Approved For Release 200
SESSION REPORT
REMOTE VIEWING
(RV)
SESSION XXXI
DP96-00788R000900280001 -3
1.
(S)
This report documents
a remote viewing
(RV)
session
conducted
in compliance with
a target request
from OACSI
,
DA.
This
target request was integrated
into the target pool on
hand which
is being used
in
the RV training program of
the
INSCOM GRILL FLAME Project
(IGFP).
2.
(S)
The protocol used for this RV session
is detailed
in the document,
GRILL FLAME Portocol,
AMSAA Applied Remote
Viewing Protocol,
undated.
The remote viewer chosen
for
this session has had previous successful RV experiences when
the on-target
time has been
in
the future with respect
to
the time the RV has been conducted.
The RV of
future events
(location of
a "beacon")
is not without precedent
and
is
fully documented in what
is now known
to the GRILL FLAME
community
as the "IEEE Paper."
This RV session was structured
to take advantage of the selected remote viewer's ability
to
conduct RV of
future
events.
3.
(S)
Portions of the following transcript have been
edited for security.
The deleted portions relate
to
personalities involved which require confidentiality,
specific
operational techniques employed which,
if divulged,
would
allow assessment
of RV capabilities
and/or development
of RV
countermeasures,
and the actual
date/time the RV session was
conducted
in the interest
of good OPSEC so
as
not
to disclose
operational patterns of the
IGFP office.
This data
is
avail-
able by request
from the
IGFP Project Manager
for personnel
with proper clearance and appropriate need to know but has
been deleted from this
report
to facilitate
its dissemination.
The #100 refers
to the designated "beacon" personally;
#28
refers to the RV session interviewer;
#19.5 has been assigned
to the selected remote viewer.
4.
(S)
At TAB A
is the transcript
of the RV session.
At
TAB B are drawings made by the remote viewer reference his
impressions of the target
area.
TAB
C
is
to be completed
by OACSI
and will be
an assessment
of
the accuracy of the
remote viewer's impressions of the target
area.
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TAB A
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#28:
#19.5:
#28:
#19.5:
#28:
#19.5:
#28:
#19.5:
#28:
#19.5
#28:
#19.5
#28:
#19.5
#28:
#19.5
TRANSCRIPT
REMOTE VIEWING
(RV)
SESSION XXXI
This will be
a remote viewing session.
We
are
going
to
go ahead and start right
now.
This
will be
a precognitive session
so the actual
on-target time will be some time
in
the
future.
(Edited
for security.
)
Okay,
what
I'm going to do
is
.
.
.
a
.
.
.
assume
a general time that
all
three of us will
be there.
I
don't know if
I
have to or not.
No,
I'm going to give you
a specific
time,
okay?
Okay
.
I'm going to give you
a specific time.
Okay,
why don't you give me
a specific time
then.
We have
a preselected target.
Its already been
decided upon.
Okay
.
We've been maintaining
it
in the red file here.
In the red
file.
Your target time
is the 14th of
May.
14th of
May.
The target
time
is 1530 hours.
(Edited for security.)
1530 hours.
Okay.
Your individual target
is
#100.
(Edited for security.)
What we'd like you to
do
is
to give us
a description
of his location on Monday,
14 May 1979
at
1530 hours.
PAUSE
:
Okay
.
PAUSE
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#19.5:
I
see
a ...
I
see
a large vaulted room.
I
see
vaulted.
Its
got very high ceilings.
Very high
ceiling.
I
see
a
.
.
.
see
sort
of
a decorative
style curtain by
ceiling to
floor windows.
.
.
I
see
a
.
.
.
what appears
to be
a
large table.
But
its.
.
.
it seems
like
a counter of some
sort.
(Not
audible).
The lights
in the ceiling
are
recessed.
Nice carpet.
This
is not his office
either.
He
is
not
in
his office.
He's visiting
someone.
More than one person. ...
I
get strong
feelings
of blue.
There's
a thick carpet
that's
probably.
.
.
probably blue.
