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-RDP96-00788R000900470001 -2
INSCOM
GRILL FLAME
PROJECT
SESSION REPORT
CLASSIFIED BY:
Director,
DIA
REVIEW
ON:
31 Jul
EXTENDED BY:
Director,
DIA
REASON:
2-301-C
(3)
(6)
GRILL FLAME
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SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION
Cl
1.
(S)
This report provides documentation of
a remote viewing
session conducted for training purposes
to enhance
a remote
viewer's demonstrated ability.
2.
(S)
The viewer's
impressions show little or no target
correlation.
The only things that may relate to
the designated
target
(a carpet store)
are
the drawings of cylinders which might
represent rolls of carpet.
The viewer was
so busy analyzing and
organizing his
drawing^ he had no time
to relax and concentrate
on mental target images or impressions.
He was hyperactive
throughout the
session.
He was undisturbed by ambient room noise^
which was
loud. because he was
so involved in processing what he
perceived
as target data.
At times he did not respond to the
interviewer
for the same reason.
This viewer
is trying to figure
out how to
do remote viewing.
He will have
to become more goal
oriented and less means oriented for target correlation factors
to increase.
3.
(S)
The protocol used for this session
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
C7
#66:
This will be
a remote viewing session
(edited
for security)
.
PAUSE
Its now time
to relax and concentrate.
Focus
your attention solely on today's
target.
#11
is
at the target location now.
He
is observing
the area.
PAUSE
See the target with him.
PAUSE
#44:
I'm not sure about this
one,
but I've got an
image which
.
.
has
the same general curvature
as the bow of
a ship.
It appears
to be made out
of metal.
I'm going
to do
an
"A"
and then I'm
going to draw
a
"B" because I'm not sure whether
it was doubled or not.
PAUSE
"C".
.
.
If you have
a bow of
a ship
it would
appear to be as
I've drawn it at
"C"
.
I'm not
saying that that
is what A and
B are,
but I'm
beginning
.
.
Ah,
an example of kind of double
curvature that I'm aware
of.
And then the metallic
shape in an
"L"
over in here someplace
is where
the anchor would be.
I don't see
a shape like
that but I'm just trying
to get
a sense of
scale
or perspective.
.
to the perceptions
I
got.
PAUSE
This
is
a better image than the first one.
PAUSE
I want the
"B"
labeled upside down because
I
.
.
my perception of the thing
(not audible)
.
It has
the
sense of having
a railing.
It has
a
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plate on
it,
identification plate.
Name
sign,
name plate,
whatever.
If you were at
a place
that had
a
.
.
display of some sort.
The
display might be fenced off and on the fence
you might have
a
flat.
.
I
get the sense of
a
flat metal plate.
It appears,
however,
to be
light in color;
on the metal plate you might
have
a description of what the thing
is and I've
indicated
a
sense of words
in red because that's
an analytical description.
PAUSE
+05
That drawing at Number
2 appears
to be down left
of where
#11
is
standing and
looking.
It appears
that he
is standing next to this
fence
like
.
.
.
but for some reason he's
looking to the right.
I don't know how to draw this one
in plan view
but
I think its
important
so
I'll
try to
(not
audible)
.
PAUSE
Okay.
Draw
a straight overhead view.
If the
fence was here.
.
and the plate
is here, which
I indicate my square here on this
long rod.
.
then
#11 was
standing and looking obliquely
to
the right in the direction indicated by the arrow.
What
I don't understand
is why he's not looking
over the
fence.
PAUSE
#66:
Pay attention
to where he
is
and not where he's
looking.
See what you get in that
idea.
PAUSE
#44:
Okay,
I'm having trouble because
I’m aware of
a
fenced off area right out here on
.
.
Oh,
I don't
know the name
of the street.
But,
its got that
missile display
in
it.
.
and its
a flat area and
its
got
a fence around it and there's probably an
identification plate
someplace around there.
So,
I'm having trouble clearing that out of my mind.
I don't think that's
the target area.
But
I
got an
immediate analytical correlation between the two
but I'm having trouble dumping
it.
PAUSE
Would you ask me
a question again please?
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+10
#66:
Okay.
You said before that
#11 was
looking out
at something.
See
if you can't ask yourself or
pay attention
to perhaps right where he's
stand-
ing rather than what he's looking
at.
PAUSE
#44:
I
get
a flat area.
It seems
to be outdoors.
PAUSE
I'm still getting
a sense
of green grass.
PAUSE
What the heck?
PAUSE
I'm having trouble fixing the image that I'm
drawing in
3.
.
.
Try to cut again at
4.
I'm
getting
a cylindrical pole which
is really
bothering me
.
PAUSE
Just keep that one
for
the
time being.
PAUSE
Okay,
I got what appeared to be two cylinders
projecting through
a metal plate.
Immediate
analytical impression
is field gun where you
have the shield and the breech slanted down towards
you.
