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SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION D-77
(S/N0F0RN)
This report documents a remote viewing seasion conducted ShlA
interest to
fs/NOFORN
-
)
The remote viewer's impressions of the target are provided as
Ik* 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.
(S/N0F0RN)
The protocol used for this session
is detailed in the^document
Grill Flame Protocol,
AMSAA Applied Remote Viewing Protocol
(S),
undated.
t\
f c; /MnrnRKn
Follovt/inci
is
a transcript
of the vieu/e^s impressions during the
the remote viewer.
5.
(S/N0F0RN)
This session was done concurrently with Session D-76.
NOT RELEASAB
i|n NATIONALS
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SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION D-77
This will
be
a remote viewing session
for
1000 hours,
10 October
1980.
Relax and concentrate now.
Relax and concentrate.
Focus
your attention now on^^^^B
whose picture
I
have
s
you.
Focus your attention solely and completely
on
HnlHin n vour
focus
in presen t time,
right now,
present time,
locatefl^^^l
Locate ^^^B now and describe his surround
ings to me.
PAUSE
I
sense that he's,
uh
he's somewhere within the,
in
this
room,
looking around for another .. .can
1 1 focus on
him right now.
I
sense
I'm,
uh... several floors above...
ground
level.
That's
fine.
Just relax and concentrate.
Don't feel you
have
to report
to me until
you
are sure that you
have located
him.
I will wait.
I
see
a bed over there.
PAUSE
I've got him
in
a... seated
at
a table. ... .shirt off....
tired....
His face looks like.
. .apartment rather than...
rather than hotel...
What
is
it you're experiencing that makes you
say that?
Decor.
. .decor seems.
. .extreme for.
. .commercial.
.
.
Seems
more personalized.
Describe the decor
to me.
Very busy paper
on
the wall,
with predominantly blue,
and
some yellows
or
tans.
There's
a mixture
of both.
. .there
s
old picture frames
that.
. .fancy ,
but pieces
of crystal that
are graceful and modern.
Tell me more about his immediate surroundings,
directly
close
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#07:
#66 :
#07:
#66:
#07:
#66 :
#07:
It seems,
uh...not to be,
not to be
in street dress.
Much
more casual.
Could,
could,
could be sleep attire.
Sitting
at... near left end of small table,
maybe
by
3 feet...
I keep tryin'
to make this
a... kitchen
or dinette,
but
I
only see table,
no tablecloth.
. .table,
some kind of Melomine
product.
I keep looking
at his left hand for some reason.
I
feel he might be left handed.
Sit
down
at
the table withHH^ake
a moment
to relax
and concentrate.
Sit down^^^rn^table with
an
then tell me more about your surroundings as you sit at the
table with
him.
SG1A
SG1A
PAUSE
That fouled me up,
the whole thing
is changin'.
Just relax and concentrate and describe the scene
to me.
Table
is,
appears to be brown rather than light tone...
appears to
be
longer,
and there's,
uh... someone else
at
the
table
about.... 3
to
4 feet to his right.
There's someone
on my
side,
over
there...
But... feels
like
a
fourth,
uh,
one,
two,
three... a fourth person
is... someone
in the
vicinity where
I
am,
which is
rough.lv straight across from
him.
It's
a brown table.
The heigiC^
is still.
. .appear
to
be several floors up.
Uh,
I'm looking through
a window,
and
I see light on buildings or something way over there.
Tell me about the room
in which the table
is
located.
Sit
at the table and tell me about the room in which the table
is
located.
Where
I'm sitting
I'm facing
a wall that has a... I
think
windows
or openings
of some kind.
Forty-five degrees
o
my
left straight
ahead is a... I
keep seeing straight through
into another
space,
like there might
be
an opening or an
"L"
shape there that... like there's another space m
there,
another office...
And straight,
the end of the room to my right
is a small
standard. ..uh,
it's about 35 inch wide door...
There’s a...
tan ... .covering
on
the wall that
is a... some kind of
a,
i
s
not paint,
it's
some kind
of covering
on the wall.
