CIA-RDP96-00788R000700070001-8

Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
OLUNAT
-
INSCOM
GRILL FLAME
PROGRAM
SESSION REPORT
CLASSIFIED BY:MSG, DAMI-ISH
DATED:
051630ZJUL78
NOT RELEASABLE TO FOREIGN NATIONALS
REVIEW ON: Due 2001
GRILL FLAME
ORCON
Approved For Release 2000/08/07 (CIA-EDPOC 00788R000700070004-8- 82

Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
SUMMARY ANALYSIS
REMOTE VIEWING SESSION 836
1.
( S / NOFORN )
This report documents a remote viewing session
conducted in compliance with a request for information.
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 re-
sponsibility 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.
Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8

Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
SEMET
TRANSCRIPT
REMOTE VIEWING SESSION 836
TIME
#72:
This will be a remote viewing session for
13 December 1981 with a start time of 1230 hours.
It is now 1230 hours. . Our target for today is
the man whose photograph you have been previously
shown.
At this point I would want you to go
ahead in time, ahead in time to the morning of
17 December 1981, 17 December 1981.
PAUSE
#27.5: Okay.
#72:
The man in the photograph has gone to a
cafeteria.
#27.5: That's correct.
#72:
Describe for me the man in the photograph.
PAUSE
+03
#27.5: Okay.
Just a minute.
Okay, I give you ah, differences from the photo.
#72:
You can just describe your perceptions of the individual
on the morning of 17 December.
#27.5: Okay. Just a minute
Ah, appears to be much older. Easily 10 years
older ... than in the photo, possibly ll ..
get an impression of much ... thicker hair on the
sides forward o' the ears, covering the edge of
the ears.
There's a ... difference in weight.
.
He's not as heavy as in the photo.
It's like
his face is ... more drawn .. . lighter .. I'm getting
an impression of frames ... squared frames with
glasses, frames ... clear, clear in the center and
darkening out to gray, upper and upper edges.
See edge of the frames are covering the eyebrows.
Gray eyes .. ah, very light gray eyes .. Almost a
hazel color.
I saw something about the hairline ..
I can't put my finger on it. Give me just a minute.
PAUSE
Approved For Release 2000/08/PESTOET
ULUNET 96-00788R000700070001-8

Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
#27.5:
His hair just appears to be fluffier .. ah, stands
up more for some reason. . some .. on a manicured
look .... ah .. get an impression he just ... wears a
Loafer type shoe, like a moccasin type shoe,
Loafer. Won't wear tie shoes, almost a flat heel.
Ah, it's .a .. dark, earth colors. Clothing's
always earth colors. Browns, tans, and blacks,
dark gray.
#72:
What color is he wearing now?
#27.5:
Tan, tan pants .. like, not corduroy, but ..
ah .. a beige dungaree type pants .. dark brown
Loafers. I'm not getting any impression of his
short, though. He got pullover, thick knit
sweater .. Has a. . gray, see a lot of gray with
this guy.
#72:
Describe your impression of the nose pattern.
PAUSE
#27.5:
It looks, ah .... looks thicker on the bridge,
for some reason.
I think it might be darkening
near the, the eyes to the bridge of the nose.
Appears to be more shadow there. Makes the eyes
look farther inset, and the bridge thicker. Keep
seeing him with and without glasses. One minute
he's got them on, next minute he's got them off.
#72:
How tall is he?
#27.5:
Just a minute.
PAUSE
#27.5:
5 7, 5 8, max. Ah ... fairly light, right now.
Lighter than usual in weight. Getting ah ..
less than 160.
There's a ..... get him much
lighter. It's like the roundness and the chin.
line is gone. . Some withdrawn look. to his face.
I see a very, very deeply tanned. . . appearance.
+14
#72:
All right. That's fine .. What is the man in
the photo doing in the cafeteria?
PAUSE
#27.5:
Watching something in the window.
THROUGH
I don't know if
it's passing interest in something or he's waiting
to see something. Ah ... apparently, watching if
... front of something, front of a building or a
door.
2
Approved For Release 2000/08/07 : CIA-RDP96-0078BR000700070001-8

