CIA-RDP96-00788R000800440001-6

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Approved For Release 2000/08/07 : CIA-RDP96-00788R000800440001-6
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ORCON/NOFORN
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GRILL FLAME
PROJECT
SESSION REPORT
Copy 2of2
CLASSIFIED BY: DIRECTOR, DIA
DECLASSIFY ON:
EXTENDED BY: DIRECTOR, DIA
REASON: 2-301 C (3) (6)
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L
GRILL FLAME
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SJAN
80
SUMMARY ANALYSIS
REMOTE VIEWING ( RV) SESSION
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1.
(S)
This report documents a Remote Viewing (RV) session
conducted in compliance with a request from SOD, J3, OJJCS,
Pentagon, Washington, D.C. The purpose of the session was
to provide information relevant to the hostage situation in
the U. S. Embassy compound in Teheran, Iran.
2.
(S) 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) The protocol used for this session is detailed in the
document, Grill Flame Protocol, AMSAA Applied Remote Viewing
Protocol (S), undated.
4.
(S) 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 cueing information provided the
remote viewer.
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TRANSCRIPT
REMOTE VIEWING (RV) SESSION CC52
#66
This will be a remote viewing session (edited
for security).
PAUSE
For the past few minutes now you have been
studying a photograph of Malcolm Kalp. Move your
awareness now, and join Malcolm. Relax and
concentrate your attention. Focus on Malcolm.
Find Malcolm and describe his location to me.
PAUSE
I have .. uh .. this feeling I'm floating .. face up
under .. uh a rather big ceiling (phonetic) like
it's a .. like it's a trap that I'm caught under.
PAUSE
I got the feeling that .. uh. . like .. uh. . furniture
on the side of the room makes it a separate area.
Uh .. feel .. uh .. there's some sofas or something ...
a little sitting area. There's something large
behind the sofa. Have .. uh. . feeling this is side
of a larger open room (mumbling) glass .. glass and
and .. uh .. along the front. Feeling of . . uh. . many
much. . uh. . hustle and bustle.
#66
Tell me the impression that gives you that feeling.
+
Have .. uh .. many .. uh. . feeling of many people standing
around in near the doors .. uh. . in this open floor
area ..... 20 or so people standing around and this
PAUSE
I think I have my man. He is. . uh. . sitting a funny
place in this open room. He's sitting in the. . uh ..
one of the sofas off on the side and his back is to
the group of people and. . uh. . I saw him. . uh. . first
looking over the back of the sofa at the people and
he's in slightly L shaped sofa looking over the back
of the L in this little group on the side of sofas.
#66
Who are these other people?
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#10.5
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#10.5
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#10.5
I had .. uh .. a visiting feeling. People being alloved
in with cameras and being watched by a larger group
of people bringing something or doing something.
I first had a big feeling of a shoulder carried
camera somewhere in this crowd. When I was looking
at it from afar ....
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PAUSE
#66
Are there other hostages besides Malcolm in this
area?
PAUSE
+13
#10.5
I .. uh .. think that there are here.
I see them ..
other people .. uh .. one at least ... I think is a woman
. . uh. . man, woman, man ... I don't know about the last.
My first impression was man, woman, man, woman sitting
across a small isle from him to his right front.
All with their backs against the wall on a longer
sofa as though they were waiting to be seen, or
waiting to be looked at. Uh ..
#66
Do you feel these are hostages?
#10.5
Yeah. I do. Uh .. have a feeling of lighter clothing
and lighterness around them than the others.
They're always darker.
+15
#66
All right. Work more on the room. Tell me more about
the room.
#10.5
The room is. . uh. . a familiar place again. It has. . uh ..
I think it's a lobby. A central place. It seems
larger with an outside door. There is something in
the center of the room. I had a. . over my right
shoulder looking at the front I had a fleeting. . uh ..
I was looking at the crowd I had a fleeting shot
as though out of the corner of my eye were several
people sitting at long table observing the crowd at
the door and that their backs were to some .. a big
solid structure in the middle of the floor.
Such as
a booth, and I think that is what I was looking
at which is to Malcolm's left. In the far .... I'm
having a feeling of .. uh .. on the far side on the
back ... away from the crowd ... it seems to be opener
and lighter as though there are windows on that
side as well ... I had this feeling that back there is
bare tiles like floor ... like a ballroom floor almost
back there. No rug or any ... I feel that I'm on rug
carpeting on the floor where I am.