Wams-
coating up about four
feet,
three and
a half,
four feet...
comes
in
a light brown.
I'm,
uh,
somewhere,
some reason
I'm seeing
a seven and
a six,
not necessarily m that order.
And
I
saw the letter
"G"...
#66 :
#07:
Focus now
on
and describe his activity
to me.
SG1A
He... sitting very quietly with a pencil.
Seems
to
be doodling,
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#07 :
SG1A
+18
#66 :
SG1A
#07 :
#07 :
#66 :
#07
:
SG1A
#66 :
SG1A
#07 :
+24
#07 :
#66
:
#07 :
uh,
you know,
uh...
He... not committing himself,
he's
quite listening,
almost sullen.
. .not,
not,
not please
with .
.
. somethin
'
Got
a .
.
.
. grayish wool like mat-
erial,
uh.
.
. I
guess it's
a coat or jacket
or somethin
Move closer now
to
Closer and closer now to
;G1A
and ask
|
located.
where he's located now.
Ask
where he's
SG1A
Just
a minute.
PAUSE
By god,
he's shrewd.
He's not even thinking about.
. .present
events.
.
With what
is he concerned?
I'm sorry,
what?
You say
is not concerned about present events.
What
is
primary concern?
Thinkin'
about.
. .someplace outside this
room.
. .somewhat
agitated... stalling
Oh,
I'm supposed to ask him
where,
where,
where,
where he
is
I'm seeing what
looks
like a.... some eastern Mediterranean.
. .but
I
don
t
think
I got that from him
That's
funny,
he won't look at ya...
I'm gonna try again.
PAUSE
God,
he's like
a wall. .. .almost as
if he's got no brain,
he just.
I'm having all kinds
of trouble with this guy,
but...
I
hit him several times,
and
I
got
a word.
It makes no sense
to me whatsoever.
It does not agree with the
imagery
I
had.
I
had
a body
of water that looked like somewhere near the
eastern Mediterranean.
I
kept asking him where he was,
and to give me something would identify.
I got the word
M f risco" •
I
assume
that* s
San
F rancisco.
•
«
»
•
Before you
had stated that he was concerned
so much about
where he was now,
that he was thinking
of something else,
another place.
Yes,
he was thinking of.... of people,
and,
uh, wintertime.
Someplace there was snow.
I
just assumed that
it was,
uh,
either northern Europe,
or,
uh,
Soviet Union
in the winter-
time.
He seemed to be tryin'
to appear
obstinate.
. .tryin
to wear somebody
down,
till they turned and made concessions
to him.
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#07:
But
I
feel he's... not
in
a position to assume that they
will.
. .seek
a compromise with him.
He's not very intuitive,
but... has
a strong,
brutal,
survival instinct.
. .stubborn.
.
There appears to be three different approaches,
uh,
ideas
here.
His
is only one... and
I don't know what
it is.....
#66:
All right,
just relax and concentrat^o^^ornent^^^^.
.
.
.
I want you to hold the picture
SG1A
I want you to hold his image
in your mind now.
Move through
this facade of^M move toMMM
Move closer
and closer and call him by his given name,
and tell me more
about his activity....
#07:
#66
:
What's his given name?
PAUSE
SG1A
#07:
I
sense
a... a strong relationship with,
uh.
. .engineering
types.
. .strong inquisitive,
uh.
. .interest.
. .in things that
look like they... very well machined.
It looks like... has
to
do with some optics,
at least
I see... some optics.
. .that
could be
a,
that could be
a.
. .interpretation based on my
personal interest,
but...
#66:
You were talking before aobut how stubborn he was and that
there seemed to be three positions.
Move back to those ideas
and question Aleksey about this.
#07:
Let's
see,
that's
today,
isn't
it?
#66:
Yes.
His activity now.
#07:
Okay.
He's left the table.
He's,
uh...over near the wall.
PAUSE
#07:
Has something
to do with dissemination
of,
uh...of informa-
tion,
uh,
approach,
how
it will be handled.
. .how much,
and
...two present,
and what tack will
be taken...