Approved For Release 2000/08/07 : CI+-RD198-00788R000700070001-8
#72:
Describe for me the building, the door.
#27.5:
It's a ... cafeteria that's apparently on a
different level than the street. It's higher,
second floor looking down and ... it's like the
wall o' the glass is on left side. He's looking
down, across the street, extreme right.
Door's ah ... reddish color, reddish brown.
It's
a stone ... narrow shop, some kind of shop, ah
.
.
it's got kind o' . . ah.
.it's two curved
windows; windows are brown, red patterns.
Cloth or something hanging. A musky odor about
it. Like mildew or something ... old wool or ...
kind o' small shop.
It's very dark inside.
There's all kinds of cloths or something hanging
. dark pattern. ... This in a row of shops ...
The shop on the left has got many papers in.
the windows, like ads .. large, block print ...
It's like a discount place. It's got yellow,
much yellow all over ... taller windows. See he's
just sitting and waiting ... for somebody, I think
at this hop, this shop.
This is more like a
restaurant than cafeteria.
Seems, seems to have
some class to it.
Ah.
... to. maybe ah ....
possibly a hotel, coffee shop ... that kind of
atmosphere.
#72:
How do you order at the restaurant?
#27.5:
Dark brown menu.
Got the ... single word done
in gold strip on the front ... starts with an
S.
It's either a script For an S. Very fancy.
Ah ... waitresses are wearing .. white brown trim,
no hats. Brown, lot of brown
#72:
What name is on the menu?
PAUSE
#27.5:
It's an id. . ah .. I'm not sure if .. I got a. flash
of Sam's or Sammy's .. something like this. I'm
sure it's a person's name, but I'm not sure about
the, the name. I just got an impression of person,
male, name.
#72:
All right.
.Take a deep sniff of the aroma in
the restaurant.
What does it smell like?
PAUSE
Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8

Approved For Release 2000/08/07+
CrearT
ULGINOV0788R000700070001-8
-
+23
#27.5:
Ah ... can't do it.
Too much overlay. Get
everything.
#72:
All right.
He is now going to pay his check.
How does he pay his check?
PAUSE
#27.5:
He leaves the money on the table. . Puts on a
coat. Looks like brown leather, dark brown
leather.
Goes ah .. out into a hallway of some
kind.
Short hallway, flight of steps. White
wall, red, red tile steps .. Ah, makes a left
turn.
There's a bar there. He goes in the bar.
Cloakroom left, telephones. He's making a
telephone call .... Talking in ah ..... get an
impression.he's talking in German for a minute.
Might be overlay.
#72:
What telephone number did he dial?
#27.5:
Ildon't know.
#72:
All right.
Is, what type collar on his brown
coat?
#27.5:
Okay.
Just a minute.
PAUSE
#27.5:
Ah ... it's a leather collar; just folds back
once .
Very light collar. Coat doesn't appear
to be that heavy.
It's ah. . just hip passed
waist length, zipper front.
#72:
All right.
I want you to.
...
#27.5:
.. Wears it open. Wears it open.
+27
#72:
Wears it open.
That's fine. Relax. . It is
now the evening of 17 December, the evening of
17 December .. It is now becoming dusk. It's
getting dark.
The man in the photo is at the van.
PAUSE
#27.5:
Umm ... goes into the front.
#72:
All right. What I want you to do is stay with
the van, stay with the van.
The date is now
15 December, 15 December. Describe the location
of the van.
PAUSE
Approved For Release 2000/08/07
UZUNTP 96-00788R000700070001-8

Approved For Release 2000/08/07 : CIA RDP98-00788R000700070001-8
#27.5:
Got ah. . two impressions for 15 December ..
First impression was a, ah, parking lot ...
Second impression was a, oh, like an old house
park, parked in back of old house.
#72:
All right. Let's take the old house. Describe
for me the old house.
+31
#27.5:
Ah ... old farm house, like building.
Get plastic
on windows, ah ... light, . turquoise screen, white,
clapboard type building. Predominantly white.
Dirt, dirt, packed dirt running next to the house
to rear.
Some kind of old, white shed in rear.
It's like in a house of track of houses very much
similar. A flash of New Jersey ....... ah.
I don't know if it's overlay. Seen places like
that in New Jersey.
#72:
All right. What time is it at the old house?
#27.5:
Morning at 10.
#72:
Is the man in the photo with the van at the old
house?
#27.5:
No.
Definitely not.
#72:
Okay.
Let's now move to the parking lot, the park-
ing . lot.
What time of day is it at the parking
lot?
#27.5:
Afternoons, 2, 2 o'clock.
#72:
Describe the surroundings of the parking lot.
#27.5:
See the long, low, narrow building. Looks like
one big building.
That's all different_colors.
All the way down.
There's. some other vehicles
parked in the lot.
It's ah .... been left here
for some reason.
Keys are still in the ignition.
Just the ignition key.
#72:
Look around.
Is there anyone at the lot, working
at the lot?
PAUSE
#27.5:
Think somebody coming and getting it.
Different
people leaving it; different people getting it.
PAUSE
Approved For Release 2000/08/07 . CIA-RDP96-00788R000700070001-8

