TRANSCRIPT REMOTE VIEWING (RV) SESSION DCC-48

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000500560001-6
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 18
• Document Creation Date: November 4, 2016
• Document Release Date: April 6, 2000
• Sequence Number: 1
• Publication Date: May 13, 1981
• Content Type: REPORT

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INSCOM
GRILL FLAME
PROGRAM
CLASSIFIED BY:MSG,DAMI-ISH
DATED: 051630ZJUL78
ATIONALS REVIEW ON:
GRILL FLAME
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SUMMARY ANALYSIS
REMOTE VIEWING (RV) SESSION DCC-4B
1. (S/NOFORN) This report documents a remote viewing session conducted in
compliance with a request for information on a building of interest.
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 requestor.
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.
NOT RELEASABLE TO FOR NATIONALS
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TRANSCRIPT
REMOTE VIEWING (RV) SESSION DCC-48
TIME
#66: This will be a remote viewing session for 0900 hours,
13 May 1981.
At this time we'll conduct a pre-session briefing to the
remote viewer. This morning I'm going to be showing you
photograph`, which I now show you, of the target building.
As you can see it is a part of a city block, and the Puilding
we're interested in is bound by the arrows indicated.
#31: Okay.....
#66: Your mission for this morning is extremely interesting.
U.S. Intelligence sources have indicated over the past several months
that information has been getting out of that building. There
are indications that certain discussions, certain plans, oper-
ations discussed only in that building are somehow related to
parties outside the building. Up to this time our group remote
viewing effort has been able to obtain relevant data about the
building itself. Technicians have been unable to locate lis-
tening devices to the present time. We have been asked to
assist in discovering in providing leads to where and how the
information is leaving this building.
#31: Okay. It's the whole building?
#66: Yes.
#31: Okay.
#66: So we are going to be asking you to focus and concentrate on
the building in the photographs I am showing you, and address-
ing yourself to the problem of information leaving this build-
ing.
#31: Okay.
#66: Do you have any questions concerning your task for this morning?
#31: Nope.
#66: All right. You now have 25 minutes in which to prepare your-
self for this mornings task.
Focus your attention now. Focus solely and completely on
the building in the photograph I have shown you. Focus in
present time on the building in the photograph I have shown
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#66: If I understand she sits, or is concerned with a desk that
faces the window.
#31: Yeah, she's somewhere in this...middle size room.. What I'm
tryin' to say is the problem is not technical and the problem
is not monitoring. The problem is people problem.
#66: All right.
#31: And of all the people it's a woman.
#66: Okay. Before we move to focus on her tell me the experience
you have that has you come up with the name Hank.
#31: I don't know. I think it's the woman's nickname, believe it
or not.
#66: Okay. Tell me the actual experience you have that leads you
to this conclusion...........
#31: I really can't. The name just came to me as I was-thinking
about the woman being involved. It just sorta came to me.
It didn't tell me anything.
#66: Okay, fine. Let's focus now on this perception of the woman.
Work with that now for a while and I will wait.
#31: She's about mid-thirties. She sits at a desk and has...some-
thing sorta high on her left, like a stack of "IN" boxes.
+27 And there's a..I don't know if it's a paperweight or if it's
a, uh, accoutrement,.a device of book of work. But it is
sort of...flat on the bottom,as high as your fingers, so that
when she touches it her hand goes over it and her fingers go
down the side of it. And it's a tan or light gray, and it
rests up on the thing..up on the "IN" box. And she retrieves
it from there every once in a while and puts it down on her
desk. And I don't know what it's for, but that's a unique
thing. It is...maybe it's like a paperweight or something.
She has blond hair. I don't remember if I said that or not.
Earlier I had two other fleeting images. One was of a, uh....
youngish man, mid to late twenties, dressed casually, a
beard. And he's somewhere where there's a, uh, some sort of
piece of machinery in a basement room where it's not really
a basement room, it's like in a corner of a basement. Machinery
is something like a Xerox machine, that is, it's something that
is elbow high and is wide, and you reach out in front of you
to work on it at waist level. It's a place in the basement
where it sits against a bare back wall of the basement. It's,
the wall is painted over. It's like concrete block, uh, out-
line. And the wall is painted a cream white enamel. I don't
know what role he plays in this, that was earlier. And I
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#66: you. Search now, search out that critical information.