Either some-
thing
is going to appear
in
a publication
or.
. .something
s
qonna appear
in publication,
or.
. .something that,
that has
already.
. .been publicized...
'Trong,
strong,
strong concern
about... the impact
Have the feeling that
the infor-
mation
is
out,
and there
is concern
for.
. .redirecting
interest,
or.
. .clouding the issue.
. .deception.
.
#66:
Go now beyond his concerns and his emotions,
beyond the
deception
to the core
issue,
and ask him to explain
it
to
you
PAUSE
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#07:
#66 :
#07:
#66 :
#07:
#66
:
#07:
0001-4
He's,
uh,
thinking about the
inside
of
a... some kind of
biq production plant
in .. .heavy production,
not,
uh... not,
uh.
. .not the clean atmosphere you might expect with elec-
tronics
or something.
I'm seeing,
uh.
. .thought maybe
wandered,
I
don't know where
I got this...
I thought
I
got
it from him,
but... inside of
a heavy production plant.
.
.
noisy...
It
all,
I... raw data without interpretation,
i
looked
at the inside,
it looked like
a giant
room,
very
hiqh overhead,
lights hanging down some distance from the
ceiling,
where
I couldn't see the ceiling...
Area broke
up into corridors
by bulk heads that stick up... 6
to
lu
ee
,
like production
lines.
Okay.
So-
I moved outside,
and
I
could not see the buildin
.
1 ,
I,
I
don't
know why.
Okay.
Rofocus now.
Refocus back on
Relax ane^on-
centrate while
I
turn the tape over.
Refocus now onH an
relax and concentrate while
I
turn the tape over.
A very specific area of
present activity tha^e^re
interested
in,
very specm^Sa.
As you focus on
moving closer and closer to^^^l
ask him about his con-
cerns with radio.
Ask him about his concerns with radio
Okay
I started seeing all kinds
of,
uh,
little
items,
which
I assumed were components of some kind,
but... then
l
got an image of a.... like an inverted cone.
It symbolized
to me that he
is concerned about,
uh,
what
I would interpret
to be something like down
link,
something beamed down...
that all came from
the.
. .transluscent inverted cone that
saw
Can only
say
that.
. .concerned about incoming transmissions,
at least
I'm seeing
it from the receiver
end.
Unless some-
one has got
a giant antenna that... has whipped the scatter
problems and focuses
a very tight beam,
because
I'm seeing
this energy column from the big end,
which
I
interpret
to be
receiver
end,
or at least opposite the transmission end
What
is the nature
of this concern about this?
PAUSE
There seems to be something about a.... I don't know... some-
thing about
a repetitious pulse that... has extreme variables
for
it's pulse.
I
don't understand that.
I don’t know
if
it's... continuous.... continuous variables
in.
. .amplitude
or
frequency within each repeated pulse.
I'm seeing... I
m
seeing crude graphics. .which..
. .it's diagramed as
a...
a
linear stack of cones,
based to apex.
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#66 :
Okay
#07:
(Mumbling)
curde mental graphics .. .no.
. .no symbols
for
precise identification.
. .mental concepts...
#66:
All right
#07:
One,
two,
three... I'm,
uh
looking
at
a graphic that
looks
like a... a stack
of narrow wheels
or something.
There's,
uh,
looks
like there
of
'em about the same diameter
then above that are some more that are slightly,
uh,
smaller
diameter....
Oh...
#66:
Are there any words associated with this?
#07:
I was
looking for words,
uh.
. .numbers,
symbols,
uh,
anything
that give me
a clue.
And
I was
just getting stuff almost
like dumb doodles,
a doodling feeling could account for the
repetition.
I
don't know.
No. .. .looking
for anything that
...give me precise identification.
#66:
Okay.
Let's approach the problem in
a different way.
#07:
I'll tell you what
I'm lookin'
at now
is a... looks
like
a
three foot crystal rod with gold or brass metal tips on
it.
Just wanna get rid of that.
Go on ahead with your question.
#66:
Okay.
