INSCOM GRILL FLAME PROGRAM SESSION REPORT

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000600510001-0
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 15
• Document Creation Date: November 4, 2016
• Document Release Date: March 27, 2000
• Sequence Number: 1
• Content Type: REPORT

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INSCOM
GRILL FLAME
PROGRAM
SESSION REPORT
GRILL FLAME
CLASSIFIED BY:MSG,DAMI-ISH
DATED: 051630Z3UL78
NOT RELEASABLE TO FOREIGN NATIONALS REVIEW ON: t%-40.41, 2UDCA
6.F-039-g
Ce,(4.a. 1 6.6 c-6114.a.4
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SUMMARY ANALYSIS
REMOTE VIEWING (RV) SESSION DCC-34
1. (S/NOFORN) This report documents a remote viewing session conducted in
compliance with a request for information concerning a building and the
past activities of an individual known as SG1A
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 requester.
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.
OiltirTIONALS
NOT RELEWB
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TIME
TRANSCRIPT
REMOTE VIEWING (RV) SESSION DCC-34
#66: This will be a remote viewing session for 0900 hours,
29 April 1981.
This will be a pre-session briefing to the remote viewer.
This, uh, this is the building that, uh, will be your
target for this session. You will be going back in time,
in the very recent past, to the period of time in which the
individual you know as was Wthis building.
SG1A
#01: Oh, building looks familiar. Nice feedback 0-kay.
SG1A
#66: Now when we acquire imagery of in this building in the
picture I'm showing you, when he was there very recently, I
will then have questions for you pertaining to acti-
vity in the building. Do you have any questions now before
we begin?
#01: No. That's cool.
#66: All right, at this time you now have 20 minutes to prepare
yourself for this morning's session.
0900S A
Relax now. Relax and concentrate. y ocus your attention now,
focusing solely and completely on who you know well by
this time; and the building in the photograph I've shown
you. and the building. Move through time and describe
10111 and his activity in the building in the photograph I
ave shown you. Focus now, focus and concentrate...
SG1A
SG1A
SG1A
SG1A
#01: Had him movin' down a...corridor..45 degree angle right....
Hand on right wall... He's going somewhere in the building..
Now he's looking at the wall...ceiling wall...ceiling wall
joint. Hallway's drop ceiling Stays, uh, lifting panels
and looking. Looking at wires or lines of some sort.
SG1A
#66: Okay. As is involved in this routine work of his, contact
him and speak o that greater part of him. Find out how
things are going
+04 #01: I get a feeling for shortage of equipment...aggravated, busted
equipment or missing equipment... This is a, like a....
+05 residence type building... The style of building's aggravating.
Things are, uh...things are going well, but...very routine.
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+06
#66:
SG1A
600510001-0
SG1A
SG1A
All right. Now..as that routine Nile continues his
work, move with a greater part of outside your present
prespective, outside the building, so that you and may
look at the whole building all at once. Move with 777
greater part of outside, so that you may both examine
and converse about the building. Take him with you outside
building now, and describe your perspective to me
#01: Like sitting on a wall across the street from the building..
looking at the building... It's very hot and humid. Con-
sidering the building as just a residence. I don't feel
like there's...it's not a building I can control. It's like
across from a building I control... It's like a suspicion
I have of the building or a part of the building...gut feel-
ing.... It's like a, just a curiosity about the building.
#66: Am I listening to #01's feelings or feelings?
SG1A #01: These are feelings. SG1A
#66: All right. SG1A
SG1A
the
#01: This isn't a building he can, uh..he can enter with equipment.
It's like, uh, private from the buildings he's interested in.
S1A
All right. I have a piece of equiGpment for you,#01, to have
use from your present persoective. I now give to you
a tilter, which you can show tc If holds this SG1A
filter up, you hold it up for his, in front him between
your perspective and the building, so that can look through s(31ik
this filter. And as he looks through this filter, this filter
is very unique, because it will highlight those areas that
you're going to do, Alin hold the filter up for him and
may be of interest to in his job. Explain to what SG1A
ask him if he sees anything of importance to his job....
SG1A
#66:
SG1A
#01: Just a minute.
#66: We have plenty of time. I will wait.
PAUSE
#01: I have a...section of what appears to be upper floor, angular
front right. There's, uh, some abnormality of the exterior
or blockage or facing of the building. And it's being used
to hide, uh...it's being used to hide something. Keep getting
flashes of a...shiny black...slim cylinder holder with holes..
small, something revolving. .wire shielded. .eraser tip type
objects... Dominance glass, something glass...
#66: Explain the experience, the act of discovery of this device as
you and are sitting on the Wall across the street and use
the fil777-- SG1A
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#01: Uh, the filter's not necessary. Just getting foOrth floor
possibly front right. Uh, got feeling, uh, modification, uh,
building exterior, trying to decide if there's problem with
this. And I get, uh, fleeting images of..these things.