That's all
I
get on
the
inside.
Do you want me
to try to
get
the
outside?
#28:
Well,
let's draw what you have
first
here.
Before
you forget
these
images,
go ahead and draw them.
(DRAWING)
#19.5:
These
are
like.
.
.
I
don't know why
I
get
the
impression that these are glass windows
top
to
bottom.
The doors
are some
form of
.
.
.
glass.
.
decorative curtains.
.
.
Its all
down one side
wall.
Then the
.
.
.
far end of the room
.
.
.
I
don't
see
any windows on the
right hand
side.
There's recessed lights
in the ceiling.
.
.
There
is
a
.
.
.
counter type table with probably.
.
.
six
chairs.
.
.
There
is
a
.
.
.
painting on this
wall.
Carpet
is blue.
The entrance
is back this
way.
The ceiling's abnormally high
for
a room.
It probably doesn't
look this way
to scale.
That's
all
I
see,
its just
a ...
I
see all the chairs
filled,
you know,
people
in the
chairs.
Just
everybody sitting around.
That might be
.
.
some
kind of discussion.
.
.
Not
a formal discussion.
More
like
an impromptu get-together
to discuss
something.
You know.
That's
all
I
see of
the
inside
PAUSE
#28:
You see #100
in
this
room?
PAUSE
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#19.5:
Yeah.
I
see him
as being the person on this end
of
the
table.
PAUSE
That's all
I
see.
I
don't
even see
any other
furniture
in
the
room.
#28:
Okay.
Thinking about being there
in that
room,
1530 hours
on
the
14th.
(Edited
for security.)
I'm interested
in having you
tell me something
more than what you see.
What
are
some other things
about
that
room that maybe you feel?
#19.5:
I
feel
like
a
.
.
.
its
an older building.
I
feel
like
a
.
.
.
its not
a common place
for him to be
...
I
feel
like he's
a.
.
.
he's
sort
of
like
the center of attraction.
As
far as
the reason
for his being there.
.
.
Sort
of
like the keynote
of whatever this get-together
is.
.
.
#28:
Tell me what makes you think he's
the center of
attraction.
#19.5:
I
get
the feeling like he's
just.
.
.
he's giving
some form of
a briefing
to somebody.
I
don't
think
its everybody
at the table,
but
he's giving
a briefing to someone.
#28:
Is there anything unique
about
anybody else
at
the
table?
PAUSE
#19.5:
There's something unique about everybody
at
the
table.
I
can't put my
finger on
it.
I
get
an
overpowering.
.
.
feeling right
now that
I want
to say
a place.
But
I know
it can't be
right.
#28:
Please express everything.
#19.5:
Okay.
I,
for some
reason,
I
get the feeling he's
in the White House.
But
I
don't
see why he'd be
in
the White House.
Or
at
least
a part of the
White House.
.
.
But my.
.
.my rationale tells
me
no,
I
just
feel
like that's where he was going
to be.
Keep coming back to that.
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#19.5:
#28:
#19. 5:
#28:
#19.5
#28:
#19.
Yeah.
There's nobody
at the table.
There
is.
.
I
see
two people still
in
the room but they're
not
at
the table any more.
They're
all
the way
back across the end of
the room,
the other
room.
And what
are these
two people.
.
.
Over
this way.
.
.
They
are sitting
at
a small
desk and talking.
Wait
a minute;
that's not
right.
Can't be
a
desk
in this
room.
PAUSE
I've got the entrance wrong.
.
.
(DRAWING).
.
That's
the entrance and there's
a desk
at
this
end of
the room.
Here.
Almost
against the wall.
Draw that
in on your picture.
PAUSE
Picture.
.
.
Not
going to sell
as
an artist.
PAUSE
This
is
.
.
.' the scale's
all messed up.
The desk
is
almost
the size
of
the table and
its back this
way.
At
the end of
the
room.
The table's
at
that
end of the room.
The entrance
is
.
.
to the right
of the
desk.
.
.
if you could look through the
wall.