Approved For Release 2000/08/07 : SIA RDR96-00788R000700070001-8
#72:
All right. I want you to stay with the van,
stay with the van. It is now the morning .of
16 December, 16 December.
Where is the van
located.
+36
#27.5:
It's under a covered parking garage.
SECOND,
the third floor, maybe.
#72:
If you walk to the outside at the third floor level,
and look out, what do you see?
PAUSE
AT THE END OF
#27.5:
See tall ... ah ..... tall building
BUILDING
the
street. New white, new white is on the left side.
Tall building on the end of the right.
It's
much older. Lot o' glass.
REFLECTIONS.
Ah ..
Road apparently goes in one direction.
Ah.
...
lanes change .. . 6 then 8 then 6 then 4.
Shaped
like a bow.
Some kind of construction nearby.
#72:
All right. Go to the other side of the third
floor of the parking garage. Look out and tell
me what you see.
PAUSE
#27.5:
Ahh.
six story warehouse ..... dirty brick
dirty windows.
I think it's empty.
#72:
As you look at the warehouse, what do you see?
#27.5:
Bare bulbs.
Pattern of bare bulbs.
#72:
Is there a name written on the warehouse.
#27.5:
I saw an Italian name. I don't.
. there's an
arrow and there's an Italian name.
I don't
know what it is. . Just thought it's Italian.
the colors of Italy. Green and red and yellow,
I think.
#72:
I want you to stay with the van, and now go to
dusk on 16 December .. It's getting dark. Describe
the location of the van.
#27.5:
Ummm
. large parking lot again ...... next to
some ..
...
big, flat area.
See an airport.
It's
parked in an airport.
It's
PAUSE
Approved For Release 2000/08/07- @JA RDP96-00788R000700070001-8

Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
-
#72:
I want you now to raise up. and look for a
perspective at the airport.
Tell me what you
see .
#27.5:
See a large, ah ... terminal building. Looks
like it's shaped like a K with a with a back
bent, an arch, and off to.one side is a giant
.... long building. Like a warehouse, or something.
Very long. Parking hangars to the front, and
ah .... runnways look like an. X fastened.at the
bottom. Across on the right side is a ... smaller
runway and a very tiny. group of buildings.
There
are many planes parked.
#72:
Okay. I want you to wait, and hold at the
runway .
(TAPE TURNED OVER)
.
#72:
All right. We're still at the airport at the
runway. Raise up. to a perspective and look
beyond the runway. What do you see?
#27.5:
Just country roads.
#72:
As you look down on the runway what do you see?
PAUSE
#27.5:
Just planes parked
.
.umm
just what I
described before.
#72:
All right.
Come down to the ground level
walk to the front of the terminal.
Describe
what you see.
#27.5:
Two floors, glass, gray, speckled marble or
something.
Not marble.
It's like polished
stone.
# 72:
Walk into the terminal and describe what you
see.
#27.5:
Place appears to be almost empty, compared to
most.
See ah. . . this gray polished stone going
in both directions.
Just curves away and there's
all these booths for selling tickets.
#72:
All right.
Turn your back to the ticket booths,
look straighty, and what do you see?
AHEAD
Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8

Approved For Release 2000/08/07 : CIA-PODOG 0789D000700070001-8
#27.5:
Glass walls. I'm getting a parking lot
outside the glass walls. It's a square,
coverx type area. outside the glass alle.
It's got a connecting ramp, walkway.
#72:
All right. The van has come to the airport.
Why is the van at the airport?
PAUSE
#27.5:
Just waiting. Waiting to move. Keeps
moving.
Get an impression of a woman this
time for some reason.
#72:
Is there anyone with the woman?
#27.5:
There's a guy with her.
Ah ... clean shaven,.
maybe middle aged. No.
Younger - 33 maybe.
Tall, thin.
#72:
Is the man in the photo with these people at
the van?
#27.5:
No
he's not.
#72:
All right.
I want you to come back to
13 December
1981.
#27.5:
Okay.
#72:
I want you to fix in your mind the man in the
photograph ---- how he looked.
Hold your
impressions of how the man looked. . I want you
now to relax, return to this room at this time.
Relax, return to this room at this time.
I
want you to take a deep breath-
(See TAB A for description of photograph)
-
8
Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8