Rather than efforting the question of your imagery
concerning words,
I want you to let your imagery go and just
relax and concentrate,
and reach out and ask your greater
self
for an intelligence explaination
of
the imagery you've
seen.
Just ask that open space
out ther
in your mind,
ask
for
an explanation
of theimagery you've seen,
and describe
the answer to me.
PAUSE
#07:
The variable
is frequency
With the results
I
been
havin'
I
feel that this
is... an effort
to
jam,
scramble...
or the reciprocal
of
that.
. .to.
. .descramble
work through
jam....
Wait
a second.
The strongest thing
I
get
is that. .. extreme
variables
in frequency,
changing
in
a relatively short time.
I can't imagine what for... I
kept getting flickers
of...
frequencies... so
I determined that the area we're interested
is at
extremely high frequency rather than extremely
low.
#66:
Okay.
I have no further questions now about the target.
If
there's anything you have to add before ending the session
please
do so now.
#07:
I could not get
a response,
a recognizable response or con-
tact with this individual.
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#66:
How do you feel about that?
#07:
I
felt as though he was afraid someone in the room. ..he felt
vulnerable to someone
in the room and... was trying very hard
to keep from telegraphing his intentions.
It was almost
like running up against an invisible wall.
I... could not
even get
eye contact.
#66:
All right.
Anything else?
#07:
All
I
could get when
I would ask him questions was... vague,
crude... not very well thought
out imagery.
That's,
uh,
about,
uh,
about
it.
#66:
Okay,
fine.
Let's prepare to draw the images you've had
then.
Okay,
now,
uh ,
during the session time when
I asked
you
to locate
uh,
there were sev-,
several opinions
you had but you seemed to finally settle down on
a room with
a table and he was sitting at this table.
Can you tell me
something about this room here
in this sketching?
#07:
Well,
I
thought there was
a window or something that looked
like
a window,
like
a mural
or something.
How do you spell
mural?
#66:
M-U-R-I-E-L,
or something
like that...
#07:
Urn,
there was
tan wall with
a wainscoating up about 4 feet,
and it was darker
at the bottom than
it was at the
top.
Urn... there was two big chairs
over here.
There was something
in
this corner over here somewhere,
but
I couldn't make out
what
it was.
Uh,
that's the upper right corner,
piece of
furniture
or cabinet
or something.
There's
a door
to the
right.
.
#66:
Mm-hmm...
#07:
...there.
Uh,
this
is the table where
I
felt
he was sitting.
I
sat down
in this position here-
#66:
Put an
"X"
by the chair where you
sat.
#07:
Okay.
He,
he was
in
one,
I
felt
I was
in
two
#66
Okay.
#07:
Three,
four.
#66:
So you were
in position
two,
then.
#07:
Yes,
I was
in position
two...
#66:
Okay.
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#07:
And
I
didn't get
a chance
to figure
it out,
but
I
felt that
the fourth person
u/as somewhere around where
I was sitting,
and this disturbed me,
and
I wanted i^examine
that,
but
some reason
I kept concentrating on
and
I never did
figure out whether
I was sitting
on the
guy,
or just what
was happening there.
#66:
Okay.
#07:
But there was someone real close,
very,
very close to me,
extremely
close.
Uh,
there was something looked like
a
desk over to my
left,
which
I have indicated here.
And there
was some kind of
a piece of furniture
or something on the
wall behind him.
This
is the area
I
said that
I
didn't know
it was
a big door,
supposed
to be
a door there,
looked like
an open
space or
an
"L"
shape goin'
back
in there.
#66:
Okay,
this
is to the upper left
of the page as we look
at
it
then,
a open space.
#07 :
Mm-hmm
.
#66:
Now you had some,
you
spent
a considerable amount
of time
saying that this was
a brown table that he was sitting
at,
it
seemed to change from before.
#07:
Well,
when
I
first had him
I
felt
I
was,
when
I was
in
a
position
of,
let's say about
five,
and all
I
could see was-
I wanna put
a dotted line across here-
#66:
Mm-hmm.