There are
large windows directly behind the
desk.
Seem in the corner of
the building.
I
see
a small table over here.
.
against
this wall.
.
.
.
with
a
.
.
something decorative on
it.
There's
two people talking.
#100
is
gone.
He's
not
in the
room.
I
don't know who these two people
are,
but
they're.
.
.
they're still
talking.
They're still
discussing what he had come
to
discuss.
I
say come
to discuss because he's
not
any where near the
building where
he normally works.
I
don't
think.
I
don't
sense that
he
is.
.
.
In this
area.
.
this room you've looked
at,
when
you found #100
at
1530 on the
14th,
he was there
in
that room for
a period of
time.
Is that what
I understand?
:
Yes.
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#28:
#19.5
#28:
#19.5
#28:
#19.5
For Release 2000/08T
Okay.
The room itself
now,
not
focusing on #100
in the
room,
but
the room itself
--
tell me what
goes on
in
that
room.
PAUSE
A.
.
.
I
just
sense that
there's
a lot
of paper-
work that
goes on
in the
room.
.
.
Sort of
like
a receiving room,
more than
a work
room.
.
.
That
doesn't make sense either.
.
.
I
get
the
feeling like
its
not
used all
the
time.
But
its
only
used.
.
.
Its used for work,
but
its not used
all
the time
for work.
Its only used
for
.
.
.
certain occasions
in work,
okay? ...
I
get
a
whole bunch of mixed feelings
about
even what
the
hell
is work
in
this
room.
.
.
I'm
a
.
.
.
Is there any electronic equipment
in this room?
PAUSE
Ah.
.
.
yes.
Describe this to me.
PAUSE
I
sense
that
there
is
.
.
.
behind this wall
is
some electronic equipment.
I
sense
like,
maybe
a.
.
.
a projection
type.
.
or
a
.
.
picture
display type.
.
equipment.
I
sense alarms
in the
doors.
Its
a ...
I
feel
funny about
the rugs
too,
for some reason.
Its
almost
like there's
some form of
a sensing device
in
the rugs.
But
I
can't.
.
.
my mind doesn't
tell me there
is
such
a thing.
.
.
Somewhere
in this
area.
.
.
and light.
.
.
switches.
There's
a recorder some-
where
in
the room,
but
its
not.
.
.
its like one
of these
- hand held type
recorder.
I
get
a
feeling of
grays.
.
.
a
lot
of
grays and blues.
I
think
I mentioned that.
I
think that.
.
.
Blue
and gray.
Not necessarily
the
carpet.
But
just
a.
.
.
the
feel of the whole
room,
you know,
the
walls.
.
.
ceiling.
.
everything
is
real
light
color,
blue and gray.
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#28:
In
looking
at
the walls
of
the room,
is there
anything unusual that might attract your attention?
#19.5:
Ah.
.
.
Yeah.
There
are.
.
.
I
don't
know.
.
.
.
woody.
There's
like ...
I'm not getting
a very
clear
image,
but there's
like
a decorative
historical type thing on
the wall.
And
I
can't
tell
if
its
a picture or
a plaque.
There's more
than one
involved.
Different shapes.
All different
shapes.
And they're on the wall on the right
as
you come
in.
Sort
of
like
.
.
.
a
.
.
.
round one,
and
a
.
.
.
square one.
.
.
(not audible)
picture.
I
think that's
a picture there.
A frame.
.
.
That,
that.
.
.
there's
not
really
.
.
.
there's.
.
.
they are lined up kind of orderly but not orderly,
you know.
You know all the top edges
in
a nice
neat row and they just kind of
.
.
.
they
fit,
the
way they’re up there.
They're decoratively put
on
the wall.
#28:
Okay.
#19.5:
Down the length of the wall.
Some
are contemporary
and some are old.
PAUSE
#28:
Do you feel comfortable
in this room?
#19.5:
I
don't.
Because
I
feel like there's
a whole
lot
going on
in this room that
I
don't.
.
.
Its just
completely over my head. ...
