have been some sort of a park or a
fountain that has gravel in the bottom of it
you know, or anything. . . I'll write it in
there. I had this fleeting thing of . . . I
didn't have. . . outside it was all. . . drab.
Not drab gray like this image you know. Dis-
gusting. But I mean just . . . no, no wild
reflection or anything. No, um. . . you know,
just nothing. It seemed like I wasn't worried
about everything. . . I was very stuck at ground
level. . . I wasn't worried about what went up
and away from it. I was fascinated with this
damn crotch. Ha ha. You know, this niche, and
under the corner of this thing. . . Um. . . but
I did have. . . I still have the feeling that
its high. But, there I ran into trouble. When
I dropped back and I was saying okay, let's try
to see just where this sone of a gun goes, then
I started to get all sorts of twisted impressions.
You know. Of, a . . you know. . um. . different
configurations, everything, you know. . . and then
I was afraid that I was going to start to lose my
focus again since I did at least have something
going with the . . . with the underhang there or
whatever it was. I dropped back and I started,
you know, all of a sudden, the building changed
into a one-family dwelling on a mountain-side
and I said, now wait a minute here, this has got
to quite, let me go back to the (ha ha ha ha). . .
#7.5: When you put your images all together, and you
think about being at this location, what is your
feeling about this? What goes on there?
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#31: I don't know. I got the feeling that it was
not a . . . that it was not a vacant business
office building.
#7.5: Okay.
#31: I got the feeling that it was not that. But I
had no impression of any people around. At all.
You know. Which sort of removes any feeling
that it would have been a hotel, a lodging of
any; a lodging type building of any kind. Or
that it would be a commercial building of any
kind. You know, 'cause its like if I, if I in
fact had been stuck some place where, where
there was buying activity, you know. You know,
hustle, bustle Sunday. . . well, of course, its
still early in the morning, but still. . . I got
the feeling that things hadn't started yet and
I just couldn't figure out what they were. But
the room image that I had. The box, the store
room box image I had. . . was a . . was not like
a warehouse, very organized image. It was more
sort of a humble jumble type of a affair. . . a
. . . the boxes were all the same though and they
were oversized boxes. They were not little card-
board boxes or anything like that. They were
boxes. As big as, you know. . . But I mean they
weren't assorted either, they were all the same.
But it wasn't like a warehouse, you know what I
mean? It was like somebody had 17 of everything.
Or 17 of one thing and threw them all in this
room. And they still happen to be in their card-
board box. But then, the other room image that
I haven't gotten to yet, looks almost as though
it was an office. You know, the chair was a, was
a. . . like I said, it was black. . . Its, its
like a gloss, like a leather. . very fine. I had
the feeling of very fine furnishing. You know,
not exquisite like 17th Century Rennaisance antique
or anything like that you know. But very, very
nice. . . a . . . small office. It wasn't. . . I
didn't get this massive feeling either. . . Like
a small office. But that's only two shots and I
just have no idea. . . no feeling at all for what
you know, for what the whole rest of the building
could be. Or what the function or purpose of it
could be.
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#7.5: What was your emotional impression?
#31: Oh, one thing I . . . Well, . . . One thing I
can say, is that I did not. . . I did not . . .
get stuck with any. . . this looks like garbage.
Until right at the very end. After I had worked
this whole aspect of it. The whole thing. And
what I had had, I worked the whole aspect of it
and I got this. . . just towards the end there
when I was . . . that's when I decided to leave
there and go into the rooms now and see what was
happening because I think I (not audible) basic
description down. Ah. . right towards the end.
a . . . I had this fleeting impression. that
I was at a place that I knew. That's when I
stopped what I was doing there. So as not to
muddle it up any. And that's when I went inside
to see what was inside.
#7.5: Okay. This fleeting impression that you had .
#31: The fleeting impression that I had was that I
was in a cer. . . that the description I had
compiled thus far for myself, I had this correlary,
this sort of correlation to a place that I know
is on the University of Miami campus. In Coral
Gables.
#7.5: Are you saying that this was an after thought?
#31: Yeah. This was more like an after thought. And
that's when I . . . I had long since gone. . .
past this and this and this. I was. . . that was
just before I went into the rooms. You know,
towards the last five minutes. I guess.