#07:
I
could see him and the corner
of the table
on
the other
side
of the dotted line... and
I
guess because
I
saw an
apartment
I was trying to put him in
a dinette
or
a kitchen
or
a dining
room,
um,
and
I
thought the tones were lighter,
and
I thought the table was lighter
in tone than
it appeared
later
.
#66:
Okay,
at that,
at that time
you were just focusing
on
him,
and then
I
asked you
to sit at the
table.
Is that when
it
changed?
#07:
When
I
s-,
when
I
sat at
the table
it changed.
I became
aware that under my arms was brown.
#66 :
Okay
.
#07:
Uh,
and then
I
became,
I
didn't
see,
but
I became aware of
a presence over to my left facing me,
in the position
of
three.
And
I
thought,
uh-oh,
maybe this place
is full
of
people.
And
I started looking around,
and
I
felt there was
probably two more
at the
table,
and
I
felt one was extremely
close.
I never examined any of these people,
except
I found,
felt that one was
in
a dark colored garb,
blue or blackish.
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#66:
Okay.
#07:
felt was in
a thick material gray,
wool
like
heav^texrared .
.
.
#66:
Okay.
#07:
Kinda sloppy.
He later moved over
to somewhere,
first
I
saw
him near the window
I
thought,
and then
I saw him kind of
lounging with something
like
a magazine
in
a... in... in the
chair
to the
left.
#66:
Okay.
#07:
I started examining,
uh,
what
I thought was
a carpet
or
something
on
a floor somewhere there,
and
I asked myself
is that
in this room,
is that the other room,
or where am
1?
And something happened,
I never pinned
it down.
Anything else?
#66:
No,
uh,
there's no other drawing^that
I
really need.
Uh...
how did you feel in contact with^^^J
Did you
feel con-
fident that the things
that were going
on while you-
#07:
No,
some people
I work close to
I
feel... so intact with
I
almost feel like
I'm that person.
I
find myself wondering,
you know,
am
I saying
this,
or is that person getting the
information,
or- it's so close
I don't even know.
This
guy,
like
I was sitting and watching and observing and...
trying
to get through to him and getting no response what-
soever.
#66:
Okay.
#07:
I was getting mental images,
but
I
didn't know whether they
were mine
or
his.
#66:
Okay.
Do-
do you sense
a hostility
on his part when
you
tried to penetrate him?
#07:
I
felt he more hostile than definitely
on his guard against
telegraphic gismos
or feelings.
#66:
Before the way you explained that
to me... did you mean that
he was
on guard because
of ther people
in
the room-
#07:
Yes,
I-
#66:
-or on guard against you?
#07:
I didn't think he,
I,
I
don't think he ever knew
I was there
And
I can usually tell,
but
I didn’t think he knew
I was
there.
I
felt
he was on guard against them,
and he was
SG1A
SG1A
Approved For Release 2000/08/07
: CIA-RDP96-00788R000500300001-4
Approved For Release 2000/08/07
: CIA-RDP96-00788R000500300001-4
Approved For Release 2000/08/07
: CIA-RDP96-00788R000500300001-4
Approved For Release 2000/08/07
: CI^-RDP96-00788R000500300001-4
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SG1A
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Approved For Release 2000/08/07
: CIA-RDP96-00788R000500300001-4
Approved For Release 2000/08/07
: CIA“
00500300001-4
TARGET CUING INFORMATION
REMOTE VIEWING
(RV)
SESSION D-77
(S/NOFORN)
Prior
to the session the remote viewer was showi^th^attached
photograph and told that the individual ixy^hot^ayiamec^^^^^^H
has
himself
,
^^S^St^Sars.
The viewer was told that his task would be
to locate and
describe this individuals surroundings.
2.
(S/N0F0RN)
During the session the viewer was encouraged to elaborate
on his
perceptions
as directed by the control
< analyst*
G1A
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SG1A
NOT REEEASABL
Approved For Release 2000/08/07
: CIA-RDP96-00788R000500300001-4
SG1A Approved For Release 2000/08/07 : CIA-RDP96-00788R000500300001-4 Approved For Release 2000/08/07 : CIA-RDP96-00788R000500300001-4