SG1A
#66: Am I listening to #01's feelings or
#01: Both...
SG1A
+14 #66: Okay. Feel free now to move with into this area of int-
erest away from your perception across the street, and flow
into the area of interest and further describe it to me...
#01: Okay. Problem..problem is to identify..to identify exterior
evidence of..the, uh..probability of the right area. Uh...
lack of, uh, I get a lack of substance for some reason.
Just a minute....
#66: Caution yourself to perceive only and not to analyze. You are
the observer.
+16 #01: I perceive search for, uh, exterior extraneous cable, or cabling.
Uh, exterior, tubular fan type device, devices. Uhl some
form of electronic, uh..device. It looks like angular mount,
or stand or something, fixed to wall. Uh...the problem..
I'm sensing, uh, I'm sensinc s, uh, feelings and mixing SG1A
that with the building. I on o 't know if I'm sensing
what's there or if I'm sensing wha wants to find.
SG1A
#66: I understand... Since you now understand the problem, let us
move beyond the suspicions of Move beyond the suspicions SG1A
SG1A of move beyond the suspicions of and his worriesIsGlik
and concerns and get down to helping him... Help him to move
away from his concerns. Help him to move above and beyond
his suspicions.. Opening your horizons and his, beyond the
confines of the immediate concern and suspicion to the deeper
question of justification for those concerns. Move now deeper
in perception. Focus, focus, focus.
+19 #01: Have a..single image of a fly speck type object with two hair
like wires... It's, uh, remotely agitated... Seated in the,
+20 uh, leading edge of a piece of glass. It's very small...
but I, I perceive it not to be in the building. It's in a
different building, like to the face of the one that is in
the photograph. I have like a concern for the building in
the photograph, but an inability to..or inability for SG1A
to define his concern. Abnormalities in the..the building.
Uh, sufficient justification for gut, gut :feeling, but...
don't substantiate it. That's all I'm getting. I'm..kinda
losing it now.
#66: I understand. I'd like to clarify a few points. The threaten-
ing object you perceive, in your opinion, is not in this build-
ing.
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#01: Correct.
#66: In a, it has to do with a piece of glass.
#01: Correct....
#66: It appears to you to be in a building adjacent to the target
building?
#01: Correct.
#66: Describe the location in the alternate building of this threat-
ening object.
+23 #01: Uh, very small, very small window apparently, uh, set in a
metallic framework. High up. .high up, uh, appears to be above
eye level..seems to be above eye level. Second floor..so it's
high above street. I'm not, I'm not getting anything other
than that. I'm not getting any input from this building for
some reason.
SG1A
#66: I understand. From the perception that you have had, ask your-
self one more question- how might discover this threaten-
ing object? Ask how he would o about discovering this
object....
SG1A
#01: Uh..would be to, uh, stand in the, uh, the key, key room of
+25 key residence, or office in question and assume a 90 degree
perpendicular-, or- yes, perpendicular to face of plane direc-
tion from that wall, that exterior wall. I don't know how
to explain that..
#66: Continue.
#01: This would give him, uh...uh, location., angular distant- or,
angular direction. And, uh, then he would have to look for
this, this high window, or high glass pane. Uh...it's just
bottom edge of the glass. I don't-
#66: When you said this pane was, uh, in a metal frame of some kind?
#01: Metal frame, yes, but, uh-
#66: Describe the size of the pane in rel- relative to the size of
your hand.
#01: Larger than..than my hand. Like-, uh..four by five hands with..
with the, uh, the fingers closed.
#66: All right.
+27 #01: Get color, like a purplish color, or a. washed out navy blue
color. Something that's, you know, like, uh, like navy blue
that's been washed out by sun tha-Lhas like a rainbow effect
to it, for some reason. Getting that color.
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#66: In conjunction with-
#01: The window and the frame.
#66: All right.
#01: I don't know. It's all runnire' together now.
#66: All right. I have no further questions. I Would like you to
spend some time, however, back exploring with in this SG1A
time window. Bid him adieu. Any further information you wish
to report, now's the time
#01: Okay...
#66: Any further comments?
#01: No.
#66: All right. Let's prepare to draw then the images you have
had to this time. Move your arms, move your legs, focus your
attention back now on present time, my voice in the room.
Take a few deep breaths now, and let's prepare to draw.
SG1A
#01: Okay. What I've done on the photograph of the building is I
marked an area "A" and an. area "B". Now..there, because of
that problem technology wise here I guess it is, that I was
having, it's difficult to be looking for an area in the build-
SG1A ing that I want to go to, and at the same time trying to
read what has going on in his mind. At the same time
looking for a device which may exist in reality, of 'which he
has supposition in his own head. You know, everything gets
all run together. I don't know how to explain it better than
that, but it's like there's, there's- I'm not working with a
clearly defined rule. It's like one's overlaying the other,
so it causes a lot of confusion.