Approved For Release 2000/08/07 : CIA-RDP90-00700K000700070001-8
TRANSCRIPT
REMOTE VIEWING SESSION 836
#27.5:
This is my.view Page 1.
This is my view,
my first out of the third floor parking
area, covered parking area.
About all I can say about it since it's
very gestalt , is on the leftside of the
road there is a cuneiform or very modernly
constructed building that's all glass.
It's
all sheets of glass.
It's just nothing but
reflection. And, it's short, and it's squat,
but it multiple story. On the right hand
side at the end of the road, there's a very
tall, narrowing structure that's very old.
Probably built in 1920s, 1930s. Has an open
box on the top --- or box on top. Has all kinds
of openings in it.
The lanes, I can't draw. I just got a feeling
line they went from six to eight to four to
six, you know, with lanes turning off in all
different directions. . I cannot draw the
congestion here .. I mean it was congest ---
really, heavy, super heavy traffic.
All
one-way traffic.
You know. Hanging lights,
and all kinds of other stuff.
Page 2 is a second view out of the third
floor covered parking area which is the old
factory. Called it old factory because I got
the distinct impression there was nothing
going on there. It was empty. Multiple story.
Three, four story. It's topped with a jagged
ed -- jagged outline roof, all glass. Each floor
has got rows of those small pane glass windows.
About second floor level is a glass arrow and
all kinds of naked light bulbs all the way down
the wall forming a sign that I depicted as
being Italian.
Some kind of Italian word.
There's
a parking area to the front of it.
This is all
red brick, old red brick.
Page 3 is an overhead view
of the third floor
cover parking area .. There's an older building
fastened to one end. It's on the side street.
The main street's one way. going in the direction
of the arrows. .. the tall building, 6 to 8 blocks
to the left. . Glass building is down across the
tall building.
There's construction back in this
area back here where I wrote construction.
I
have first view and second view labeled with
Approved For Release 2000/08/07 KOJA-RDP96-00788R000700070001-8

Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
#27.5:
arrows and the location of the warehouse
and the parking lot. I didn't get a feel
for what's across the street.
You know ...
to the top of the page.
Page 4.
The menus. It's a browned grained
paper. It's just a flip open. menue.
I didn't
get any feel for pages or numbers of pages.
The front has a very decorative gold embossed
script word that looks like a fancy F or an S
or something, and I got a feeling like it was
a male name.
I got. the word Sammy or Sam or
something like that.
But, I got a feeling that's
overlay. But it is, I think, a male name.
Page 5. This is the K shaped terminal building.
at the airport. Parking area to the right where
the van is parked which is an open parking area.
There's a square overhead or covered parking
area directly in front of the terminal with a
open parking area behind it. A long building
behind the terminal and a row of hangers.
Runways are behind the terminal and looked
like the bull ridge of a X connected with a small
planes parking area to the right ... somewhere to
the right.
Small planes seemed to be very far
away.
Page 6. This is a drawing of the view through
the restaurant window.
I got a feeling it was
all glass all the way down. Just lightly framed
in metal, and it was on the second floor.
So,
you were looking down onto the street. And, at
the end of the long building across the street
was a small shop with, like curved windows in
the front with red and black pattern cloths
hanging in the window.
.It had a
front facing
on the building, and it was basically a flat
roof .
The building to the left was huge, glass
show windows, and it was all yellow, filled
with some kind of ads or papers pasted up there.
Page 7 is a very basic drawing of a rundown
your typical rundown farm house. . And, it's got
a front porch, and a dirt road down the side,
and some kind of shack in the rear. Might be a
garage although I didn't get a feeling for garage.
But, you could just see the edge of the van parked
in the back. And, for some reason, I got a feeling
of New Jersey when I was in at this farm house.
And, I don't know if that's overlay or not. There
were a lot of other houses like this around it.
Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8