#7.5: Okay.
#31: And that's why I did it is because then I said,
now wait a minute, you know, now, if you
conscious, if you consciously recognize that
correlation there, I said well then I'll probably
end up screwing up the rest of it so I better
change my mode and go somewhere else. Go
internally and see and try to wipe that out. But
that was all I . . . it was like an overhanging
thing and its strikingly. . . still, its strik-
ingly similar. . . in description to a, you know,
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to a covered area in the build. . . underneath
a building or something on the University campus
Anyway. . . (not audible). . was very a
a room. What can I say, its a . . . dark
I'll just draw it. Just what I had. Dark
and I was on the . . . so the perspective would
go like that. . . and then just around the . . .
they were sort of jumbled. . . they're not, um,
you know. . . (not audible). I'll give you the
idea. I can't you know,its~not the exact impres-
sion. . . I get the feeling. You know, they are
a little out of line like somebody had just sort
of quickly stacked them in there to get them out
of the way type of thing. And these boxes were.
let's say. . . about three deep. They were like
this. Ah. . I'll call them 18 inches by 24 inches.
Okay. It seemed like they were right. . . you know
they were everywhere. If I was drawing the thing
from perspective, I'd have boxes, you know. . .
it would be bigger and everything. And I don't
even recall seeing the floor. You know. Or
anything. I don't even recall seeing the back
of the room. I just recall being in this area.
#7.5: Um hm.
(END OF TAPE 19)
(BEGIN TAPE 20)
#31: Umm. . . I don't know how this thing went. . .
And back, the wall, that ran along (not audible)
in that corner. . was like that . . okay? And
it sort of petered out here. And the reason it
petered out there is because in the foreward. . .
right like I was only, in such, I don't know how
to describe this, it was like I never got into
the room. I was standing like in a . . . um.
you know, small room. Something on my right,
which is like a big wall. So, I'm going to draw
that right down from the . . . to the side of it.
And that's in the foreground. And then that's
where the carpet was red. And that's black. Now
when, now that's when I, remember when . . . now
I thought I was in here. . . I thought I was still
viewing at ground level. And, a . . . when you
said, look at the chair, take a look around and
tell me what you see; then, at . . . um. . . then
added the turn around. I looked past the chair
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and I'll just. I'll tell you what I'll do,
I'll just redo this 'cause there is a differ-
ence. This is just a rehash here.
#31: All right. Okay. . . That is when. . . the
idea of this picture, or this window, it was
like the whole thing. . . with. . open. . in
distance. Okay? Feeling the height. And this
would be like the horizon there. But I never
got around that building on the corner. The room
didn't seem to be very big. You know, perspective
wise. It didn't. . um. .
#7.5: What is your feeling about that room?
#31: That it was an office-type room. Or a den.
Not. . .
#7.5: Could you go back to that room and tell me more
about the room?
PAUSE
#31: Ohhhh! Now look #7.5, I don't . . . .
PAUSE
#31: Can't find a thing there. . . Hmmm.
PAUSE
#31: (Not audible) tapering off. . .(not audible).
PAUSE
PAUSE
#7.5: Tell me about your impression.
PAUSE
#31: I don't think I can give you that.
PAUSE
#31: Its funny. .
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#7.5: Don't try to make it into an office.
#31: No, I won't.
#7.5: Describe what you see.
#31: No, that's what I was; peculiar about it.
That's why (not audible) because it didn't turn
out to be an office. Ha ha ha.
#7.5: What did you see?
#31: I, a . . . small table. . . And a . . long-wise
from the . . . from the chair. . . and this a
. . .the wall that it points at is a . . sofa.
PAUSE
#31: And a dark, dark. . .
PAUSE
#31: I don't think that window went all the way.
#7.5: Describe the entrance to this room.
PAUSE
#31: You know, a hallway.
#7.5: A hallway?
#31: Goes about. . . (not audible).
PAUSE
#7.5: Describe the door to the room.
PAUSE
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#31: Hmph! (Not audible). I never did get a look
at the door. . . The door. . . inside . . .
there's something on the door, inside. . . it
seems like . . . like . . .