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#66
Move outside now with the crowd and tell me about
the area where they are.
PAUSE
#10.5
They are inside. A group of people .. uh .. they are
inside is what I mean.
:
#66
Ok. The doors that you mentioned ...
#10.5
They were coming in like .. now I want to say moved to
my side of the room and are looking at these few
people who are there. They are looking at them
and they have. . I want to say they. . uh. . most people
are standing around is exports (phonetic) but I
have the feeling of several people taking their
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pictures with this big thing, maybe, but they move
from the door to them.
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#66
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Focus your attention on the door where they came
from. Move through that door now and describe it to
me.
PAUSE
#10.5
I'll. . uh. . I'll go with the flow here. Getting some
loose feelings.
#66
Very good.
#10.5
I'm. . uh .. get a feeling of a .. uh. . slight porch ...
white ... step down .. (mumbling). I'll open the door ..
feeling of (mumbling) on either side are some sort of
.. uh .. not woods .. grass, trees, manicured .. uh .. on
either side of this. . and. . uh .. this (mumbling). The
side rails on this porch are more ornamental than
functional. They. . uh. . go on get out of here ... they
are .. uh .. a flat top stone slabs that are merely on
the top .. top deck .. appears to be only. 18 inches and
they appear to step down one time with the staircase.
I'll go out and I'll look back at the front.
+25
I'm starting to fade. I'm getting. . uh .. a couple of
. . looks like columns.
The building is darker
stone as the front of it is quite contrast to the
(building. Uh. . uh. . Jesus. I hope that son-of-a-bitch
gets paid 20 bucks for that.
#66
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Ok. Let's break off here and do some drawings.
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#10.5
All right. I guess we can tape over the dull roar of
the snow equipment. It's a conspiracy ... that's what
it is.
Ok. Where did I start. Started with the feeling
of floating ... not on that low ceiling but floating
near this rather large ceiling. I couldn't ... ok ..
what I ended up with ... it was familiar ... it was familiar.
Just as soon as I. . familiar, but rearranged, from
what I remember. There were differences from what I
remember .
Uh.
#66
#10.5
Can I ask you about this familiarity now?
Yeah.
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#66
Familiar to when?
Do you remember?
#10.5
No.
I don't remember which one it was.
Familiar
to one of the first sessions but not very
. .
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well early on ..... three weeks ago, four weeks ago,
maybe. When we first started to work we ended up
with alot of. . doing alot of ... God, I don't know.
We worked so many buildings at the beginning. Just
. . you know .... ok .... what's around the next corner
type stuff ... but I had this feeling .....
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#66
Actually, you are saying you feel like you've been
at this particular place before.
#10.5
Yeah.
I feel like I have. The layout was similar to
something I felt before. That I'd seen before.
Let me try this on for size here.
That's ... feeling
of a couple. . uh .. sucker is still going at it. Isn't
he?
#66
Is that dark enough to zerox?
#10.5
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Yeah. Well, I'll go over it once I get it fleshed
out here. Anyway, here in the foreground was the
back of another sofa, or something. GOD! They're
all out there. He must have gotten his buddies over.
Jesus ..... all right. I had the feeling of a nest
... nesting of some sofas. This is the thing that was
different from the familiarity, ok. Here are some
sofas.
This one is like L shaped or it's two Ls or
something like that is what I mean. Here, behind
it is some big thing.
Like that. See, walk between
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... I drew it .... it's some big thing. I don't even
know what it is.
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#66
That's what you called "like a booth."
#10.5
Yeah. Well, later I said I se ... was feeling
this booth. But, right, right .... what I think
I was doing, you see, I was standing .... I was like
floating in the foreground of one and I sort of
like panned around. And, as I was panning around
things were taking different ... you know ... getting
... I was looking at each individual piece.
The first feeling I had was this and that my guy
was here ... right ... and was turned around looking
back over his shoulder.
You know. Looking back
this way over his shoulder. You see what I mean.
Like leaning back over like that with his arm
in the back of the sofa and looking over his arm
into the ..... it passed me .... like he was looking
at me but through me. Right.
