INSCOM GRILL FLAME PROGRAM SESSION REPORT

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000601010001-4
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 25
• Document Creation Date: November 4, 2016
• Document Release Date: May 8, 2000
• Sequence Number: 1
• Content Type: REPORT

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INSCOM
GRILL FLAME
PRCIGRAM
CLASSIFIED aY: MSG, DAh1I-ISH
fJ51630Z JUL78
REVIEW ONs ~~~,~~, Ica-c,?~
F.~ ,.
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y., ~~
SUMMARY ANALYSIS
REMOTE VIEWING SESSION 878
1. (S/NOFORN) This report documents a re-mote 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 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 remote viewer's
impressions during the remote viewing session. At TAB A are
drawings sand narrative by the remote viewer. At TAB B is target
cuing information provided the remote viewer. (See also Session
869, previous session on 8122.)
5. (S/NOFORN) Following the session the viewer was shown the
photograph at TAB C. He stated that there were several (perhaps
4) of these type boxes in each of the crates he perceived.
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REMOTE VIEWING SESSION 878
#66: This will be a remote viewing session for 1400
hours, 23 March 1982.
Following is a presession briefing to the remote
viewer.
At this time I show you a photograph of a underground
structure which you previously described in a session
in a picture which you previously have seen in feedback
to that session. For .today's session we wish you
to return to that area which you have previously
located during the time period 3-8 September 1981.
During your last session you described some boxes
or crates bound with metal. straps containing round
or cylindrical objects. Do you recall. that session?
#Ol: Uh-huh (affirmative)
#66: We wish you to describe those boxes to us again and
prepare yourself to answer further questions concerning
those boxes.
#01: Okay.
#66: Do you have any questions before we start this
session?
#O1: No.
#66: All right. Fine. Prepare yourself then for today's
session.
#66: Focus now, focus your attention solely and completely
on_the area in the photog aph I have shown you.
Move now through space time to the period 3-8
September 1981 at the location in the photograph I
have shown you. Focus now and describe your perceptions
to me.
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#O1: Back, back in the bunk.er....stack of boxes, square
forms white with..sort of get plastic..cans, cardboard
cans..diagonal stripes..stripes.
#66: Stop. Hold your attention on the boxes now as I move
you through the next couple of days, and describe to
me when I should stop. 3 September 1981...4 September
19 81 .. -_ ~ _t ~m b.. .
#Ol: Stap.
#66: Describe.
#66:
#O1.
#66:
#01:
#66:
Describe.
Unloaded, carried aut and loaded into a...kind of
a..t~r-aTrt'" or ~._- i e.. ooks like a jeepeep:'. ...
~h~.c~.
Personnel.
s nn-ot there..
Say again.
... _ ~...
All foreign.... rmans
~~a
Position and number the individuals so I may refer
to them.
#O1: First person is..by rear, second third are loading
the truck (mumble) to back ..it's opened
#66: Okay. Look in the cab.
#O1: It's the person that walked by the back is the
driver...wait a min __et thus might be
overlay. I get s ~n ____ e ca ._, too..
#66: Describe.
#O1: Caucasian, and black hair, dark.
#66: Sex.
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#O1:
#66: Focus on the boxes. Tell me when you're ready.
#O1: (Mumble)
#66: Orient boxes only. Attention, orient boxes only.
Close your eyes, close your eyes, relax, orient
boxes only. Move throu h time. focus on boxes
~
oca ion o ox s.:
describe present
Open your eyes an escri-e.
~_
#O1: Just saw arrien~?~..it's down an the group ...
white stone wa '' s.
#66: Take a general gestalt look at the quantity.
Describe.
#O1: Four, part of a fifth box...it`s one third of the
fifth box is missing.
#66: Stop. Continue to describe the area in which the
boxes are presently 23 March. 1982 located.
Just a minute.
I will wait.
#66:
#O1:
B u i l d i n g i s ,~`.,.., s a_ o_u_~ I d o n' t s e e
any land, no s.. asement area, see gray stone..
gray stane.....next to large- building is red brick
From 100 feet looking down...
Double Y. Pattern double Y road. It`s a Y at each
end......a river. This is quiet area, old, old, light
industry, but old...appears, I don`t know within
:; L~ke....20s, 30s, 1930s....
d of military compoun~~ See trucks.
#66: Describe raw data giving impression of military
compound.
#O1: Just saw a square of land, much wider many
vehicles camouflaged...people dark green uniforms...
busy activity...Get feeling this city is like a
governmental seat...place of government...
