CIA-RDP96-00788R000900100001-2

Approved For Release 2000/08/07
ORCONNUFAG788R000900100001-2
INSCOM
GRILL FLAME
PROJECT
SESSION REPORT
£
CLASSIFIED BY: Director, DIA
REVIEW ON: 31 Jul 99
EXTENDED BY: Director, DIA
REASON: 2-301-C (3) (6)
GRILL FLAME
Approved For Release 2000/08/07 : CIA REP90-00788R000900100001-2

oronrt
LUD: 66 00788R000900100001-2
Approved For Release 2000/08/07 .
SUMMARY ANALYSIS
REMOTE VIEWING (RV) SESSION LXXXIV
1.
(S) This report provides documentation of a remote
viewing session conducted for the purpose of orienting a
remote viewer to an applied remote viewing protocol.
2. (S) The remote viewer's impressions during this session
correlated with the target very well if one uses only the viewer's
sketches to guide him. The viewer's verbal description is very
weak compared to his drawings. Although this viewer is seldom
bothered by the ever present noises that constantly filter into
the viewing room, today was an exception. The viewer was
distracted several times during this session by outside noises.
The viewer did not seem to be able to maintain his usual con-
centration and focus during this session. The remote viewer
began this session relaxed and with confidence of success.
At the conclusion of the session he appeared mildly disturbed
and was no longer confident about the results.
3. (S) The protocol used for this session and which will
be used in later training is detailed in the document, Standard
Remote Viewing Protocol (Local Targets) by Harold E. Puthoff
and Russell Targ, November 1978.
4. (S) Following is a transcript of the viewer's impressions
during the. remote viewing session. At TAB A are drawings
made by the viewer reference his impressions of the target
site. At TAB B are photographs of the target site.
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TRANSCRIPT
REMOTE VIEWING (RV) SESSION LXXXIV
#66:
This will be a remote viewing session (edited
for security) .
PAUSE
#11:
All right, #24.5.
Its now 10 o'clock. #66
is at the location.
Find #66 and tell me what
you see.
PAUSE
+08
#24.5:
Well, I'm seeing
.
.
light. On the bottom.
(Not audible) . . #66 is in the white.
Standing
on a . . Its a big square.
PAUSE
Its inside.
Its lighted.
Its open but its
-
inside not outside.
PAUSE
+10
Has walls around it.
PAUSE
Let me focus some more.
PAUSE
#11:
Focus on #66.
Tell me what #66 is doing.
PAUSE
+15
#24.5:
Looking in boxes.
Boxes are. . . you can see
in. Big boxes.
Metal sides. Silver frames.
Lights inside.
Leaning over.
Six feet. . on. .
stuck on top.
The floor is white and bright.
PAUSE
(Not audible) I can't get more.
PAUSE
I can't get much more. I want to try though.
I want to try.
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PAUSE
Let me focus more.
#11:
Okay. Go back to the
#24.5:
Distractions.
#11:
Go back to the big white square.
Look around
and describe the surroundings.
PAUSE
+19
#24.5:
Wall on the left. Wall with a box. Long.
You can see in it. Corner. . . with a wall
in front. Funny shape. Door. Low door.
Big square hole. Another room on the other
side. Black in the middle of the room. Dark.
Its bright in the room. I feel a light gray
or a light green rug in that room. Hall on the
right. Stairway on the right.
It goes up.
PAUSE
+22
I don't feel good about this. I feel as though
its familiar so. I may have messed it up.
PAUSE
+23
(Not audible) watches. Trinkets. Back to glass
case. On the right. A line on the floor, dark
on the other side. Light in the front. A wood
wall. . with curved places in it. Up high in
the back. I feel gold. Glass. Its curved
things from the dark with stuff in it. Okay.
The glass thing has a . . glass thing has a
bend in it but its sharp - 90 degrees. But it
stops before the wall. The place is long.
(Not audible) more in the middle.
