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INSCOM
GRILL FLAME
PROGRAM
SESSION REPORT
GPJLL FLAME
NOT RELEASABLE TO FOREIGN NATIONALS
CLASSIFIED BY:MSG,DAMI-ISH
DATED:
.,051630Z:iUL78
REVIEW ON:
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— & 3*
Clv ft
CU/os
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SUMMARY ANALYSIS
REMOTE VIEWING SESSION 834
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 responsibility
of the user.
3.
(S/N0F0RN)
The protocol used for this session
is detailed
in the document GRILL FLAME Protocol, AMSAA Applied Remote
Viewing Protocol
(S), undated.
4.
(S/N0F0RN)
Following the session the remote viewer was
interviewed for
his impressions.
At TAB
A are drawings,
and
a narrative concerning the drawings, completed by the remote
viewer.
At
TAB
B
is the target cuing information provided
the remote viewer.
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TRANSCRIPT
REMOTE VIEWING SESSION 834
#72:
This will be
a remote viewing session
for
December 1981 with
a starting time of
1300
hours
.
PAUSE
It
is now 1300 hours.
Our target
for today
is the man who's photograph you have been
shown.
We want you to
go to
the hotel that
you described yesterday.
PAUSE
#27.5:
Okay.
#72:
Is
the man
in the photograph
at
the hotel?
PAUSE
#27.5:
I
don't
see him right
now.
I
see
a white
car.
He's moving
in
a white car somewhere.
Its
like
an Olds
- new model
- maybe one year.
Have
a
rental
car feeling.
PAUSE
#72:
All
right.
I want you to
go back to the hotel.
Go back
.
.
.
#27.5:
Yeah.
#72:
.
.
to the room on the third floor.
Describe
its
contents.
PAUSE
#27.5:
Standing inside the front
door,
I got
a
.
.
.
.
its like an
"L"
shape two-piece daybed type
couch.
Cushions.
Table
-
small.
Small
table.
Very sparsely furnished.
#72:
Is the material that was there yesterday still
in the room?
PAUSE
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#27.5:
Yes.
Some of
it.
Got papers.
Papers.
PAUSE
Many papers
are already burned.
PAUSE
I
see
see
guns.
Couple guns.
PAUSE
I
think automatics of
some kind
-
9 millimeters.
Hand guns.
Nine millimeter handguns.
#72:
Is the black box that was there yesterday still
in the room?
PAUSE
#27.5:
I
see
it
in the
.
.
.
Believe
its
in the back
room.
Some kind of
shelf with three boxes.
PAUSE
#72:
All
right.
I want you to go downstairs
to
the
lobby of the hotel
and go to where people would
normally check
in.
PAUSE
#27.5:
Just
a minute.
PAUSE
I
can't find the lobby.
Have an entry
.
.
.
Its
.
.
.
Its stripped.
I
don't
see any
I
just
have an entry.
#72:
All
right.
I want
you to out on the
street
and
face the
front of
the hotel.
#27.5:
Okay.
#72:
Is there
a number on
the door or the front
of
the building?
PAUSE
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#27.5:
#72:
#27.5
#72:
#27.5
#72:
#27. 5
#72:
#27.5
Had
a flash of
a number.
I'm not
sure
if
its
a building number.
It was yellow numbers etched
with black on
a small white background.
Block
numbers.
1010.
One zero,
one zero.
All
right.
Now
I want you to
go
down
the street
until you come
to the first
intersection.
PAUSE
Okay.
Its
going.
.
.
Its going towards the
.
.
the
.
.
.
runway.
.
.
area.
I want you to
look up
and locate the sign post.
PAUSE
Ah.
.
.
floor.
PAUSE
Small word.
I'm sorry.
Floor?
See
a floor or
something.
All
right
.
PAUSE
It
looks ....
F
- starts with
F for
sure.
PAUSE
Don't
see
a name
for the other sign though.
Its
like compact
up and down
lines.
PAUSE
Like
a zig
zag.
I
don't know what that
.
.
.
Zig
zag.
Describe
any activity
at that intersection.
PAUSE
Pedestrians.
A lot
of pedestrians.
Kind of
a.
.
.
.
sleasey area of
town.
Some people hanging
on
the street
corner.
Mixture of
race.
Get
a
distinct
foreign feeling,
now
,
like there's
a
lot of foreign.
.
.
foreign people.
.
live
in
this
area.
PAUSE
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#72:
Cross
the street
.
.
.
#27.5:
Across the street
is
.
.
.side
cars
are parked
on.
Seems
like they only park one
side.