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#66: Okay. Rest now and don't describe. Deal with the
target without reporting. Deal: with the target and
I'll have questions in a moment. Relax now and deal
with the target.
#66: Okay. Now, it's important that you be able to
orient the boxes in an area. Describe that area.
Describe the area around in proportion..stepping out
and out,. and out, and out. Begin now.
#O1: I got wall of a basement, white wall. Get a lot of
s ,stored, .Basement's under a - _
other thin~
t
-r~~i th al;~~ c,R r~e~*i"I e -roof , very hea -T~r
__
_
.
~--,
like 6x6s. ~ '~
#66:
#Ol:
Describe exterior.
Gray stone...st~_:e:~_c:perhaps 1950, 1955, somewhere
like that...flush with sidewalk ...no grass...
#66: To the left and right...
#O1: Driveway left, wa1.1 seven feet, stoned, white..
red brick buildings large...glass like factory
corner of Y street, right. T i ~ i?t-'-s_ over a-;r~lver.
#66: Directly...across, face away from the building with
the boxes.
#01: ...street, walkway..row wall, metal. rail, drop...
same kind of drop.
#66: Beyond.
#Ol: More roofs...it's like the side of a hill......
drop two more houses.
#66:
Okay. Stand on top of the rail...face the building
with the boxes...describe.
#01:
Two
roof
flat
gray
alcove windows in the attic...upside down V..
f1at..towards me...dark wood frames...windows...
roof, porch, square entry...three steps...ta11,
stucco.
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#66: Describe the surface directly in front of yau,
5 feet away.
#O1: Pavement...almost...cobblestone...
#66: Describe traffic.
#O1: None. Uery quiet street.
#66: Looking to the left and to the right, is there
parking?
#O1: Yes. My side,
#66: The direction of traffic that is parked.
#O1: On my heft to right.
#66:
are buildings marked
in this
area of the world?
tuber '"``'~o~t~tails white, white an blue
ar ___ u_e, _i e navy ue.... ac ground
~s Tike footballs.
#66:
Where is the marking2
#O1: Base of front door.
PAUSE
Some are rectangle.
And the one on the building. of interest?
_or~~. e~t9fit (71~) T_-hree dig~ts_ 719`.,
Describe the. time of day which you are perceiving.
Early, late afternoons, sun dawn- _ thzn_-_reddish
color...apparently there is - -- ~om~w ~
to my rear right.
#66: Describe raw data giving impression.
#O1: Noise, traffic....sense it`s higher than I am, as
well.
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#66: All right. Now, in this .neighborhood/
' community/town there is a characteristic identifiable
land mark structure or terrain feature that the
people in that area always know and understand, and
if you saw. it on a postcard, you`d say, ah, that's
and this place..... .ask yourself for a picture of
this identifiable characteristic and describe this
identifiable characteristic to me.
#O1: Large...just a minute...get like very large grouping
of steps and stone, massive pillars...looks like
French foreign theme ar~h_ tie ~t~,~ery -high, bolted
doors...s i a o~~a spa a u> >n .. ar'~~men~ ..
It's dir across from a park w~ very w~ e gravel
walk........... It`s a wide expanse of w... courtyard
or open pavement to the -right. `-s-~`~_ ~o~hfic
ape c~iurc~ twin spires'}..not la , u very e 7ca-
parlimentary type c~QV-ernmental type buildin~q;......
F
#66: Okay. F_ra_m this prominent godmental parlimentary
buj,],~..ing two r bu i tg with the baxes, vector Gy
.azimuth and istance.
#Ol: Okay. Just a minute. ............ ...East, south-
' east, -=_ e~cc~ e'e .....seven and a half,
_ e yrs.
#66: Now, go to the building with the boxes. Tell me
when you're ready,
#O1: Okay.
#66: Stand on top of the building with the boxes.
#O1: Okay.
#66: Now, be careful to listen to my voice and staying
where you are. Be .careful to listen to my voice and
staying where you are. Remember back in time to
3 September 1981. Now, move back through time in
space to the original location of the boxes 3 September
198T. fNove now back. to the bunker -and describe when
you`re ready.
#O1: 'kay.
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!d o
Y
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#66: Now, vector. ~r_om the bunker, from the original
location, vector to t i'Fe`~rew present locat_.on,
Vector from `unker to the ew - oca ion azimuth.
and distance.
#01: North, northeast,
j~ sen`~ ere' s
closer to the north
to the north....160
W.........