+25
Three tiers. Long things with more stuff on
them. Three tiers. Square bottom.
A break
and another one. In the back on the right is
a door.
A big hole, no door. . into the back.
Darker.
PAUSE
+27
The back is round too. The back wall along to
the hole.
Its narrow and skinny.
PAUSE
2
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#24.5:
Jesus !
I don't know what I've done. Ha ha ha
#11:
Ha ha ha
#24.5:
I just don't know what I've done.
#11:
Well, go ahead and draw it.
PAUSE
#24.5:
I have to go through this in two stages and
the reason is because I stopped in mid-stride.
One: Because when I started being concerned
about where I was, it was too familiar, I
stopped. And then I tried to get back to the
·
. anyway. I had this. . The first thing
I had was a . . I'll take a right. . I'll break
it right down to just what I got.
Okay, let's just look at this as being. . you
know, an aera that I can see in. And this was
white. And I had the impression that I was
looking down on #66 from an angle and off and
so to draw this out of proportion he was standing
in the middle of this thing. Right. So his
legs were real short. You know, his legs were
real small and everything. And his body just got
much larger you know, because he was here. Or
a person anyway.
I don't know if it was #66.
A person.
PAUSE
Being looked down at. . from above angle. Two
then was. . this white thing was big and was
square. Not perfectly square but squarish.
And
I had the immediate impression that there was
stuff along the wall.
#11:
Are you still up above looking down?
#24.5:
Still up above, yeah.
PAUSE
Then. . I got. . These were glass. . Well, these
were the cases. These were like cases.
Okay.
And I'm going to call them glass because I could
see in them, but. . or see through them.
I
thought that they could be looked through. They
might just be open boxes or something. Then I
had what I think was here. . but I don't know.
Three was . . was this. . Oh. . Okay. Was this
2
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glass. . or this case. . one of these boxes.
Okay. Damn it. Was one of these boxes and it
was an angled perspective and I had a figure.
Right.
PAUSE
Was leavning over it.
Okay .
PAUSE
Okay. Figure was leaning over.
Over the case
looking in. But the case is .
. .
#11:
3% feet.
#24.5:
No.
Its not that big, its only like . . this
is out of proportion. This is only I'd say
30 inches. Okay.
But its long. I'd say that's
six feet. Okay. And then. . I'll think of where
I was, what was I doing. Okay, and I wanted to
say. . . Okay. No. I think. No. It'd be a
different short for me to do that.
Let me go
to 4 then. The. . a case. . has - how would I
draw this thing to show it right?
PAUSE
And in here would be another one. And here
would be another one.
These are shelves inside the case. Okay. And
the shelves have, you know, Mmmmmmm. . . stuff
on them. I'll just call it stuff.
Just any.
small. . with . . with items. With stuff in
them. Okay. Shelves in the case with . . this
isn't yet the gold and the gold and stuff, okay.
This is just shelves in case with things sitting
on them. I'll say on display. All right.
Then.
After all of this, then I got. . how do I say it?
Then, I tog the thing that made me worry about
my situation. Okay. Then I got the, I'll label
it - I'll tell you precisely what I. . what I
ended up with.
Okay.
Second floor landing,
outside Command Group office.
#11:
Okay.
#24.5:
And that's sort of what bothered me. Okay.
So
here I went back down to the square and I ended
up with no equipment or anything. That's what
really threw me.
I went back down to the square.
3
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I ended up with ..
that's wrong to draw
that there. Okay.
And I ended up. . Ha ha
with
PAUSE
This is coming back, in perspective. Okay,
this isn't going sideways in perspectives.
This
is coming back in perspective. That's the wrong
angle. I want to just draw this thing here.
Okay. This is, this is, you know what it is,
its the side of the stairway. Okay. This is
white, white, white, and in . . carpet line. .
and in here its light. Light in here. Dark
object in here. (Not audible)
£
Okay.
#11:
Um hm.