I had the feeling
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that this was like a carpet line here. Had the
feeling the hallway. . . . I had fleeting shots of.
ok ..... let me just go on ..... and .... this thing
disappeared ..... it doesn't disappear so much as there's
some funny little hall down there again, ok. How
do I want to do this?
Something makes a little hall
on the side of this room, which is really in the
background there ... and I can't figure the dam thing
out. It looks as though ... that looks weird ... looks
as though there's a partition or something on the
right side of this room that comes down here, ok.
Let me police this thing up a little bit. Give it
a little bit (mumbling). Ok. That's the perspective
there ..... that's a perspective there ... ever so slight.
This goes back here.
There's some kind of a little
hallway going back down there.
Something divides this.
I've draw a partition but there is something there.
There's a way out that is not usually the way out, ok.
Here are windows. This is .... this is farther away,
now.
This is yards away, ok. Windows in the back
... and this is bare, big, bare floor off .... ok ....
but here in the foreground is carpeted floor.
It's
like a ballroom floor. Windows, ok. This thing goes
back in some kind of a. . uh .... you can just barely see
it .... some kind of a hallway or passageway is back
there.
I'll draw that in dark, ok. This whole thing
is some sort of a. . uh. . a hallway ... parti .... I'll call
it a partitioned hallway.
Maybe that's some. ...
something like that.
You know.
It's not a real
hallway, but it looks like a hallway and it really is
a hallway, but it's not solid concrete walls. Rather
it's something that looks like it .. a different
passageway, but, it's really part of the .. the overall
thing ... and this is like an exit or something. There's
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a hallway there, ok. Like that. OK. Then I had
the feeling of ... also I'll throw him into this
picture as well ... is that sitting here on this sofa
... my first impression was man, woman, man, woman ..
I didn't get any descriptive type stuff. No sooner did
I start getting a good general feel for the place then
all hell broke loose up here. But, (mumbling) don't
draw lines (mumbling) draw somebody on top of 'em.
Ok. Guy sitting there ... had the feeling of long, dark
hair on the first wo ..... on the first woman wearing
a skirt .... and a man.
#66
That noise outside has stopped.
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#10.5
Yeah. It would. Wouldn't it? Couldn't have waited
25 minutes. And, then I wanted to put another woman
in there somewhere.
I wanted to say man, woman, man,
woman.
It's the first time I've ever seen a woman.
You know. In the work.
So. . uh. . anyway . . that's. .. I'm
not going to draw the last one in because I'm not sure
of that. But, I'll put it in but I'm not going to
bother sketching it. This would be our guy here. He
was the guy I first saw.
Kalp is there. Like I said
he's looking back over his shoulder this way. Back
into the foreground.
Uh ... all right ... somewhere along
here is a ceiling line. There. That adds that up.
Ok. And .. uh .. as soon as the place began to look
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familiar to me then I sort of expected to see a balcony!
up here ... and I saw one. Some sort of a balcony.
#66
Ok. On exposed second level.
#10.5
On exposed second level that .. uh .. all I saw of it ..
the only feeling I had of it was ... let me erase that ..
somewhere else ... this comes out here .. ok .. that was
the flavor I got.
Something protruding off of that.
You know. Something protruding off the roof and that
is just .. you know .. once I got out here ... partitioned
hallway ... is what I want (mumbling) ... . this is ....
All right. Now two. Two, I'm going to swing around
and look up the front. Two. On my lower right I had
this fleeting image of some sort of a desk thing here.
How am I going to draw this? Ok. Just the general ...
right out of the perferal (phonetic) vision type of a
feeling .... there were a couple of people sitting here
at this desk. All right. That's cool. I'm not going
to worry about that. Now, across the hall ... (mumbling)
and then front on is. .. I've got to draw it at an angle
(mumbling) ..... sorry number 99 ..... here. There. That's
more like it.
That's the line I want to do.
Here's
the wall.
That looks at that. All right. What else
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ILT
did I get here without embelishing anything herc.
There is something here in this corner. There is
something in that corner. Behind it is windows.
All right. Got like a double door set up here.
Got windows here. There.
That's the idea I'm trying
+
to get across.