_
egrees..F.yes, very close
#66: All right. Now, you are free, free to examine and
explore this problem on your own...free to move
through time, through space, with the ultimate
answer as required.. Do this now.and report.
#O1: See...getting this impression of a lot of money
like treasury...main place of money,,.like govern-
ment finance.. ___ _, ~~~
c~u_nctian wyith the
p '~ t,~ru f~. - very strong money
' ~~~~ _-; control and manipulation of
money... _ _-- money r~anipulat~ion and contro
#66: Okay.- Fell free nww too beyond the perceptions
#01: S~~-~~.-~,~............can't tell if this stuff's all
See a concept of ...some kind
#66: Describe raw data which gives impression.
w~'bria_ht white flashes.._
#.01: Impression of darkness,a
outlining the airbase... on o~- p~...almost
like a strobe affect. A lot of noise.
#66: Time window examined.
#O1: I don't know...future.
#66: Calibrate.
#Ol: Soon...weeks. Not longer than three weeks, four
weeks. "`~-
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#66: Break it out.
#Ol: I`m trying to-`side military or civilian aircraft.
I can't, Target's machines not people. Some kind
of machine.
#66: Describe raw impression lead (mumble).
#Ol: Just a difference of apparatus to the human.
#66: Check time calibration from present time.
#01: Close to 1 Mays 4 May. I-don't know. I`m losing
it.
#66: Vector. Future scene to..
#O1: Somewhere south. I'm not getting much.
#66: I understand.
#Ol: Somewhere south of current location.
.--
#66: Alb right. That`s fine. Take a moment to review
your imagery from the initial 5 September movement
of the boxes to_the location presently...review in
your mind your vectors from the state building to
the present location of the boxes...the vector from
the past location of boxes to the present location
of boxes, and the vector from present location to
future perceived. Review this imagery and prepare
to draw the perceptions you've had.
(SEE TAB A FOR DRAWING NARRATIVE)
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TAB
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REMOTE. VIEWING SESSION 878
(DRAWING. NARRATIVE)
#Ol: Okay. Page l is drawing of the actual target,
house, in which these devices that were crated
and everything are stored in the basement.
On the picture..... I have drawn a raised highway
from which I was getting a feeling like it curbed
around behind me and was up in the air. So, I`m
calling it a raised highway. I don`t know what it
was, but a lot of traffic noises. The double Y
street which runs in front of the house, I marked
in the warehouses, I've marked in what I call a low
area, which is directly across the street and down
a little .hill or incline. Then the house, of course,
with a wall and driveway .........................
and the two warehouses. And, the bridge, and. the
river, and the T intersection was stonewall on a
hill. That's the target house. I drew in a north
arrow, but I'm not exactly sure about this. So,
I`ll put a question mark next to it.
Page 2 is like- the front picture of the house, and
I get an impress%on like it`s two-stories with a
full attic with alcove type windows .set out from
the roof. The roof %s that real heavy red the .
Has a pretty good slant to it, so, they probably
get a lot of snow in this area. Three windows on
the second floor. Two windows on the ground floor.
There's like a box-like structure set out in front
-that I call an entry way from which there is a door
and set of three steps. Come right .out an the side-
walk. The door number which I drew an arrow to is
like a football design. It's dark blue with two
rivets holding it to the door, screws, and number
7,~8 in white letters in the center, And, there's
the wall on the left rind the driveway . The building
farther to the left is the warehouse, which. I didn't
draw in the windows. But, it's almost all glass
windows and red brick. It's a lot of glass to it.
You know...Like some kind of light industry type
building.
Page 3 is the most notable item in the city in which
the house is located which I perceive to be a combi-
nation of treasury and government seat,_parlimente~ry
type building. It's very massive with vertical
windows all up and down. Two floors and a very huge
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#O1: portico type entrance with large support pillars,
and these massive stone steps- coming down to like
a curve, driveway or street in the front,..Ta the
right is a large paved area or cemented in area,
With in the background a moderately sized Gothic
thur:ch that's very delicately detailed. and has
the big main chars. Everything is gray and white.
The important thing is that I get a feeling of
actual. storage of money, and something parlimentary
about this.
Page 4 then is a roughly to scale description of
layouts. A is this governmental building I just
described. B is the present location of the target
house which is about 100 to l10 degrees seven kilometers
away from A. C is the actual location where the
devices or whatever they are were ripped off from
the bunker, That's about 160 kilometers south or
the governmental house is $ to 10 degrees azimuth from
the place where the stuff was stolen.. D is the
outline of the small city which overlaps E which
is the outline of a very large city, This whole thing
might be 180 degrees out.. So, you might have to flip
this upside down to look at it properly.