SG1A
Area "A" is what I perceive to be the threatened area in the
building when I was across the street sitting on a rock wall or
stone wall with And I was not reading what was sup- SG1A
positioning. Area "A" is the area that I perceive to be a
threat area.
SG1A
Area "B" is the area that I perceive to have as supposition,
or is also the area where possibly the window is. Because I'm
not sure which I was doing right then. Okay?
SG1A
Uh...wherever was sitting on this stone wall or across the
street, when he was across the street looking at the building,
the specific point of reference that he has for that window is
that he was standing- if you were to take the window and use
it as a flat plane reference point, if you were to take the
center point of that glass and come directly straight out at a
90 degree angle to the flat surface of the plane of that win-
dow, regardless- giving no regard to height, that would give
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SG1A
#01: direction to where was standing. Meaning that he could
go from where he was standing directly to e window in which
he would be creating a 90 degree plane of reference. That is
the window. Except it was like second floor up. Now I'm
talkin' from the window side looking down, because I had an
impression of looking onto the street from the second floor.
That's essentially what the two areas are..
#66: Okay, now, I'm a bit confused because your first statement was
that you didn't think that the window device was in the target
building.
#01: Yes. And the reason why, like I said, is I'm not sure of what
I was doing. And I'm not sure it was in the building. This
is an area of the building that I perceive to be associated
with it. I don't know how to explain that. Uh, I was perceiv-
ing at one time two buildings, one across from the other. But
at the same time I was doing that I was perceiving suppositions
SG1A that had, or concerns that he had. So I'm not entirely
sure whether or not I was reading his concern for an opposing
building, or whether I was actually in the opposing building,
concerned about the area in the other building. See it's all
a jumble to me, 'cause I, there was no control there. I was
like doing all of this at one time. So I think there is an
adjacent building. And if you were to pick a building, I would
say they hold equal weight. One's, is you should be as con-
cerned about the opposing areas of the two buildings as- like
if there's a building facing this building and there's a set
of windows facing area "B" that I marked on this building, there
should be as much concern shown for that building area "B" as
this building area "B". If that makes sense.
Page one is the fly-speck size object. It's Very tiny, with
hair like wires. And it's in the bottom edge of the frame of
the glass. I've drawn the glass window as maybe associated
with other windows and maybe not. I just had it sort of a
free forms floating in space sorta thing. But I felt it was
higher than eye level, normal eye level. And, uh, the object
is in, actually in the frame, between the edge of the frame
and the edge of the glass. Sorts like, you know, epoxied or
puttied into the window edge. But you can see the hair like,
uh..antenna or protrusions or whatever they are that come up
from the object. As small as they are if you look real close
you can see them. But I don't know if they're in the glass or
exterior to the glass or interior to the glass... That's
part "B". Actual size of the object, it's very small. And
that's essentially it, I guess.
#66: Okay. What kind of confidence level do you have in the imagery?
#01: Well I first started low, because I still had clutter in my
head from earlier today, and I wasn't sure that I was gonna be
able to fight my way throught that. But as we progressed with
the mission that kinds went away. Didn't bother me. I felt
6
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#01: I had really good vibes. I think whatever was going on today
I think worked real well and I think that's what really
screwed us up is the lack of control as far as being, doing
one specific thing at one specific time.
#66: Okay.
#01: You know, everything just kinda worked too well. It was. like
getting too much at one time. That's it.
SG1A
#66: You- if I understand, you felt that tuning in onand
watching him and living with him his suspicions !Mills invest-
igations was complicating your looking on your own-
#01: Right. Yeah, you can't do 'em both at the same time. Because
if you have- if, I got the feeling like I really had really
s(31Atuned in to and I was gettin' all his suppositions and
his concerns ano nis suspicions and whatever evidenciary things
that are that he looks for. 1 was getting all of that. At
the same time I was directing myself to look elsewhere and
everything and..
#66: Do you have any other comments?
#01: No.
#66: Okay, fine.
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TAB
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Nea."3
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Tao'
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p.
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SG1A
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,
TAB
I
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TARGET CUING INFORMATION
REMOTE VIEWING (RV) SESSION DCC-34
1. (S/NOFORN) Information provided the remote viewer prior to the session
is documented as a pre-session briefing and is included in the transcript.
Attached is a copy of the photograph shown to the remote viewer on which he
indicated after the session areas of interest perceived by him.
SG1A
2. (S/NOFORN) During the session the viewer was asked to focus on at
the target building and scan the target for/with
SG1A
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SG1A
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