Approved For Release 2000/08/07 : CIA-KOR80-00TOOK000700070001-8
#27.5:
Like you know, way out in the suburbs.
And, and that's it. That's all I got.
#00:
You were talking to the artist about the
drawing of the face. You mentioned a few
things about the eyes. Will you reiterate
(phonetic) that on paper.
#27.5:
Oh, yes.
Okay. Looking at the face, I got the
impression that --- looking at the face, the
left side of the face, the corner of the mouth,
the corner of the mouth drooped noticeably, as
if he'd been struck in the mouth by something,
and it was a permanent. scar type affect. Although,
I didn't see any scars. But, it was noticeably
drooped. Severely as compared to the other side
of the mouth. There was no distinctive line at
all above the upper lip to the nose.
And, it was
like as if that indentation under the nose wasn't
there. . Which gave the upper lip a very flat
appearance. The eyes were noticeably dark.
Also, his eyes were a very light colored gray.
Like a steel gray, and I get the feeling that
his eyes were not that color.
They should be
brown, dark-brown eyes. But, that he habitually
changes the colors of his eyes with contacts.
I didn't get a feel for it if the glasses are
real or not, but the glasses are clear on the
bottom of part of the frame. They fade into a
very dark gray in the upper portion. I get a
very gray, somber feeling about this guy. . The
way he dresses ... his dressing habits are earth.
colors, you know. Very .... no stricking colors.
he just never wears stricking colors.
And, I
didn't get a feel for any kind of a. shirt.
I
just had a feel for a very heavy, pullover type
rustic kind of sweater underneath this very
light leather jacket.
He doesn't wear his jackets zipped.
That's
basically it. Except what . I want to say about. .
the scenario of this thing.
There's something.
..
I'm going to try to put into words this gut
feeling that I have about this whole scenario
concerning this guy.
It's an example that I
would give to express this feeling although it's
not absolutely accurate.
It's sort of like
this guy is controlling 16 or 18 people or.
whatever, and he's controlling them in groups
of. one or two people. None of the others are
knowing what the others are doing, and it all
appears to be part of the very basic plan, .or
scenario for action here. All the players believe
OFAOFT
Approved For Release 2000/08/07 : GIA-R:PJ0 00706R000700070001-8

Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
-
#27.5:
themselves to be doing something other than
what they're really doing. .. in his mind.
..
It is sort of like he's running this big
... this big ... detailed complex thing.
While,
in reality the actual plan is going to be
carried out somewhere in that ... in that process.
An example Iwould give would be ... I would send
two people out to .... or say I would send
someone out to work in a store for two weeks,
and I would tell them the reason why they're
doing this is I plan on robbing the store.
So, the people get the job and they work there
two weeks, and I would tell this, this person
okay, you have to take the assistant manager
to lunch today because I know he always carries
the key to the store in his right coat pocket,
and while you're eating lunch with him, I'm
going to, at this specific restaurant, I'm going
to gain access to his coat and copy the key.
So, this guy goes and takes the assistant
manager to lunch, and while he's eating lunch
with the guy I walk up and shoot.him in the
back of the head. And, it's a surprise to
everyone.
That was my real intention all along
was to murder the assistant manager.
That's the kind of feeling I'm getting for this.
Like, he may be the key individual, the only
individual that really knows what's going on
and that any portion of this. . plan or scenario
that's going on can fold or may even be deliberately
exposed as just part of the scenario. That
kind of an affect. And, I guess the only reason why
I'm saying this, is it's a gut feeling I have
about this whole thing, that just doesn't set
right .. I just wanted to make it a matter of
record.
I guess that's it.
Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8

Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
-
.
TAB
Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8

Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
VERY
MODERN
ALL GLASS
LOTS OF
OPEN SIDES
FIRST
VIEW,
OLD
VERY TALL
$ NARROW
1
1
1
Acc
ONE
WAY
Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
1

Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
SECOND
VIEW
-GLASS
GLASS?
OLD RED BRICK
7
20
20
0
9
5
ITALIAN
F
It
SIGN OF
BARE BULBS.
WAREHOUSE
PARKING AREA.
Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
2
1
8

humoML -
LIGHTS
TALL BLOG (6 - 8 BLOCKS )
MAIN STREET ONE WAY
-
GLASS
BLDG
OLDER
BLDG
WAREHOUSE
.
PARKING
LOT
3 RD FLR.
PARKING
-
7
SECOND
VIEW
FIRST
VIEW
CONSTRUCTION
Approved For Release 2000/08/07 : QIA-RDP96-00788R000700070001-8
-
Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
3

Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
BROWN
GRAINED
MENUE
FRIA OUT
GOLD.
SCRIPT
" o" F
MALE
NAME
Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
4

Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
- HANGARS.
LONG
BLDG
5
TERMINAL
.
PARKING
VAN
PARKED
OVERHEAD
PARKING
PARKING
RUNWAYS
SMALL
PLANES
PARKED
Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8

Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
FLAT
ROOFED.
WINDOW
VIEWED
INSIDE
REST.
STORE
RED & BLACK
PATTERNED
CLOTHES
S
LARGE
WINDOWS
YELLOW/ FILLES
W/ADS.
Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8

Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
FARM HOUSE
VAN
SHACK
DIRT ROAD.
Approved For Release 2000/08/07 : CIA-RDP96-00788R000700070001-8
7