Search out the target area. Ask yourself for that most
critical information relating to the threat to this building.
Proceed now with total involvement with the target and describe
your perceptions to me.
+04 #31: Think I'm outside a...out front, off the sidewalk, in under
the..in the doorway of the place...
+10 #31: I'm drawn to a, uh....window over top the, uh, entrance on
the left side-second floor .............
#66: Continue.
+15 #31: Keep getting a, uh, woman who, uh...sits facing a window....
with a string of desks.
+20 #66: Report........
#31: Not really gettin' much of anything after my first start...
I'm sorta waiting around for it to happen again.....
#66: And explain your first start to me again.....
#31: Somethin' up in the left side...second or third floor.
Something to do with a woman...and in a place with a over-
looking window. It's got a line of desks in it. And the
name's Hank......
#66: Describe the woman.
#31: I don't have a description of the woman....
#66: What is your experience that makes you say there's a woman
involved?
#31: I just became preoccupied with this woman, somethin' to do
with her.. In answer to the question go to the root of the
problem....
#66: Describe this woman's activity.
#31: I can't. I don't have that data yet.......
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#31:
#66:
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#31:
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don't know if it was the role or him or the equipment. I
don't feel it was the equipment; I feel it was him more than
what he was at....
Very good..... This woman that you mentioned before ...focus
on her and explore and describe her principal job duty...
I believe that she is a supervisor of about three other
women. She's a section chief, and...is someone who on occa-
sion is, sits in at meetings... Like the ones in which this
type of information is talked about. Not necessarily first-
hand, but also possibly second-hand... Um, if I had to label
it I'd say that it was something like in a visa section or...
a, uh..repetitive forms control and processing. Single sheets
of paper with lines that forms are up processed....
#66: Okay, I have one more question.
#31: She has short blond hair.
#66: I have one more question for you. Explore now this woman and
describe the specific activity..addressing the security vul-
nerability.
+40 #31: I, um, only getting about two, three thing. First id that...
she lives in a multi-storied apartment complex. Secondly is
the feeling that when it happens, it happens at home. Some-
how associated with a thing in the ceiling of her apartment
which is like a smoke alarm or a light fixture... I'm not get-
ting a feeling of hostility or witting caplicency (phonetic)
on her part. I'm getting more of the story of the woman who
just knows too much, and because she is getting the infor-
mation, gleening it in the office, uh, in the improper manner,
then she is not aware of the sensitivity of it, and then is
doing something dumb, like talking about it is her apartment
+41 or talking with friends in it or- I'm not getting the feel-
ings of spys behind the bushes and sophisticated electronic
equipment or anything like that. It's a very, very simple
and very, very, uh, basic...
#66: Okay. I have no further questions about the target area this
morning. If there's anything you'd like to add please do so
now.
#31: No, that's all I can find.
#66: Okay. Let's prepare now to draw those perceptions that you
have had at this time.
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#31: Okay, first of all it was not a very good session at all.
Um..I don't know why, because, of the abstract. abstractness
maybe of the tasking, things which we usually, I found that
the things which were usually available to remote viewing
really did not really apply. So I was wasting a lot of time
remote viewing where I was in order to find outwhat it was I
was looking for. Um...okay.
Sketch one, I feel confident in sketch one. That was a very..
spontaneous and very sharp image that I had of a series of
tables, some sort of a clerical arrangement in which the woman,
on whom I was very concerned during the whole session, sat at
the desk with the "X", was able to look out on the street
below, which meant to me that it was only one or two stories
up, and was nominally in charge or concerned with some three
other clerical women that sat to her right in a row. The
front one of which could also- I can't tell if it's, if there
are windows there which would mean it would be the second floor,
or if there was, with not windows there. There was a very rep-
etitive pattern and after I came out of it I couldn't recall
which one was, which was which. I think it's the second floor
because I feel best about the second floor level being the
place of her location. But I just don't know.
#66: Okay, I have a question here.