#24.5:
And. . . here would be 6. I got something
other than the sides of this. This is what's
really a curious thing for me. As 6 looking
that way is . . and then,
PAUSE
Okay.
How do I want to do this thing here?
PAUSE
But. . from where, from where I started here,
this was supposed to be on the right. That's
what I can't figure out. This was supposed to
be. . feel leaning over glass case looking in
on right side. Supposedly, in the live per-
spective. Depending on where I was winking
to would have been over here, this case on the
right, right.
#11:
Um hm.
#24.5:
So, to put the whole composite together, then,
if I am to rely on that part as being valid
and the Command Group as being valid. Then
that means that there's a glass case here some-
where. I'm just going to draw it in in a dotted
line. Okay.
PAUSE
4
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But then, this is when I said to you, you
know, I said, something's funny here. I'm off
the beam or whatever words I sued. That's when
because I knew where I was. I said its familiar.
Right. And so, because its familiar, I was
afraid of it because I was afraid of it. So
for my learning experience let me go on to what
I got. . after that. Which this may be entirely
true.
And I may have fabricated the second part.
#11:
Right.
#24.5:
Okay .
So Seven is going. . Seven is after
conscious acknowledgement of familiar target.
PAUSE
Then I got back to . . Okay, then I got - how
am I going to do this properly? Seven. Then
I got, Okay, end up with the same glass case.
Okay. I had that thing; it was looking right.
Now, its screwed all up. Okay, the top of the
case and the front of the case. . okay, that's
90 degrees but it doesn't look like it in the
sketch. A dark line here. Light on this side.
Dark carpet. And shortly behind it then, I got
as though this was a sales counter. Okay.
And
. a little shelf.
#11:
I think we better flip the tape here before we
run out.
#24.5:
Okay .
TURN OVER TAPE
#11:
Okay, we're back on record.
PAUSE
#24.5:
Okay .
These are the long curved things behind
this sales counter or whatever it would be.
And this has stuff in it. Okay. These are
like dis, dis . . what would it be an enclave?
#11:
Um hm.
Something like that.
#24.5:
You know.
Dark wood paneling. These are dis.
I'll call them display enclaves. Okay. With
stuff on shelves. And in here like are the
shelves right. And at this point, the shelves
took on . . have gold and glass, jewelry and
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stuff. Okay. And then trying to go to
the back which was to 8, I ended up with .
This is the counter. Its amazing what perspec-
tive does to you. And this is the back wall.
Okay. This is dark.
In here is . . this is
like its a back passageway into the back
storeroom. The only. . . the main thing here
is that I got now was that its taking on a
more rectangular shop shape. And that here
are these three tiered things. Okay.
PAUSE
Does that look pretty good there?
#11:
Um hm.
At least to me anyhow.
#24.5:
They're free standing almost like an ice palace
or something. You know, very, very modern glass-
everything clean and sterile and all the rest of
it. And meanwhile over here is the so-called
standard display.
Okay.
#11:
Um hm.
PAUSE
#24.5:
I'll write in the back here, storeroom.
This
certainly could be a lesson in . .
.
TAPE STOPPED.
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TAB A
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1
Personne
BEINS
Looked
down at
From
above
angle
2
white
figure
leaving over
Case
looking
on
right
Side
1
1
..
30
=
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:
glass
1
CASES
3)

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4
silves
in care
with
theny
citing
on display
4
V
2nd loon landing
outside and Group of
5
Light
18
white
20,5
.
white
Sí
-
direct line
vidite
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1
HALL
WAY
stavio ->
AIL.
7
handrail
to
Cmv
-
-
G
-
glaso
cose
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1
band

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after conscious achnowledgement of
familien target
wood.
doll
1
display
enclaire
w/staff ou
shelves
SI
LITTLE shelf
les
dark
V carpet
eine
light
have
gold cuptal
glass
jewelry
staroom
dank
pauliny
3times
display
stands
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TAB B
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.
1
-
.
1.
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