CIA-RDP96-00788R000500300001-4

Approved For Release 2000/08/07 : CIA-RDP96-00788R000500300001-4
INSCOM
GRILL FLAME
PROGRAM
SESSION REPORT
AREIGN NATIONALS
CLASSIFIED BY:MSG, DAMI-ISH
DATED: 051630ZJUL78
REVIEW ON: Cetrack 2600
Approved For Release 2000/08/07 : CIA-RDP96-00788R0005003
ORCON
GRILL FLAME
Capy 1 of 2 capsule

Approved For Release 2000/08/07 : CJA RDP96-00788R000500300001-4
SUMMARY ANALYSIS
REMOTE VIEWING (RV) SESSION D-77
1
1.
(S/NOFORN)
This report documents a remote viewing session conducted in- 1A
Compliance with a request for information on a target of interest to USI,
:
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.
SG1A
5.
(S/NOFORN)
This session was done concurrently with Session D-76.
7
1
NOT RELEASABLE TO FOREIGN NATIONALS
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OLUNET
SUMMARY ANALYSIS
REMOTE VIEWING (RV) SESSION D-77
TIME
#66:
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
whose picture I have shown
you. Focus your attention solely and completely on
Holding your focus in present time, right now, present time,
locate
Locate
now and describe his surround-
ings to me.
SG1A
SG1A
SG1A
SGT
PAUSE
+03
#07:
I sense that he's, uh .... he's somewhere within the, in
this room, looking around for another ... can't focus on
him right now.
I sense I'm, uh ... several floors above ...
ground level.
#66:
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.
#07:
I see a bed over there.
PAUSE
+05
#07:
I've got him in a. .. seated at a table ..... shirt off ....
tired .... His face looks like ... apartment rather than.
rather than hotel.
#66:
What is it you're experiencing that makes you say that?
#07:
Decor ... decor seems ... extreme for ... commercial ...
Seems
more personalized.
#66:
Describe the decor to me.
#07:
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.
#66:
Tell me more about his immediate surroundings, directly
close to
SG1A
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+08
#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 5 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.
+10
#66:
Sit down at the table with
Take a moment to relax
and concentrate. Sit down at the table with
and
SG1A
SG1A
then tell me more about your surroundings as you sit at the
table with him.
PAUSE
#07:
That fouled me up, the whole thing is changin'.
#66:
Just relax and concentrate and describe the scene to me.
#07:
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 roughly straight across from
him. It's a brown table.
The heigl 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.
#66:
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.
#07:
Where I'm sitting I'm facing a wall that has a ... I think
windows or openings of some kind. Forty-five degrees to
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 in there,
another office ...
+14
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, it's
not paint, it's some kind of covering on the wall. Wains-
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 in that order.
And I saw the letter "G" ...
#66:
Focus now on
and describe his activity to me.
SG1A
#07:
He ... sitting very quietly with a pencil. Seems to be doodling,
2
OFODET
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#07:
uh, you know, uh ...
He ... not committing himself, he's
quite listening, almost sullen ... not, not, not pleased
with .. . somethin'
.
Got a .... grayish wool like mat-
erial, uh ... I guess it's a coat or jacket or somethin' ..
SG1A
#66:
Move closer now to
Closer and closer now to
and ask
where he's located now.
Ask
where he's
located.
SG1A
#07:
Just a minute.
PAUSE
#07:
By god, he's shrewd. He's not even thinking about ... present
events ...
#66:
With what is he concerned?
#07:
I'm sorry, what?
SG1A
SG1A
#66:
You say
is
is not concerned about present events. What
primary concern?
#07:
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
+24
That's funny, he won't look at ya ... I'm gonna try again.
PAUSE
#07:
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
"frisco". I assume that's San Francisco ..
. ..
#66:
Before you had stated that he was concerned so much about
where he was now, that he was thinking of something else,
another place.
#07:
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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SG1A
+18
SG1A

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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 concentrate for a moment.
I want you to hold the picture of
I want you to hold his image in your mind now.
this facade of
move to
Move closer
and closer and call him by his given name, and tell me more
about his activity ....
Move through
#07:
What's his given name?
+35
#66:
PAUSE
#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
gonna 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 ...
+40
#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
ermo
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SG1/
SG1A
SG1A
SG1/

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#07:
He's, uh, thinking about the inside of a ... some kind of
big 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 I
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
high 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 10 feet,
like production lines.
#66:
Okay. So-
#07:
I moved outside, and I could not see the buildin'. I, I,
I don't know why.
#66:
Okay. Rofocus now. Refocus back on
Relax and con-
centrate while I turn the tape over.
Refocus now on
an
relax and concentrate while I turn the tape over.
A very specific area of
present activity that we're
interested in, very specific area.
As you focus on
moving closer and closer to
ask him about his con-
cerns with radio. Ask him about his concerns with radio
#07:
Okay .... I started seeing all kinds of, uh, little items,
which I assumed were components of some kind, but ... then I
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 I
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 ....
#66:
What is the nature of this concern about this?
PAUSE
#07:
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.
5
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SG1
SG1
SG1
SG1
SGT

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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.
+40
#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?
SG1A
#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:
Um, there was tan wall with a wainscoating up about 4 feet,
and it was darker at the bottom than it was at the top.
Um ... 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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SG1A
#07:
And I didn't get a chance to figure it out, but I felt that
the fourth person was somewhere around where I was sitting,
and this disturbed me, and I wanted to 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:
Uh,
I felt was in a thick material gray, wool like
heavy textured ...
SG1A
#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 I?
And something happened, I never pinned it down.
Anything else?
#66:
No, uh, there's no other drawings that I really need. Uh ...
how did you feel in contact with
Did you feel con-
fident that the things that were going on while you-
SG1A
#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
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.
TAB
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!

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TAN WALLS
- WINDOW OR MURIEL
Chair
MOVED
SG1A
To This Area
1
SG1A
DES4
M
CABINET
5
24
2
ME
T
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TAB
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TARGET CUING INFORMATION
REMOTE VIEWING (RV) SESSION D-77
1. (S/NOFORN)
Prior to the session the remote viewer was shown the attached
photograph and told that the individual in the photo was named
but has called himself
for some twenty years. The viewer was told that his task would be to locate and
describe this individuals surroundings.
2. (S/NOFORN) During the session the viewer was encouraged to elaborate on his
perceptions as directed by the control analyst.
SG1A
SG1A
SG1/
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LÖRĆ
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SG1A
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£
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