Now the foreground of two matches
opposite the foreground of one. So if you put them
together like that, the rooms composite. Although
it's a little bit more distorted. Ok. Had the
feeling of double door .. uh ... glass, big glass windows
on either side and glass doors as well. I don't
thing that protrusion thing there is funny. I had
the feeling of .... when I was going outside I had the
feeling of a double like .... I had to go through two
sets of doors. Like I almost thought it was revolving
doors. You know how revolving doors ... like in a big
place and you walk around and you come out ... it's
thick ... it's a thick doorway. It's not just opening
a door and you're across the portal. It's like you
have two .. two .. it's like a 5 foot portal. You have
to go through this little booth, and out, ok. . uh ..
(sigh) .. I'll say that, but I don't know how to write it.
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#66
#10.5
Ok. Before you go on give me a couple of arrows.
Large globe shape in the front left corner.
There
are two people sitting behind desk ... ish ... deskish type
thing in the right foreground. Which I think the back
of this desk is on .. on the front face of this square
thing on the left in sketch number one. But, I'm
not sure because I'm not very sure where within a
20 foot radious where I was when I was getting all this.
It could be a totally separate ... two separate things.
I had the feeling that there were large number of
people ... that there was hustle and bustle in the outer
area here ... like out by the door ... and there were
large number of people .. uh .. like standing around,
walking back and forth and .. uh .. a group here and a
group here ...... huh.
#66
Basically, who were these people? Or, who ... what
feeling did you get about these people?
#10.5
I had the feeling that they were ..... well, here's
the thing. Now, the people at the table ... I had
feeling were like guards .... you know .... the bad guys.
The number ... the majority of the people mulling
around in this lobby or standing around this door
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I thought were bad guys. But, I had the feeling that
they were waiting on and, in fact, that these people
did come in with cameras, of some kind, that weren't!
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necessarily bad guys .. you know .. they were like
other guys .. that they were .. and these guys had
all been assembled there in order to escort them
They were going to come in. They were going to
take some pictures of the prisoners that were
sitting back here. You know. Here in the back
part of the room, and I had this ...
When I first
started I had this very distinct, believe it or
not, I know it's an old style, but I had this
very distinct feeling of something shaped like this.
Like one of the old fashioned news real movie
cameras, almost, on some guy ...
#66
Where you can see the two film cans?
.
#10.5
Yeah. Like the two film. The two black film cans.
And, this thing being carried in through the door.
Not a huge thing. But, just something on some guy's
shoulder coming in through the door. Ok.
I'll
draw him there.
#66
Label that ....... that you've drawn up there so it
doesn't look like it's a gadget on the wall.
#10.5
Oh, yeah. Ok. Coming in on some guy's shoulder.
Coming ... they're coming in and there are two,
three people coming in and more people than I've
drawn here standing around. I wanted to say like
20 people coming in here out here in the front of
the building and them milling back in, ok. Like
I was trying to say, you know, people coming in.
You can see them in the back.
#66
You can see them outside the doors?
#10.5
No. Just sort of like coming ... like a group
arriving. Not a big crowd outside. Like they
had come walking in. A group of 15-20. Then,
they had to go through the door two or three at a
time, and they trickled through the door and built up
in front of the door and then ... slurp ...
#66
Ok. It seems as though during the session you were
getting some sort of real time action at times the
people would move around the rooms.
#10.5
I think so.
I definitely was. First of all, I
don't usually pick up that kind of thing and I sort
of looked at the front floor and I had this immediate
impression ... popped ... to me of alot of people.
I
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don't usually, you know. I don't think I usually
would pick up. like I would pick up one guy out of
a mob, but I wouldn't necessarily see the mob around
him.
You know. That type of thing
#66
So you feel pretty good about that impression.
#10.5
Yeah.
It was very, very spontaneous. Uh .. three
or four .. uh .. I'll use quotations of neutral guys
with cameras, etc. I had images of people writing
on note pads. This was later .. . not right here but
later. I'll get to that in another one.
Another
quickie ... and. . uh. . three to four neutral guys.
Two guys here and maybe being escorted, maybe ten
or twelve bad guys, in quotation marks,
escorting
1
and this is all ... . this is carpeting .... carpeted/
room. ..
. (sigh) ... I don't know. Three, then.
I'll/
take it as though I'm standing at the door looking/
back in. Here is this funny table. Here is this
funny big square thing in the back of it somewhere.