Predom-
inantly
large
build-
ings,
apartments.
#72:
All
right.
#27.5:
One block from
the'mairi
road with dividers,
its
like tunnels or something.
Overpasses.
Wire
fences
PAUSE
#72:
All
right.
Let’s
go back to
the front of the
hotel
PAUSE
#27.5:
Okay.
#72:
Cross
the street.
.
.
to the building on the
other side.
#27.5:
Okay.
#72:
.
.
and go inside the building.
Describe
it
for
me
PAUSE
#27.5:
Smell
incense burning.
Very run
down bar.
Dark.
Strong odor.
Coffee
as well.
Turkish coffee
like
Caters
to ...
.
caters
to
.
.
many foreign people.
No windows.
Getting dark
purple,
black,
dark blue,
dark brown
all
dark
color.
PAUSE
#72:
How do you order
at
the bar?
PAUSE
#27.5:
Just order
in English.
#72:
What type food smells
can you smell?
PAUSE
#27.5:
No food.
No.
Food.
Get
an impression of
age,
predominant
age.
Customers predominant
age.
.
very early
30’ s
late
20’ s.
I got
a flash like
I was ...
A familiar flash
- just
a minute.
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#27.5:
I
can't put my finger on
it.
Just
a second.
PAUSE
Got
a
.
.
strong feeling for
Iranian people here.
Very.
.
.
personalities familiar for some reason
.
.
that particular area of the world.
Student
flavor.
This neighborhood' s predominantly
.
.
.
.
Farsi
.
.
populated.
.
.
many
Arab nations.
Populated.
Not
.
.
.
Clearly not diplomatic area
though.
Just populated.
Transient quarters area
so
to
speak.
PAUSE
Sort
of
like
a section of town
like the Italian
.
section.
Only this
is
a
Arabic
section.
Foreign student
section.
PAUSE
I keep trying
to
.
.
.
keep trying
to establish
this hotel and
I
can't agree that
its
a hotel;
its operated like
a hotel but
its more like apart-
ments than
a hotel.
#72:
All
right.
PAUSE
Lets relax now for
a minute.
Go out
onto
a street
#27.5:
Okay.
#72:
I want you to lift yourself
into
a perspective
so that you can look down
at
the
city.
PAUSE
#27.5:
Okay.
#72:
What
are the most significant
- what
is the most
significant
landmark you can see?
PAUSE
#27.5:
Its
.
.
.
Directly
to the
rear of the apartment
.
.
.
.
is ....
a large open area
at
about
.
.
.
about
10:45,
hour.
Large open area
with
a ....
I keep getting
a huge white build-
ing that's
bent.
Its like
its bending.
Half moon
PAUSE
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#27
. 5
:
#72
:
#27
. 5
:
#72
:
#27 . 5
:
#72
:
#27
. 5
:
#72
:
#27 . 5
:
#72
:
#27 . 5
:
Somewhere
.
PAUSE
Many cars
there.
Many people.
Its
like
a down
hill
slope there
as well.
Why
don't you go to the front?
Come over to the
top of the large white building and look down on
it.
Tell me what you see.
PAUSE
Everything’s twisting.
Everything's bending.
Road.
Bent
road.
Bent
grounds.
PAUSE
All these things are like
.
.
.
bent
and jammed
into
a square
area.
Very. ....
Its
.
.
.
hard.
.
.
hard to decipher.
Its very gestalic
image.
Its
all
twisted.
Okay.
PAUSE
Come to the front
of the large white building
and come to the ground.
Okay.
Put your back to the building.
.
.
Wait
a minute.
Got
a word.
Said
a flash of
.
.
.
.
.
I
got
the flash of word "Washington".
It might be part
of
a name.
Glass.
A
lot
of
glass.
Tall glass.
And that's
all
I
got
-
flash.
Okay.
You're
at the large white building and
you're putting your back to
it.
Okay.
What
do you see
in front
of you?
PAUSE
See some .....
See
a curve road.
.
some kind
of
a
.
.
underground parking
lot.
Three story
gray building.
Getting flashes of some kind.
PAUSE
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#27.5:
Shipping something.
Shipping or travel type place.
PAUSE
Shipping,
I
think.
PAUSE
Shipping.
PAUSE
There's.
.
.
a road
to the right.
Slight downhill
grade.
Open grass area.
PAUSE
#72:
All
right,
what
I would like
to have you
do now
is return to the front of the apartment /hotel
.
#27
. 5
:
Okay
.
#72:
I want
you to
go forward in time,
forward
in
time,
to
16 December.
16 December
1981.
PAUSE
#27.5:
Okay.