I would be standing at
the breech end of
the field gun and the cylinder.
.
the recoil
cylinder and the gun tube projecting through the
shield.
Those
are
all analytical expressions
for
this very crude drawing that
I've done.
I'd like
to do
a better drawing.
Because the way I've
drawn
it
is not exactly the way
I
saw
it.
I think
part of theproblem is because I'm looking through
the
sheild
.
.
as
if the shield is transparent.
PAUSE
That's no better.
The drawing
in
"A"
is the
first drawing;
the drawing at
"B"
is
an attempt
to clean up the drawing and make
it appear more
accurate.
The drawing at
"A"
is
a better drawing.
More clearly.
.
annotates
the perception that
I
got.
PAUSE
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To go back
to your question,
you asked me
to
move around the
area.
.
No,
would you please
ask me that question again
#66,
I'm sorry.
#66:
Okay.
I was concerned whether or not #11 being
at the target might be standing at the designated
target and then looking out away from the target
at
the surroundings.
In
.
.
.
#44:
Ohhh
#66:
And perhaps you might be able
to
look back behind
him and see the target where he's standing.
#44:
Oh,
okay.
Yeah.
That makes
a lot of
sense.
I don't know.
Okay,
I want to get
a perception
down before
I
lose
it.
PAUSE
I don
'
t
know what the heck that means
PAUSE
Come back and talk bout it later
'cause
I
just
missed another one.
+15
# 66
:
#44:
# 66
:
PAUSE
I
seem to have better
luck drawing as
I
go through
the sessions because then
I don't forget things.
And
I don't get disturbed like
I am now because
I missed one.
We have discussed,
several
times,
once out on
the West Coast,
and
a couple of times here,
that
if you look at the
.
.
and concentrate and focus
all your energy on the target it seems
to wash
it
out and the viewer does not get
in.
Which may
serve to explain why
I have theperception in
that he
is standing at a point looking off to the
right instead of looking directly at the target.
I don't.
.
Is that an aswer to your question #66?
Do you perceive.
.
.
Go back to your first concept,
your first idea of this railing or fence,
is he
standing by that fence?
Did you perceive him to
be standing by the fence?
Did
I understand you?
PAUSE
Yeah.
Okay
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#44:
# 66
:
#44:
# 66
:
#44:
# 66
:
#44:
# 66
:
#44:
# 66
:
#44:
He's
standing next to the
fence,
next,
well
in
the general area of this plaque
like device that
I have described.
Um hm.
He was .
Now,
I've gone back
to the plaque
like
area but
I don't sense him being there;
he's
moved away or around or
.
.
.
All right.
And you said,
if he's
standing there
by the plaque and he was
looking out to the right,
okay,
I want you to stand in the
same place but
look around behind the
fence.
Look across
the
fence,
that's what you asked me
to
do.
And that
is
in fact what
I did at
3 and
and
5.
I'm looking on the other side of the
fence
.
PAUSE
What goes on at this area?
PAUSE
Well,
I have very much painted myself into
a
corner,
haven’t I?
I
think
its
.
.
.
PAUSE
#66,
I'd like
to go back —
is
#11
still
at the
target area?
Yes
.
Okay.
I'd like
to go back to this arrow and see
if
I can concentrate on the sense of the target
area.
Okay.
Now
#11 will be leaving the target very
soon.
That's
all right.
As
long as he's
still there.
PAUSE
There's
an overhang.
PAUSE
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This really should be Drawing Number
7.
I
get
a sense of being
in
a park like area.
I
still have the sense of an open space.
I
still have
a sense of it being ...
I don't
have any sense of people being around.
PAUSE
+20
What
in
the hell
is that?
PAUSE
#66:
Okay.
#11
is probably leaving the target now.
#44:
Okay.
PAUSE
I
think
I've got enough for
the
sense of
the
place
to do
a little bit more and then
I want
to
go back and review everything because there
'
s
a couple of;
at least one drawing that
I haven't
annotated.
PAUSE
Okay.
As per usual with Drawing
at Number
7,
I could see
the front two corners.
I
can
see
the corner at
"A"
and the corner
at
"B"
and have
a sense of this
scrolled up effect or this
curved
up effect
as
if
it
is
a plate, piece of something,
metal,
metallic,
that
is turned
up.
Now here's
another one.
Appears
to be an unfolded box.
PAUSE
As
if you took the
.
.I'm running out of letters.
If you took the drawing that
is
at
"Y"
and curled
up in the direction of the
arrow,
this projection
on this plate,
you'd wind up with the drawing that
is at
"X".
And there appear
to be
four of the same
size.
There
is
a sense of
it being an open and
park like
area.
I don't sense any structures.
I
had no
.
.
.
PAUSE
.
.
sense of there being any buildings.
This
is
.
.
I'm glad
I don't understand this.
Looks
like
a cloud
lay.
Shove
it down;
don't
worry about
it.
I had no sense of there being
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