Here is sofa with Kalp sitting at it. Right. That
is the L shaped sofa. There may be another one down
there but I'm not too sure of it. Along this wall
we have .... come on #10.5 ..... at least you could make
them on the same level .... another sofa here .... and
then, another sofa here. Like that. Two sofas with
two people in them.
I mean with three people in them.
And, all these guys standing around in front of them.
#66
This was later on in the session.
.
Later on in the session.
#10.5
#66
#10.5
.. when you perceived then that this group of people
moved into the area where Kalp was?
Right. Kalp was still there. This is closer together.
I've drawn it all out of wack. More like this.
There's the L shape. It's closer together. You see
what I mean. This is like a little conversational
nook. Three or four sofas have been set up around
like over here on the side. Now there are these
people standing there. They're standing right in
front.
You can hardly see it because there's this
big cluster of people all around looking in there.
That's definitely the scene of the action. That's
where they're all going to go to begin with. That's
why they came here. To go over here and talk to
these dudes that I first saw, ok Uh .. I had the feeling/
of bright lights. . uh .you know. . flickering bright lights!
But, these guys were being put on display for some
reason.
Some rat ... maybe ratical type ... maybe it's
the student's own type stuff. Not necessarily
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some international film .. uh .. outfit, you know.
or UPI or anybody like that. It could be just
some propaganda bull shit that students are putting
together. Well, anyway, these guys are all over
there and that this film camera had been brought
up there on somebody's shoulder and there was this
big light coming from this crowd .. down .. and it was
playing against these people ... and these people were
sitting against the wall. You know. Sort of .. well
here we are .... what do you want us to do. So I
drew some arrows there. Ok. I'll dress this up a
little bit.
Here. There. It's closer. It's tighter
in. Ok.
Here's the other side of the room. I ..
like that.
Not much at drawing a mob of people.
Am I? I'll go ahead and put this.
Camera man, bright lights, note pads, talking to
peo ..... talking, sitting people, ok. Then you got
me outside .. ok
Four. Outside view. This is a ..... that's the idea
I want to portray. Boy! Wasn't that great?
I'm turning into one hell of an artist (laughing).
#66
#10.5
The view in four then is standing .....
... on the front porch, looking away from the
building.
#66
Ok. Again, you say you feel like you had to go
through two sets of doors, maybe. Come to this
point, and you stood at this point ...
#10.5
Right, right. Here are the stairs coming up in the
foreground. Right. Look at that! Dam, don't that
look great?
Uh. . I had the feeling of grass out
front.
This is a walk.
This is a dark walk.
This
is a light walk. The dark walk goes here as though
cement in front but parmack (phonetic) going out
through the grass, all right. Uh. . what did I say?
I said .. I said trees. I said woods, but not woods.
Woods isn't woods. I had more of a feeling of a
cultivated, treed lawn than I did wood.
Much more
manicured than. . uh than forest woods, or woods
would look. It's all mowed up nice and smooth, anyway.
Grassy, brown grass and everything in there. You
know what I'm talking about. It's a lawn area and
there are trees interspersed on it. The trees do
go together .... go together in their leaves. It's
hard to describe what I meant when I finally want i
to talk about it.
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#66
Ok. In the scene that you're drawing right now,
I recognize this from a previous session that you
and I have done together. Do you have a feeling
about this scene?
#10.5
Yes. You know.
It goes right on with the familiarity
of the building.
:
#66
Was this view to you spontaneous?
#10.5
Uh .. I think it occurred to me just as soon as I
got out of the building. It's not like I had to
stand out there and look and say oh, there should
be a walk here or anything like that.
It was
like .. outside, there's the walk, you know. It's
there. I know it's there. There it is. It was
very, very quick. Very fluid.
There were suttle
differences.
I'll point out the suttle differences.
The suttle differences to me this time ... or things
that would be unique to me that I'd stand ... if I
had to compare the two experiences. The light to
dark walk ..... the manicured nature of the trees
and not the wood nature of the trees. I think
that was a difference. But, the main thing is the
fact that this type of arrangement on the steps was
totally un .... I had no feeling for that and it just
popped out ... this arrangement on the step walls here.
the step ... the guide walls of the steps .... actually
being step walls themselves instead of just some
straight walls that just went out.