Page 5 is an outline ...the general outline of the
country...and where e~-e_i~?_e__A the bun_(cer,~~he__~'
"- ~ C.. _the_ _tar,get h se, an the anger .city to all
A n d, a s i d.e f r o m t a t I`_ d o-fie t o ,~q._ __
- ~Uff that waSrp -~'_ P
ea le that sto e it did so under ~t~s_ar
s 1 e -same o er organization of eo le hir~hem
o go o d"?~-thTS stu o an en e _ver _ _o_r
~'"'S'~"t-~_. - A n~d~Fi a s w a t t hey d i d, a n d~n o w t h' s
stu 1~? i s b e i n s -ore....- a,~ - __~~~ o r ~t.h~4~>-~rl~a
or may n`o~ ave paid the fee to use__i,t_. I guess -
t h-~t ' s i t
#66: Okay. Near the end of the session you commented on
seeing something that you thinght might be an air base
and you perceived this to be something in the future.
Can you tell me a little bit more about that?
_.
# O l : _O k a v _ _ ~-r~ ~- - - - - _ _- -- -
~l~he ~~lm~i< like a_strabe affett~
c e
s_cenes_'and time in sugace. I fee_1 .,lui.ke_ iii_.~
`~aT t~iing of a-future plan, and I `m not sure
t is the actual location or thTSV;
_~_p an or L __ m perceiving photographs on awall...'
z~~--i.~. being used for targetinc~in t_he future. planned.
...or conceiving the future pTan..~,,,,,,,,,,,,,,,,,,,,,,
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#O1: I don't know how to explain that. It's as if
what I'm seeing is what they t-4-_ and not
so much what the actual future ~s.--
#66: And, when asked to locate yourself in time, what
perceptions did you have?
#Ol: I had a perception of_like betwee
relationship to_whatever plan or, or sign~~ican~
occurrence or e-vent in conjunction with these
devices that's going to happen. That's the impression
I got.
#66: And, what can you tell me about where this event will
occur?
#O1:
I g e t very h e ~~~ a'F"~~
Just
to a book from many many years ago that I saw.
and space in time, and the message relates direct
nd ..............I have an impression, perception
:I keep getting this message in conjunction.......
with these strobe like affects on these fixed scenes
fixed..pictu_res in time and space of
this insane feeling, and then I'm getti_ng_these,
of insane p~-o._ple:, and I keep ge`bting
ss~on o~a~ ac ace a was portrayed in
the book and it's actually a book that gives examples
of art work done by insane people. I don't know how
that relates. I get a very artistic feeling.....had
~1'~R?a"'~'~
nw~s, and things like'
ice-back and white photos. As far as
the actual location of the event I say it's
~_~--_~4-UStr~ I don`t get a very cle
or south but I did get an
impression that it's r~>r~t-ively cTose_"~o where the
stuff is now stored.
#66: And for purposes of t___own an lysis, you further
define the term- ~ ose. Is it less
than 1000 miles
#O1: I would-.say somewhere in the city. I wouldn't
venture out of the city limits. I would say it's
within the-city limits. At least that area of the
city. Not greater tha _ - - Bear in mind that
in my display here is c-ose 'o ~e proportion as~.I
can get it of the location. of the city versus.........
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where. the stuff was ripped off and everything.
If that proves to be 180 degrees out of phase then
what we're talking is north, not greater than l0
m i l e s . "'~" "~""`
#66: Do you have anything else to add concerning. your
perceptions today or how you feel about......
#O1: Yeah. I have a perception that_...which I should
clarify, I guess, that these devices are sort of
custom packed. Like they've been put into other
wooden boxes as either semi-disguise mode of
transportation or ease of movement or shipment or
something. They`ve .been consolidated into these
5 2 boxes or 4 z boxes...part of a fifth bax......
I have another imp ess_Qn.of what the devices are.
I keep, getting a ~ pe impression 'cause
I keep seeing purp e (mumble) stripe of some kind.
#66: That means something to you?
#O1: No. But, for some reason I connect that to thermite.
That's all I gat.
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 ~1~.6
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~~a} ~ +a11EklI~~,
~78'"~
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~~
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~ ~~~ 8~~6
f
~ ~~.~~ ~.tti
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P
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4
TAB
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 SG1A
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TAB
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 SG1A
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