#31: Like (not audible) is square. Its at eye level.
Its about half way up; more than half way up.
Up way half the door.
The door is the door. One room door. Nothing
else (not audible).
#7.5: Okay.
#31: Darker and then there's light square. Its a
(not audible), I get only a blank wall.
#31: Left side on the right looking out of the room
(not audible) . . . wall. What was on the
outside of the wall? . . .
#31: Get kind of a . . . Hmm. I get a feeling there
are a number of things, but I can't. . .
I don't know (not audible) earlier. . . For
what its worth, I don't know. That was earlier,
just now. Not before.
I can't get any now. . . Check it. I don't
know what I got before. . .
#7.5: Describe your location to me.
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#7.5: All right. Proceed down the hall. Move slowly
down the hall. Talk to me as you do.
PAUSE
#31: (Not audible) a door on the right.
PAUSE
#7.5: A door on the right.
PAUSE
#31: It seems different . . . than the other one.
This one was flatter (not audible). (Not
audible). This one was set back. . . This one
was recessed a little bit.
#7.5: Let yourself move through the door. In behind
the door and describe what you see.
#31: (Not audible).
PAUSE
#7.5: Describe your location to me.
PAUSE
#31: (Sentence - Not audible).
#7.5: All right. Let yourself stay in the hallway now.
#31: (Not audible).
#7.5: Okay.
#31: (Not audible) . . still the door (not audible).
PAUSE
#7.5:Well,forget that door now. Stand in the hallway.
#31: Um hm.
#7.5: Stand in the hallway.
15
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#7.5: Find the exit. Find the exit of how to get out
of the hallway. Go down to the exit.
PAUSE
#7.5: Describe the exit to me.
PAUSE
#31: Ah, umm. . . (not audible). . I can't find the
exit. I can't find the end of the hallway.
But there's a door in there. It might be two
elevators doors with a little thing at the bottom
it opens with. This is the end of the hall (not
audible).
#7.5: Okay.
#31: Look, look for an arrow. . . Ah. . (not audible).
I have a feeling that a . . a . . the stairs
is there too. If its what I think. I'm really
off to the side of the open space. . . That's
I'm at the end of the left hand hall I have the
up stair. I walk past that toward the elevator;
(not audible) turn around and walk left and
there's the down staircase. (Not audible).
Unless I turn around. They must curve. They
must curve. And the floor there is
(TURN OVER TAPE 20)
I want to say there are dots on it. Speckled.
It looks like that's where they are. They're
. . . there's a . . .
#31: Oh, go back, there's a . . Hmmm. . . I'm
getting a . .
orfinrT
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#7.5:
Describe your location to me.
#31:
Umm. . in the
(Not audible)
hall.
for,
(Not audible) in the hall.
you know.
Going back to the stairs, left. . . Coming down
from my first (not audible) is right. . . At the
end of the hall is . . . a good distance away
(not audible). . . (Not audible) before. I feel
like the floor of the hallway is padded. It
seems different from where I was before where
the stairs are. I didn't. . . I got the feeling
of bare floor when I was there before. It seems
like the halls are, you know, carpeted. Or
something.
(not audible)
Kind of . . . When I think about room. . .
(not audible) different (not audible). Room.
Before, . . . I was coming down the hall I came
(not audible). This room, on the other hall
is a different type with the glass. Or paneless,
or lighter. . . You know, like a hmm. . . I don't
know. I get different things. Its confusing.
I get different things and I don't know if its
because I'm actually feeling them, or if its
because I'm actually searching for an answer.
You know, its hard to find (not audible), I
don't know. Ha.
#7.5: Okay.
#31: Oh. Okay. Of course, I gotta start on this
one anyway. . . That was really a funny thing
'cause I went in there expecting it almost, you
know, just almost expecting it, matter of factly
to be, an office. Because of the nature of that
chair I got. This feeling of this window. But
the window and everything. . . I got in there.
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I think I got back to the right place anyway
and I had . . I had a different, I had a
different impression of it. Um. . . I'll
draw a layout. Instead. Of the two going
that way. I'll draw them. . . The room is not
very big. . . And this is just a damn narrow
little space. . . Okay? Its really. . . its
. I have a feeling of being cramped when
I'm standing here looking into the room. Right.