#31: Yeah?
#66: What questions in your own mind were you dealing with when
this spontaneous image of this room and this woman came to mind?
#31: Well, right here I had done my whole: thing was -al go,to:: the
root of the problem, were the words that I used. Go to the
root of the problem. And in actuality what happened is I ac-
quired the outside of the building first in sketch three, and
was drawn up to either floor, second floor or third floor, you
know, just up into the upper left..above ground level, left
quadrant of the building. And I sorta wandered a little bit
and had the feeling that I was concerned with a woman, and
the name Hank came into mind. So I, keying again, continually
keying on go to the root of the problem, or what is the root
of the problem, I got sketch one, which was vevy sharp and very
clear. And I got this sketch two was the woman sitting at her
desk with this "IN" box and this funny apparatus that she has.
But I don't think the apparatus that she has is the thing
that gives away the secrets. I think it's merely something
which is unique to her which would help in identifying who I'm
talking about.
#66: Okay.
#31: It's like a paper- oblong paperweight or something. So she
sits there. That takes care of sketch one, two and three.
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#31: Uh,somewhere in there I saw this, I saw another, also in
go to the root of the problem, you know, I saw, I don't know
where I was. I felt like I was in a basement room. I felt
like I was looking at a..concrete block, enlarged concrete
block wall, bare wall, that was just painted over white enamel.
And this was a very clear image. This guy looked at me, sort
of a young guy, mid twenties, thirtids, mid twenties, mid to
late twenties. And was like using some sort of a machine that
was at about waist level. I thought, you know, maybe it was
like a Xerox machine or something like that that-like our
machine, it was about waist level. But I really don't think
he played much init. That's an example of how I was flitting
all- I think it's more of an example of how I was looking all
over the building, looking for the root of the problem, what-
ever that is, for the lack of anything else. The reason I
didn't use any more specific is 'cause I didn't wanna make a-
something out of a, mountain out of a molehill. Uh...
#66: If I understand you correctly you didn't want to say this
place is bugged and I'm going to-
#31: I didn't want to say let me find the spy. Because then if it
was an electronic bug, then I would go and make a spy where
the answer was electronic bug, see.
#66: On the other hand you feel as though you were-
#31: And I didn't wanna say let me see the electronic bug because
then if it was really because there was a spy inside and not
an electronic bug then I would get an electronic bug and be
off on the..
#66: Do you feel that you were, uh, now after the session looking
back, do you feel that you were successful in your attempt to
be broad-minded and open to any input?
#31: Yeah. Because I spent a lot of time just getting miscellaneous,
you know, looking at a lot of things, none of which made any
impression on me. None of which made- none of which were of
any importance to me, except these few things.
#66: Okay.
#31: So it was like I was shopping and picking out. You know, I
saw all sorts of things. Like I saw the- christ, you know
what the tip end of a, uh,.umbrella looks like? Well, I saw
the tip end, chrome tip end of an umbrella.; You know, wow,
look at that, you know, that's not important. And I went off
somewhere else. All right. Then you had me concentrate on this
woman who, I don't know, I was sorta reminded- I'll give you
a character sketch of the woman before I continue. She's about
thirties, mid thirties, she's business like, she's like one %
of the, what can I say, drone office worker, you know. Maybe
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#31: that's why I got the name Hank. She reminds me of Brenda
Start's': sidekick or something. Uh, she's got short blond
hair, she's sorta nice, you know, she's a nice conniving
woman. You know, the typical office working woman who's sorta
snoopish and gossipy and is always lookin' out for number one,
and is sort of interested in finding out anything on anybody
so they can use that to get ahead. She's in some sort of a
minor supervisory position where she does have to take care,
participate in some meetings. But I didn't get the feeling
that she was in all the meetings. She was in some of them.
Um...blond hair, she wears dresses, but not suit dresses.
#66: At one point I asked you to focus on the specific activity
which related to the security vulnerability.
