CIA-RDP96-00788R000800550001-4

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SECRET
ORCON/NOT RELEASABLE TO FOREIGN NATIONALS
GRILL FLAME
PROGRAM
SESSION REPORT
-
Copy 2012
CLASSIFIED BY: DIRECTOR, DIA
REVIEW ON: 31 JAN 2000
EXTENDED BY:
DIRECTOR, DIA
REASON:
2-301c (3 & 6)
SECRET
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Approved For Release 2000/6,
LUCIA-RDP96-00788R000800550,001-4
CLUALT
16 JAN8
SUMMARY ANALYSIS
REMOTE VIEWING (RV) SESSION Ce65
1.
(S)
This report documents a Remote Viewing (RV) session
conducted in compliance with a request from SOD, J3, OJCS,
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 CC65
TIME
#66
This will be a remote viewing session (edited
for security).
PAUSE
For the past few minutes you've been studying a
photograph of Charles Jones, Jr. Relax now and
focus your attention on Jones. Locate Jones.
Relax and concentrate. Focus your attention on
the area surrounding Jones and describe the area
to me.
PAUSE
+05
#7
OK. I got a black guy here. (Mumble) a wooden
bed. I can see his right ankle and foot from
under the cover.
#66
Describe the room to me.
#7
Ah ... I'm trying to see his face.
PAUSE
Plain, cream colored walls. High molding it's the
floor level ... 10 inches high molding. Pictures on
the wall.
#66
Is he alone in this room?
+08
#7
I'm in the middle of the room looking in that
corner. Have an awareness of something or somebody
over my right shoulder.
Gettin out of the bed.
Gettin out of the bed. (Mumble) opposite corner.
There's somebody in that bed too.
#66
Describe this person to me.
#7
Dark hair ... kind of straight hair. He look's kind
of Greek. (Mumble) Funny, I can see his face, I
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can't see the black guy's face. Guy's about. . . ah ...
white guy's about. . . ah ... 5'10, 155-60 pounds ... 160.
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#66
OK. For a moment now I want you to look very closely
at this individual. Look closely so that you might
remember and be able to identify him. It's not
necessary to report for a minute, just focus your
attention on this individual.
+11
#7
Kind of long sideburns, quarter inch lower than ...
clean shaven ... kind of dark. . . ah ...
In the corner
directly opposite the foot of the white guy's bed
is ... a ... little writing desk.
There's a light on
there and ... very youngish looking person is sitting
there facing the wall.
+14
#66
Look closely at this person now for a few minutes.
PAUSE
.
#7
I am seeing him (mumble) over his left shoulder,
trying to get a clear view. Looks kind of small,
slim, small boned. He's got blue ... blue thony
(mumble) shoes on. Glasses. Appears to have too
much hair for the size of his face. Hair wants to
be wavy but it just ends up kind of standing up,
unruly.
-
#66
Alright. Now focus your attention to a different
area.
Focus your attention on the entrance to this
room and describe the entrance to me.
#7
It's between ... ah ... it's between the white guy in
the bed and the guy at the desk.
+17
#66
Describe the entrance door to me.
#7
Six inch wide, meld door frame.
Slight Linearity
in the pattern. I keep flickin from tan wood to
white paint, paneled door.
#66
Move through the door.
#7
Ah ... (mumble) is painted.
.
#66
Move through the door now and describe the area
just outside this room.
#7
Varnished floor ... ah ... redish, oak colored floor
with red and cream colored oriental type rug
running down the middle.
It appears to be straight
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across the hall. Kind of ah ... I guess you'ld call
it a reading room ..
#66
From this point ... from this point just outside the
door to this room where Jones is located, move to
exit the building ... move to exit the building and
as you move towards the exit of the building,
describe as you go.
+21
#7
I'm facing ... I'm facing. . . facing on my left, yea,
that's it. Down towards .. . ah ... 40 or 50 feet ...
ah ... two steps down , a bigger room; lights on.
Just to the left ... big room to the left when you
step down.
#66
Move towards the exit and describe as you go.
#7
I was lookin, I see straight ahead ... ah ... go down
the hall I make a left turn to the big room, I
see glass, like ... ah ... I was trying to figure out
if it's ... ah ... like a patio door or a window.
#66
And what floor is this ... ah ... room on?
#7
Seems to be on the ground floor.
It's funny, I ...
ah ... I didn't see any windows in that room where
they were sleeping. I've been trying to shake this
thing but it seems ... if I go through the glass it
seems that ... there's a wall or obstruction of some
kind extending away from me on my right, about 15
feet to my right. There's another something, 50
feet to my left, it's parallel to it.
It's very
+25
vague, I ... it could be a hedge, it could be a wall,
I don't know, but if I don't go through the glass,
there appears another hallway to my left. I see a
door way down there; it has glass in the top. I
think it leads to the outside too.
#66
OK.
#7
There's somebody in this big room here, I think
it's ... ah ... kind of an entrance lounge or something.
I guess that's why the lights are on.
#66
Who are these people in the big room?
#7
I don't know.
They're just sitting there reading,
but I think. . . I don't think they're ours.
I think
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+28
they're probably positioned to. . . ah. .. watch this place.
#66
Alright. Move outside now, up and over the building,
look down at the building, and describe the shape to
me.
#7
REVERSE
AMÁ
+30
#66
And now the area surrounding the building. Describe
the area surrounding the building.
PAUSE
+33
#7
(mumble) grass area is ... ah ... considered the front,
then the other side is not as detailed.
If you ...
big trees ... ah ... I guess ... ah ... less than there is
of the building back there is ... ah ... another little
building there on (mumnle) wall or something. Ground
seems to be bare, like it's too shady for grass.