I
feel
a great
deal
of anxiety being
in
the
room.
PAUSE
I
get
the feeling there's
a monumentous decision
being made very lightly.
You know,
its off-handedly
like.
.
.
you know,
its kind of
a
.
.
disturbing to
me
.
#28:
When
I
asked you about electronic equipment
in the
room,
you didn't
report
any communications devices.
Are there communications devices
in the room?
#19.5:
This
is going to really sound weird.
.
.
Okay?
I
see
k
.
.
what you would assume to be
a
communications device
in that
room.
Its
a
disguised communications
device.
Okay?
Its
like
the
.
.
.
its like
a power system for
a telephone,
okay.
Its
in
a nice cabinet,
very decorative
cabinet
and the communications device
is not
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normally displayed that way.
Its sort of
like
one of these special,
custom made jobs that you'd
want
to hide
the
fact
that
its
a
fancy
communica-
tions
device.
TURN OVER TAPE
#28:
Is
there anything else,
#19.5,
that you would
like to tell me about
this room that you feel
is
important?
#19.5:
Wait.
Wait
a second,
#28.
I want
to
.
.
.
this
intrigues me,
this communications
device.
I've
got
to draw
it.
Because
it doesn't make
any sense.
I've never seen anything like
it.
I
see
a very
decorative box that
is taller
than
it
is wide.
.
.
Very heavy.
.
.
I keep sensing twin decorative
doors.
By decorative
I mean
its very good wood.
Like oak or walnut.
Walnut probably.
.
.
#28:
How tall
is this box?
#19.5:
2§ to
3 feet
tall.
.
.
about
two
feet wide.
.
And.
.
.
two feet
deep.
But
the
.
.
the communica-
tions the real box,
okay,
if you will.
.
.
is
inside this one.
Why,
I
don't
know.
The person
who owns
this communications equipment
doesn't have
any reason to prevent anyone from seeing
it.
All
I
can think of.
And
it
has
a
large.
.
.
front
door that
opens.
.
with
a handle.
It almost looks
like
a safe.
A small
safe.
No
legs.
Its sitting
on
a funny looking pedistal.
And
its
to the rear
right
of this
desk.
Up against
the wall.
And
.
.
a.
.
there
is
a telephone link to
this.
#28:
Have you ever seen anything like this before?
#19.5:
Ha ha
ha.
Not
in
a fancy box.
I
remember once.
.
Naw,
that couldn't
have been because
it was
.
.
.
Its
a ...
I
guess
a
lot similar to
the.
.
.
to
the.
.
a.
.
.
I
sense that
its
a
lot
similar to
the
a.
.
the AOC phone
system.
Crypt ive phone
system.
.
.
But this
is smaller than the AOC.
Also,
I
think of
.
.
.
much more
advance generation
than the
.
.
AOC.
I
think this might
even power
multiple telephones.
Its
just
that
I
just
can't
believe they would put
it
in
a decorative box.
I
don't
see
any reason.
It doesn't make
any
sense.
But
that's what
it
is.
But
I
sense that's what
it
is
.
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#28:
Can you sense underneath the decorative box,
and #19.5,
and describe the
interior,
inside the
decorative box?
PAUSE
#19.5:
I
see
like
a bunch of electronics packed behind
a
wire mesh screen.
(Not audible)
a parts bend.
Ah.
.
.No.
.
.
Its just
a wire mesh screen and
behind
it
a
.
.
row of
cards.
Like you look
at
the edge of
a bunch of
cards
that
are.
.
in
a
holder.
And there
is
.
.
these
are
insert
cards.
electronic cards.
And
I
see something
at the
end of this
row of
inserted cards.
.
.
that looks
like silver cylinders
.
.
.
and.
.
.
something
behind the silver cylinders that's sort of
a
brownish black.
All wires.
This,
I
get
this,
I
sense that
this
is
the
guts.
The
insert
cards.
These are what make
it
tick.
PAUSE
He’s unaware of all
this.
.
.
He's only there
as
a visitor,
I
think.