#72:
Where
is the man
in our photograph?
PAUSE
#27.5:
Have him
in another apartment.
Different building.
Keeps moving.
There may be three people
in the old
apartment,
but
he's
not
there.
PAUSE
I'm trying
to
.
He
.
.
.
.
Keeps moving.
He moves.
Always moving.
#72:
Where will
I
find him on
16 December
1981?
PAUSE
#27,5:
Impression of
.
.
.
Just had
an impression of
a
courtyard with a
.
.
.
.
.
fountain.
An offset
square.
White and blue
tile.
PAUSE
See iron gates.
White pillars.
This feels
like
a diplomatic area.
PAUSE.
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#27
. 5
:
#72
:
#27
. 5
:
#72
:
#27
. 5
:
#72
:
#27
. 5
:
#72
:
#27 . 5
:
#72
:
#27
. 5
:
#72
:
But
not
a diplomatic
area.
I
don't know
how to explain that.
Okay.
Got
a feeling of
calmness.
PAUSE
Much serenity,
calmness,
for some
reason.
PAUSE
He's only there temporarily.
I
don't ....
I
don't think this guy stays in one place longer
than one day.
He continually moves.
PAUSE
All
right.
Very ....
smart
.
Okay
.
PAUSE
If you went outside
in this
area,
what would
the temperature be?
PAUSE
Ice.
Icy.
Very
cold.
If you go
in
the front of this building and look
inside,
what
do you see?
PAUSE
Garden,
courtyard,
fountain,
white,
heavy
door,
small
doors,
.
.
.
See
a side entrance through another
gate.
Its like
a building inside
a building.
How tall
is this building?
PAUSE
Got
an impression of very tall,
five
stories.
I
got
an impression
of only one
floor.
I
don't know
why
.
All
right.
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#27.5:
Persian
rugs.
Red rugs.
Heavy patterns.
PAUSE
Dark.
PAUSE
Got
a fleeting impression that
just for an instant. ...
Of being addressed
by someone.
I
don't
.
.
.
Its real
weird.
#72:
Why don’t
you ask who
it
is.
PAUSE
#27.5:
Its
.
.
.
Its
a
.
.
philosophic mind.
.
I
don’t
No,
its gone
now.
#72:
All
right.
#27.5:
Philosophic mind.
Inquiring mind.
#72
:
Okay
.
PAUSE
I would now like you to move ahead
in time
to
the morning of
17 December
1981.
Describe
where
the man
in the photograph
is.
PAUSE
#27.5:
Just
get
an impression of
a cafeteria area.
Looking through glass.
Large white building.
Block house like building.
No windows.
#72:
Where
is the man
in the photograph?
#27.5:
Sitting.
.
.
at
a table,
looking through glass.
He’s waiting.
PAUSE
That’s
all
I
get.
#72:
All
right.
I want you now to move to
12 o'clock
on the 17th of December.
Locate the man
in
the
photo.
Tell me where he
is.
PAUSE
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#27.5:
I
see him parking
a
.
.
.He's parking
a white
car
in
a
.
.
.
its either an underground or
a
covered parking area.
He
' s
.
.
.
throwing
a
key away
in some trash.
He's also
armed.
Carry-
ing
.
.
.
Keep getting
an impression of this
.
.
this automatic nine millimeter type.
.
pistol.
Carrying
it
front
right
belt.
Fleeting impression
that he's already killed with
it.
Just fleeting.
Very.
.
.
.
Leaving
.
.
.
Leaving
the
car,
I
think.
Going
into
a
.
.
.
some public building.
Its
got
many people.
PAUSE
.
.
Just walking around.
Got
an
impression,
he's
stalling.
Stalling for something.
Burning up
time without remaining
in one place.
His
appearance
is different
.
Just then
I
got
an
impression that he's much.
.
.
much older than
in his photograph,
for some
reason.
All
of
a
sudden
I
just got that
impression.
Wearing
glasses now too.
PAUSE
#72:
Does he have with him,
the items that were
in
the hotel/apartment
room?
PAUSE
#27.5:
No.
These.
.
.
All these
items
are
either
destroyed or
in place.
He only coordinated
these things.
Feeling of
coordination.
Control.
#72:
Okay.
I want you to
.
.
.
#27.5:
Have
a flash of the van again.
Purple van.
Maybe they're
in the van.
#72:
All
right.
I want you to continue.
The day
is
17 December,
its starting to
get
dark,
where
is
the man
in the photograph located?
PAUSE
#27.5:
He's
in the van.
Same place
as yesterday.
#72:
Okay.
PAUSE
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