#31: Yeah. The feeling I got is, you.know, is I really got very
little. I didn't get any planned, controlled and connived
attempts to compromise information. I got this attitude of
finding out, piecing together little tsdbit6,. and pieces, the
way rumors are always spread and pieced together because of
this character type woman is the type who collects little tid-
bits of data and keeps a book on everybody in her head. Using
that figuratively. Uh, that out of ignorance she is collect-
ing information out of context..out of caveat, so that she
doesn't know, honestly, maybe, she doesn't really know that
what she's talking about is something that's super secret. And
so she collects this little bit of tidbits in the ladies room
or in- she catches an innuendo to it in one of the meetings
that she's in and so she goes home and she talks about it to
people, not really realizing that what she's talking about is
very sensitive.
Um, did not have any real controlled effort to spy... You
know, jsut didn't have, just didn't fit in there. Anyway, in
the same sense, same activity, I followed her out, she left at
the end of the day. I had her going down a staircase at the
end of a hallway, down a staircase and out the front door of
the building. I can't say that, I retract that. I don't know
how she got out of the building. Had the feeling though when
she went downstairs she was walking towards the front of the
building. Um, aimed towards the front of the building, I
should say. And that some distance away, that she walks, I
think. I didn't see her on any public transportation or any-
thing. But that some distance away is a public, I call it
public in quotation marks, a large "public" housing project.
For some reason that came through. Multi-storied, many floors,
all the same, right out of downtown Washington, big complex.
Okay. Much nicer than that. Much better taken care of, but
that, you know, she's like allocated her apartment, and she
works in her, she lives in her apartment and that's where she
was going, to her allocated public housing apartment. Uh,
and they...it is, uh, salmon pink...
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#66: The color of the-
#31: The color of this building is like a salmon pink or sandstone,
or pink sandstone. Okay, now in this, her apartment is in
here and I don't know which one it is. The way she gets to
work is she walks up and approaches the building like in
sketch four. In her building is where I was- you know, it
coulda been anything. You know, I coulda had her, I was
guarding against her going and meeting some lover and telling
him all these state secrets or, you know, going and pulling
out her cosmic radio set and pumping it into the .., you
know, the latest data from Schmerch. And essentially I did
not get, again, I did.not get in her apartment any overt, uh,
purposeful acts at espionage. But I had the feeling that
that's where she was vulnerable, and because of her poor secur-
ity, personal security, that that is where maybe she was mon-
itored. Like hostile intelligence services monitored her dis-
cussions, her coffee clotches with the other girls in the
office that took place in her apartment. And I was drawn to
this thing like in a, uh, living room or a kitchen. No- if
I had to say where it was it's in a kitchen ceiling, like a
smoke alarm. Something circular that's in a ceiling. That's
like a smoke alarm or a vent fan. And that that's where the
actual passage and compromise of the information takes place.
Does not take place in message or anything with format or
dead drop or, you know, big spy meeting or anything like that.
It's something that's done inadvertent, off the cuff, very
stupidly, very accidentally. And whoever tapped into this chic
has tapped into a couple, you know, has happened to have had
a couple 'tidbits. of information fall in their lap. That's all
I got.
#66: Okay. And once again how do you feel about the process of the
session today?
#31: Well the session process was-while I was drifting and rummaging
around in the old AKASHIC records...uh...I don't know. Some
parts of the session were all right, other parts of the session
were not. Other parts of the session were out of control.
Um, you know, I began to feel that I was wasting a whole bunch
of time and that I was getting on everybody's nerves because
I was taking so,long, but I was taking long because I didn't
have any guidance and I was looking at everything and so, well,
you know, I sorta worked myself into a box. And about half-
way through the session I just broke concentration. Uh, you
know, sorta drifted in and out. Every time I'd get concerned
with what I was doing then I'd break concentration and I'd
have to start all over again.
#66: Okay.
#31: And, uh...that's about it.
#66: Okay, fine.
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TARGET CUING INFORMATION
REMOTE VIEWING :RV) SESSION DCC-46
1. (S/NOFORN) Information provided the remote viewer prior to the session
is documented as a pre-session briefing and is included in the transcript.
Photographs shown to the remote viewer are attached.
2. (S/NOFORN) Little guidance was given the remote viewer during the session.
Some portions of the session seemed interesting and the viewer was asked to
elaborate on those portions.
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