He wasn't
in the room very
long.
Probably.
.
.
.
thirty-five minutes
at
the
outside
.
That's
all
I
get,
#28.
#28:
Okay.
How
do you feel
about this session,
#19.5?
You've done some precognitive sessions before.
You've done some regular sessions.
How do you
feel
about this?
#19.5:
I
don't know.
I
don't
feel
like any of
this has
made
sense.
I
feel
like there
is probably about
thirty percent clutter
in here.
.
.
Its
.
.
•
Its
terribly difficult.
.
.
when you try to
.
.
.
piece together
a ...
a target;
to keep your
^
analytic.
.
.
keep your analytic side out of
it.
I'm not
sure,
like when
I
say table,
I'm not
sure
if
its
a table of
if
its
a
.
.
like this particular
table that
they were sitting
at originally that
I
had said they were sitting
at;
I want
to say table
but
the thing that
stops me
is
that
I
keep
.
.
.
I keep sensing that
its not your ordinary table.
I
feel
like
its
a custom made table,
you know,
that.
.
.
that nobody else would ever have.
You
know,
its just
a
.
it was built special
for
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#19.5:
#28:
#19.5:
#28:
#19.5:
#28:
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this
room.
Its almost
like
its
.
.
.
belongs
there,
you know.
I
feel
a
lot more than what
I'm saying and its hard
to translate
it.
I
don't
like.
.
.
For
instance,
the communications
device.
I
didn't
have
any
sense or feeling that
there was
a ...
I
sense there's communications
devices
in
the
room.
Even other than
this
and
.
.
.
I
sense that
there's perhaps three or four
microphones.
I
sense that there
is perhaps.
.
small
radio,
you know,
all
these things
are com
devices.
But when you asked me
to concentrate
on
it,
then
I
sensed immediately this
real
nice
looking walnut box.
That
doesn't,
you know,
it
caused me
a
lot
of bad.
.
.
bad things
I
think
about.
I'm not.
.
.
I've never seen
a com device
in
a walnut box.
Okay
And.
.
I
say walnut.
Its wood.
.
.
Its some form
of wood.
I
don't know if
its walnut or not.
It
just seemed so unique
to me that
.
.
(not
audible).
.
.
become fascinated with that and
I
can't
see
anything but
that.
I
don't want
to
get
into
that.
Okay.
Do you have
a feeling.
.
a.
.
.
a.
.
you've
seen some things and then you've seen some things
precognitively before
and then.
.
gone and checked
them and found that they were quite valid.
That
your precognitive feelings about
the place were
quite
good.
What
is your gut reaction,
gut
feeling
about this?
My gut
feeling about this
is.
.
.
I
feel
like
this
is where #100 was
at
1530 hours on the 14th of
Monday.
14th of May.
Or where he will be
then.
I
think
its pretty good.
Okay.
I'd
like you to
look through each one of
your pictures.
And I'd like
to have you
give me
descriptions of each of your
images.
But
I'd
like
to
limit
those descriptions
to one word.
One word.
Now,
I
.
.
.
I'll give you an example,
okay?
I
don't want
to give you any suggestions,
but
I'll
give you
an example.
An example of where #100
is
on.
.
.at
1530,
14th of May
1979.
One word would
be
inside.
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-00788R000900280001 -3
#19.5:
#28:
#19.5:
#28:
#19.5:
#28:
#19.5:
#28:
#19.5:
#28:
#19.5:
#28:
#19.5:
Oh,
I
see what you mean.
But
go through everything but
just one word now.
And rapidly.
Okay.
#100.
.
.
he's inside with other people.
Talking.
.
.
Briefing.
.
.He’s answering questions.
Its by
request.
Do you want
a
.
.
?
Okay,
that’s.
.
.
you've given me good activity of
#100.
Now give me good words
about
the
location.
Inside.
.
.
Light.
.
.
Lot
of
light.
.
.
Large.
.
.
Windows.
.
.
ceiling to the
floor.
High ceiling.