This is the hall. Okay, I don't know what's in
here. But here is chair, is like here, okay.
Here is this long, long table is like there.
And then, here is the sofa. Like that. Sofa
matches chair. I have the same feeling about
it. You know. It looked. . . I got the feeling
it was like. . a set.
In the window, it was only like about that big.
No, its bigger than that. But the window does
not go all the way to where the, where the sofa
is. Okay. Then the walls are, I got the feel-
ing like a paneling or something. The walls are
dark. Not dark, like black; but they're dark,
like brown. Everytime I turned around to try to
get this wall, nothing was there. I mean I
didn't even get anything. It was like it was a
blank wall. You know. Just no acruitraments,
it didn't seem like there was any. . . I really
didn't get a distinct, immediate impression of
like a buffet, or any type of a dresser, or
anything that you would expect to see in there.
I just couldn't find it. I didn't get anything.
Now, . . . when I . . . went from there. Let me
repeat this wall. I actually should have drawn
that down here. It would have been simplier.
than drawing it over again. Okay.
Oh, Oh. What'd I say, three, one, three. And
also the door to match. Its a regular old door.
Like a deep tan. Okay. And the inside of the
door to sketch it. You know, you've got a
regular old door, fit right in here. The inside
of the door is like that. Okay. And, there was
this white thing on it, like there. Light thing,
light thing.
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#31: Okay, where am I here? I wanted to show you
this. What I did. . . Okay. . . Okay, now this
hall. . was on. Remember when I was talking
of how this one was set back. . . That's the
way the door was on that one. And this is another
door here. And this is open. Not like this one
which has the door right along the hallway. I
don't know what's on the left side. Somewhere
I'm sorry, this is what I was talking about.
This door and the feeling was . . . sleeping. Bed.
Okay. Inside. That room. I didn't go in that
room. I couldn't get anything other than that
feeling. And then, then to just bring the whole
thing right apart, when we get down to the end
of the hall. . . then there's the cross-hall
somewhere in here. I don't know where it fits
in the perspective. You know, how far or where
or what's inbetween it or anything like that.
Because then I went right down to the end of the
hall and I sort of stopped and said, is there
any other hall? You know, is there a hall off
of here or what's this thing? And then I went
on. And then I left there and then I came back.
Okay. This goes down like that. Let me get
this right. Let's just say. . . carpet ends.
Okay. And I said there were two big doors and
I said they might be elevators. And then you
told me to start looking for a . . . 'cause
after I . . . Okay. But this was, remember I
was telling you about the thing curving. Okay.
This was like . . . this was the stairway there.
Okay. And, this is, this is what is the up
stairway. No, that's wrong I don't want to read
it that way. This is the up stairway, right. In
order to get to the down stairway, its not here
or you don't, you know. . . The down stairway is
over here. . .Okay.
#7.5: Okay. Write the words, up stairway and down
stairway.
#31: And I remember sitting there wondering to myself
now how in the hell can that work. Ah. . I said
they curve; remember I said they curve. That's
what I was talking about was right here. If the
landing or if this end is repeated, in a many
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stories building, you end up like the landing
and the top this foyer area; this area at the
end of the hall here, right. And the stairway,
stairwell, comes down to the next floor. And
its repeated again. Comes down to the next
floor like that.
And this is bare floor here. I didn't get any-
thing on it. Just an open. I told you the
ground was a spot, spotty didn't I? All right.
#7.5: Okay.
#31: Hmm. I don't know. What did I say about the
going down the hall? I didn't really get any-
thing down the hall, but there is a hall there.
I didn't really find. . Oh, oh, wait a minute.
That's when I said. . . that's when I got (not
audible) and I said I got glass. And that's
what I'm talking about. Maybe that's sort of
what made me give up on that hall is because
these, you know, these things are fitting any
pattern. Whichis really peculiar. You know
what I mean? Do you see what I'm talking about?
#7.5: Not really. Ah, they . .
#31: You know, there seems like there's no order to
. . I mean, granted (not audible) or something.
It looks like its all. . . looks all right. .
