orfinrT Approved For Release 200(Pi,.~biW~bli-RDP96-00788ROO0900220001-9 ORCON/NOFORN INSCOM GRILL FLAME PROJECT SESSION REPORT CLASSIFIED BY: Director, DIA REVIEW ON: 30 Jun 99 EXTENDED BY: Director, DIA REASON: 2-301-C (3) (6) GRILL FLAME or f, .- r'T Approved For Release 200L)i- JUDI IL;IA-RDP96-00788ROO0900220001-9 VNIMP Cri3n. . Approved For Release 20004W;Fttj4-RDP96-00788ROO0900220001-9 SUMMARY ANALYSIS REMOTE VIEWING (RV) SESSION LXVI 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 had some correlation to the target. The viewer was so relaxed during this session that the interviewer was convinced that the viewer had fallen asleep. This was not the case, however, and the viewer started describing his impressions after being into the session for ten minutes. The viewer stated that he was confident about this session and was satisfied with the post-session target inspection. 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. orinnrir Approved For Release 200UTqn,~-.,v3WIRDP96-00788ROO0900220001-9 prionr, Approved For Release 2006tt-0,11A li-mDP96-00788ROO0900220001-9 TRANSCRIPT REMOTE VIEWING (RV) SESSION LXVI #11: This will be a remote viewing session. (Edited for security.) PAUSE #11: It is now ten o'clock. #28 is at the target area. Join #28 at the target area and tell me what you see. PAUSE +03 #11: (1 think the subject is sound asleep!) PAUSE +05 #11: (No response yet.) PAUSE +10 #11: (Still no response.) PAUSE #11: Find #28 and tell me what you see. PAUSE +11 #10.5: Outside. Outside. PAUSE Light. Curve. PAUSE Green inside. PAUSE (Not audible) . PAUSE Approved For Release 2000/08/UL&Alk[JP96-00788ROO0900220001-9 CCgn~'T Approved For Release 2000/05"wlwlPP96-00788ROO0900220001-9 #11: Find #28. Tell me what #28 is doing. PAUSE #10.5: (Not audible) PAUSE #11: Place yourself thwere #28 is and look straight ahead. Tell me what he sees. #10.5: (Not audible) PAUSE (Not audible) white. PAUSE (Not audible) PAUSE #11: Go back to where #28 is located. Look to your left and tell me what you see. PAUSE +15 #10.5: Green hill goes up (not audible). PAUSE #11: At #28's location, look to your right and tell me what you see. PAUSE +18 #10.5: Dark. . dark. . white. . flat. PAUSE (Next five phrases - NOT AUDIBLE) #10.5: Cool front, Cool, Dark. Front. Clean. (Not audible). PAUSE #11: Okay, #28 . . . #10.5: (Not audible). PAUSE 2PronrT Approved For Release 2000/08/07 : L,--,-IL.~f-~4-W-FU788ROO0900220001-9 Approved For Release 200 or_ all M DP96-00788ROO0900220001-9 #11: #28 is probably leaving the area by now. But we can stay at the target and look around and tell me what you see at the target area. PAUSE The beacon has found the target and directed us to it. Now we can stay. PAUSE Do you have a feeling of other people or activity at this target? #10.5: Um hm. (Not audible) PAUSE #11: Are you still at the target? #10.5: Um. hm. PAUSE (Next four phrases - NOT AUDIBLE). PAUSE #11: Would you like to draw some of your images? PAUSE #11: I'm sorry. #10.5: Okay. Thanks. #11: Would you like a little bit more light. #10.5: Ah. No. This is fine. (Not audible). PAUSE #10.5: Two was a . . . One was just that shape. That was right after you kicked me off. #11; Okay. #10.5: And then Two, #11, was I'll say it was a I don't know about this. I don;t know about that yet. I can't. . . #11: What you. . If you felt something and weren't 3 e Approved For Release 2000/08/0?0& WIN& t6-00788ROO0900220001-9 v r cirwa- Approved For Release 2000iu;6 ll"ViVUL-IRDP96-00788ROO0900220001-9 sure about whether it was there or not, what I do is normally draw a dotted line to indicate that I felt that it may have continued on. #10.5: Yeah. I don't know. I don;t know if it was a circle or what but it was this curve thing. #11: Okay. PAUSE #10.5: It seems like this white curve thing, with a white edge around it, is ground level. White edge there. Ground level throughout, green. And inside was . . PAUSE And the third one, you asked me what was ahead. What was in front. Oh, this is dark. And the third one, and you asked me what was ahead. #11: (Not audible) dark. #10.5: Yeah. Just darkened up. PAUSE I got the feeling of pull. PAUSE When I was close to PAUSE I said it was a building or something. A tall thing with the magical overhang again. #11: Ha ha ha. It could very well be an overhang. #10.5: 1 don't know. PAUSE And a curb like that. And you asked me what was on the left. What I had on the left was like a little hill. Not that steep. Okay, this is grass at the top. with a building in the background. PAUSE 70808ROO0900220001-9 Approved For Release 2000/08/07 : C -T Approved For Release 200C:Jftr~onra P7DP96-00788ROO0900220001-9 UE-111MY" #10.5: Ah. . I want to say that there is something up here. Somewhere between the top of the hill and this building in the background. or rails. Something in there. #11: Um hm. #10.5: okay. PAUSE You asked me what was on the right. The right was dark in the foreground. . the edge of the dark and like grassy, flat. And then somewhere in the background it drops off. Down the side of the hill. Flat. Open. I'll just say grass is there. And then I just curves away. PAUSE And then. . . its not a high hill. A slight hill. And then it continues on in the distance. If I was to put it all together, it would look like this. Something like this anyway. How do you draw a hill? PAUSE I don't (not audible). PAUSE These are like contour (not audible). PAUSE Somewhere up here it was (not audible) Then it comes two because I started middle. Somewhere down here is the This from left to right. Somewhere is this curve thing which is Number is Number 4. less. in the curve thing. down here 2. This #11: You might even want to put an "V approximately where you felt you were standing at the time. #10.5: Well. Okay, well then let me start here. Two would be here. And then for Four I was like right down here. And Four. Five I was here in what would be the foreground on the other side of this - dark foreground. 5 2CCAL Approved For Release 2000/08/ MIWA96-00788RO00900220001-9 Q r,T Approved For Release 2000/up-~64t$l%qB-I