That's different.
I think if we were to compare steps we would see
that that's different feeling .... you know .... different
thing came through. And, I also got the feeling for
a little sort of an overhang which I can't say whether
I got a feel for before or not. But, I think it was
relatively spontaneous. You notice nothing is at the
end whereas it should be. That was the limit of what
I was seeing so I didn't .... you know. Nothing was
at the end of the walk, is what I'm trying to say.
Because I just didn't see that far, this time. But,
you know, it felt ... it felt ok. I knew I was on
dangerous ground all the way through it because it
was all very familiar.
¥
#66
Now, unfortunately, it was at this point that you
began to lose.
. .
#10.5
Yes.
#66
... focus because the outside noise became tremendous.
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#10.5
Here that number 20.5 .... the outside noise
became ... you know ...... at noon on a work day
that might have been only peanuts, but in the
middle of the night that sounded like the guy
was going to drive through this place. I thought
he was going to end up sitting on my chest.
-
OK. Last look.
What was it ?.. This was when
I was starting to fade out.
.
#66
You told me you were going to go out away from
the building and look back.
#10.5
That's what I'm working on. By that time I was
really slipping fast. I had the feeling for a
column or two. A column or two. This entire thing
was held up by one column (laughing). Ok. That
kind of a wall there.
All right. There we are.
Let me just get this straight through here. All right.
I did not get any feeling for capstone type figuration
or anything like that. What I did get a feeling for
is ... I'm only drawing two, because two is all I can
remember out of it because I was really falling out
of the saddle fast .... is .. uh .. a. . how do I describe
the dam thing .... it's an overhang .... small little
overhang outside. When I was standing right here,
on the porch, if I .... when I looked up there was
about a foot of roof over the top of my head. So
I'll. . . let me try ... you know. . half of this is trying
to figure how you do the perspective. There was some
little type of a roof and what it is ... or whether it
is just part of the building or not, I don't know ..
that's all I can do for you ..... no, wait a minute.
That's not all I can do. This is darker gray than
the white steps and the white framing and the white
color.
Ok.
I had the feeling of some windows.
That
level. That was about it. You know how you talk ....
this sketch here .... we spent 45 minutes on that one
target before. You know.
You know I get this detailed
in-depth description of the front porch ... you know.
That's all I've got #66, really.
#66
Ok. Anything else you want to say about this session?
You say you recognize this area and I can see from
looking at your drawings that I can recognize the
area myself from your previous one.
#10.5
I really do. I couldn't begin to tell you what
the building is because I don't know, but, I can
definitely go back through my sessions and I'll
match it up with the ones ... the one or two possibly
two or more that I did working on that building.
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#10.5
That would be no trouble at all because I know
just which one it is.
:
.
.
,
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.......
Windows
0000000
exit
door
Partitioned
HALLWAY
BIG
BARE
Floor
.
HALL
7
--
1
WOMAN
HAN
WOMAS
5
KALP
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K
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)
news
camera
1
1
1
1
.
V
0,
OF
LAKOS
e
globe shape
V
3-4.
"neutral
guys w/
Cameras,
etc
V
10-12
"
"
bad"
guys escorting
2 pm
3
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0
0
*
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3
1
Camera
man
bright lights
notepada
talking to the
Sitting
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1
V
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........**
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dark
walter
grazie
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light walk
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......
F

small
roof
over hang
clarker
gay
gre
X
than
white of the
1
Porch
1
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1
1
. ....
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TARGET CUING INFORMATION
REMOTE VIEWING (RV) SESSION CC52
1. (S) The viewer has been exposed to open source news media infor-
mation, classified overhead imagery and photographs of many of the
hostage personnel. He knew he would be working against the hostage
situation in Iran.
2.
(S)
At the time of the session the viewer was told that he would
be locating Malcolm KALP. The viewer was shown the attached photograph
and was asked to describe the surroundings of the individual in the
photograph. This was the first time this viewer had attempted to describe
the location of KALP.
wolf - located A BE
ADMIN NOTES: Sessions CC51 and CC52 were conducted at the same time
with different viewers in separate rooms using the same target cuing
information. (See also CC53 and CC54.) The viewer made reference to
a location which he recognized from a previous session.
See Session CC19.
CHANCERy
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