But. . . what the hell would a sleeping. . if its
a big building, you know this is the whole left
brain side of me is . . .
#7.5: Okay.
#31: . . starting to
#7.5: Okay.
#31: . . screw with me when I got down that hall. .
And I said glass. You know, I said, I got this
impression of beakers. . . You know, like the
whole room was filled with working lab stuff.
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#7.5: Okay.
#31: Or something like that, you know. Like beakers
and glass and everything and that's when I sort
of gave up and said. . .
#7.5: Was that a separate room down the hall?
#31: Yeah, yeah. Its down. Um hm.
PAUSE
#31: Down here. Unknown distance.
#7.5: Okay.
#31: And, I don't even know. . . Its a regular door.
Its not anything like that.
Some glass. . . a . . . I'll call it like a
laboratory. . . But this was not seen. Okay.
This was sensed. This was not like I was in it.
And just like this was sensed. I'll put that in.
And this was sensed. And this is seen, okay.
#7.5: Okay.
#31: And this is seen. And this hallway is all seen.
#7.5: Okay.
#31: We'll probably find out he's out in the middle
of the desert; contemplating his navel. Sitting
under a huge cactus or something. Ha ha ha.
#7.5: Again, I find it curious that you. . . did not
see any people. You tried to analyze that a
little bit about why you didn;t see people, but
you didn't see any people. And sometimes, that's
the way it is. Sometimes you just don't see people.
#31: I didn't, I didn't see him. Wait a minute. I
did see him. I did see a person. Where am I?
I saw a person in here. That;s the only one.
And that was my first one, okay. And I won't
say that it was him. But I saw a single person
inside. To describe it would be as though, you
know what a eye beam looks like, you know. If
you had the eye beam laying on the ground and you
had a little doll sitting in it and you were look-
ing down the eye beam. That's what it looks like.
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#7.5: Is he on the top half of the eye beam or the
under. . . the under half?
#31: No. He's in under it see. He's in here. Yeah.
Yeah, he would be in under. He would be in under
this dark shaded area here right. And there's
light, I scribbled him in, there's light at the
end of it, there's light showing down there. But
its like its partially shaded on the right. But
open on the left. Okay one. But there was no
other activity. There is nothing that I could
feel, or get a hold of. Then too, it was eight
o'clock in the morning. On a Saturday morning,
Huh?
#7.5: Do you have anything else that you think you can
add? You've given me a whole lot of stuff here.
#7.5: Okay. This has been a pretty long session, but
its been pretty comfortable because we've been
open-ended on time.
#7.5: Okay good. That'll do it then.
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TAB A
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 Approved For Release 2000/08/07 : CIA-RD
469788R00090061 Q001-6 .
e,fp
40
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 Approved For Release 2000/007 : CIA-RDP96-00788R000900610001-6
r*I
000108/07 : CIA-RDP96-00788R000900610001-6
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TAB B
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 Approved For Release 2000/08/07 : CIA-RDP
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 Release 2000/08/07 : CIA-RDP96-007888000900610001-6
X C, i r1 '
~rF/CF
SECkc
Sc cc,Lc FC4 r~r~ /-.L~~.~ a,r,
sit cam
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 Approved For Release 2000/08/07 : CIA-RDP96-00788R000900610001-6
TAB C
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 Approved For Release 20
RDP96-00788R000900610001-6
REMOTE VIEWING (RV) SESSION XVIII
1. (S) Post-session interviews are conducted after the
completion of a session to provide the selected remote
viewer with the opportunity to express himself concerning
his viewing experience.
2. (S) #31 was satisfied that he had been successful at
remote viewing. He liked having the session go on longer
than his previous attempts. Not being rushed to perform
helped him relax and concentrate. He is anxious to do more
remote viewing as he feels he will get better with practice.
3. (S) #7.5 thought this session went very well. #7.5
noticed a deep state of relaxation on the part of #31.
Communication between #7.5 and #31 during the session was
open and conducive to the remote viewing process.
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000900010001-6
F-1
App - 88R000900(100b1 but
p
1st FLOOR
USASA FS
AUGSBURG
building
DRAWN BY
M L CROMWELL
DC SLOG ESS
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F-71
F-FTI
C
1st FLOOR
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