Small
table.
.
.
I keep wanting
to
say
its
a work
room,
but
its not
really
a work room.
Its kind
of
a mixture
room.
.
.
Activity room,
let's put
it that way.
.
.
Special
activity room.
Colors
now.
Room
is very bright,
very
light.
Gray and blue.
A lot
of
gray and blue.
.
.
The wood
is
dark.
Real
dark.
Moderately
dark.
One word.
Stick to one word.
Okay.
Wood,
dark.
.
.
#100
is wearing
a dark
suit.
.
.
I
smell
coffee.
They
are drinking coffee.
PAUSE
Jesus,
I'm just.
.
.
I’m running around through
this
room.
.
.
PAUSE
Okay.
One word descriptions
of the building
in
which the room
is
located.
PAUSE
White,
T shaped.
The surrounding area.
.
.
stories.
Forrest.
I
get
the feeling of
a
forrest.
Not
a weeds type
forrest,
but
a manicured
type
forrest.
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te6-00788R000900280001 -3
#28:
Up from
a higher perspective
now,
looking
down,
the building's relationship
to the geography?
#19.5:
I'm
in the
city.
PAUSE
I
feel
like
I'm looking out the back door of the
building when
I'm standing
in this
room.
So where
is
it?
It
doesn't make sense.
And then
I
can see
a
long,
long way.
But
its
in
the city and you can't
see
a
long,
long way.
PAUSE
That's all
I
can
get.
#28:
Okay,
#19.5.
That's just
fine.
There's one other
little piece of
information.
One other piece.
There's
a possibility.
.
.
Did you want
to say
something?
#19.5:
No.
#28:
There's
a possibility now that
.
.
.
#100 was
supposed
to be at
a target and because of
the
routine of
the
day,
perhaps the area that you
found him
in was not
the real
target.
Perhaps
it
was something that
came up and this wasn't
the
real
target.
Now,
I want you to
go back again and
look at the room.
Look at
1530 hours,
Monday the
14th.
Go there and be
in the room with #100 and
while you're there ask youself
is this the target,
is this where he's supposed to be.
PAUSE
#19.5:
All
I
see
is myself standing
in that
room.
Saying,
is
this where he's supposed to be?
Ha ha
ha.
#28:
Okay,
its
1530 hours,
Monday the
14th,
look at
#100 sitting
at
the table
as you described to me
before,
tell me when you have
that.
#19.5:
Okay.
#28:
Now ask him.
Just
in your mind,
ask him,
is this
where you're supposed to be?
PAUSE
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P96-00788R000900280001 -3
#19.5:
I
feel
like this
is where he's supposed to
be.
#28:
Okay
fine.
That's
good.
PAUSE
#28:
Okay,
#19.5.
Now this
is your opportunity now
at this
time
to add anything else that you want.
PAUSE
#19.5:
Yeah.
One thing.
I
get
a seh$ation that
the
ceiling
is arched
a little bit.
PAUSE
That's
all.
#28:
Okay.
That's
fine.
Approved For Release 2000/08/0
88R000900280001 -3
Approved For Release 2000/08/07
: CIA-RDP96-00788R000900280001-3
TAB B
Approved For Release 2000/08/07
: CIA-RDP96-00788R000900280001-3
— For Release soot anor CIA-RDP96-0 "5 0 oe S > BS a *s = ~ cavemen) B - Se 49 | CQ N N : 4 / = a me For Release 2000/08/07 : CIA- RDP96-00788R0009
i. Appr oved For Release 2000/08/07 : CIA-RDP96-00788R000900280001-3 oved For Release 2000/08/07 : CIA-RDP96-00788R000900280001-3
Approved For Release 2000/08/07
: CIA-RDP96-00788R000900280001-3
Approved For Release 2000/08/07
: CIA-RDP96-00788R000900280001-3
Approved For Release 2000/08/07
: CIA-RDP96-00788R000900280001-3
TAB C
Approved For Release 2000/08/07
: CIA-RDP96-00788R000900280001-3