Maybe it's worn out with people walking on it.
There's little, bity building like shape over there,
can't be more than 4 feet high.
I don't know, may be
a dog house, it may be for garbage can or something,
I don't know. But I see big roots, kind of exposed
above ground around these trees, bare ground.
There's. .. ah. .. coment walkway between the tree and
the ... the main building. If I'm coming out the ...
coming out the back of the building, the walkway
extends to my left through a natural barrier, I
don't know, it could be a fence, it could be flowers,
a hedge. I feel near the end of the building is
a natural barrier to ... just walk anywhere you want
but it's not security. I could be a flower bed or
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......
PAUSE
.
OK ... ah ... first, I keep seeing the letter "E," and a
moment ago a figure "4" kept flying at me; just kept
coming. OK, the building is light in tone, flat
roof, equivalent of two stories. Let's see. . . ah ...
if you stand ... if you go down and ... if you stand on
the roof over the glass doors and. . . ah. .. look in the
direction that you would be facing if you were walking
out the door, there's some kind of a building
projection that ... it ... it extends out from the main
building on my right.
There's a wall over there on my
left. Another building diagonally down there. This
building has ... ah ... something on the outside of it
that ... ah ... goes out it linear. It could be outside ...
ah ... drain spouts with ... ah ... big collector at the
top.
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or something ... ah ... Out beyond that, I see a curve
that ... ah ... a curve that goes across in front of me
and then curves and continues away from me. It's
kind of open.
+35
#66
Focus your attention now on a search for personnel
outside.
-
PAUSE
#7
There's two people sitting in a vehicle ... ah ...
(mumble) the curb.
#66
Alright.
I have no further questions about this
target.
If there was anything you'ld like to add,
do so now.
#7
Here's a very ... one more ... a man ... ah ... is sitting
on a bench in back of the building.
But there's
no one in the area I consider to be the front of
the building.
#66
OK. Let's draw the concepts you've had.
#7
OK. Ah ... I guess I'll start with. .. ah. . . (mumble)
bedroom shape. It appeared the room was slightly
longer than it was wide. What was than guy's name?
#66
Jones.
#7
Jones was at position 1; the Greek looking person
was at position 2, and the thin person sitting ...
ahm ... at the writing desk was at position No. 3.
The door was between the writing table and the ...
ah ... No. 2 position. I ... ah ... didn't look at the
rest of the building to the right as you go out of
the bedroom door.
PAUSE
-
Ah ... as you come out the glass doors there was a
building extension ... ahm ... which wasn't quite as
high as the rest of the building on the right. Way
over the left, some distance away, was .. . ah ... some
kind of wall, it was very vague. I don't know how
many rooms there were outside this area I've drawn
here. This could be the outside wall, maybe it
isn't the outside wall, but this area here, as a
double line, is a outside wall.
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#66
OK.
And the room across the hall ...
#7
I ... I ... I don't remember this wall here, the dotted
line, ah ... I did not look into that space there, I
have no idea what's there, but I can see there would
be a space left there. Across the hall was a ... a
lounge, I guess, a reading room. And I, you know, I
was aware of a hallway extending down the other way,
I didn't persue that, I don't know how far it goes.
.
#66
OK.
#7
This is not the scale, but it's just, you know,
directions.
#66
And I sec, if I come out of ...
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#7
There might have been a door in ... there might have
been a door where this short dark line is, I don't
know.
#66
I see if I come out of the room where Jones is
located, and I go down, then you have a couple steps.
Is that ... that's the big room that you were telling
me.
#7
Correct.
That's the big room that ... it clears to the
left. Yes, that's right. And ... ah ... this area here
I felt was outside. But I don't know how that fits ...
all that fits with the rest of the rooms in this
building. Ah ... over ... overhead I had the ... I don't
know exactly how this little extension over here fits,
but I felt it was longer and extended somewhere out in
this direction, I'm not sure just how far it went.
I was aware of some trees or something in here, and
some kind of wall going down over here. Ah ... a
couple of big trees in back of the building.
I
aware of a walkway coming up from behind the building
and some kind natural ... ah ... down here I was aware of
a curbing that came down this way and curved away
from me, and sitting over, roughly in this position
here, somewhere was a ... a vehicle. And ... ah ...
there was two people sitting in this vehicle near
the curb. I couldn't get a feel for how wide this
was but it ... it curved and seemed to go parallel to
a wall or fence or, maybe it was a low building, I
don't know, it was very vague. There was also
1
someone back here behind the building on a bench
.
6
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in the vacinity of the hicks.
There were some ... ah ...
windows in this. . . ah ... building on this side. That's
about it. I did not look at the detail of this
projection of the building here.
I don't know if it
had windows or what.
That was about it.
OK.
How do you feel about your session?
#66
#7
Inside the ... ah ... bedroom was pretty good except I
couldn't ... ah ... see the face of the black guy.
I saw
the face of the. . . ah ... dark, swarthy character
pretty good. The physical stature of the person
sitting and writing I ... was pretty good.
Incidently, there was someone about this position,
the position 4, I'm drawing No. 2 in the entry, I'm
sorry, got my glasses off. In the big entrance,
foyer, whatever it is there.
#66
OK.
#7
It felt ... it felt ... ah ... portions of it felt pretty
good.
I lost it a couple times and everything just
murky.
#66
Not very much continuity to the session.
.
#7
Ah ... no, it was coming and going. I was interrupted
by other imagery come flying at me, like the letters
and numbers, and I ... they hit me two or three times,
I didn't know what they were, but I thought maybe I
just better mention them.
#66
OK. Anything else?
#7
No, I think that's about it.
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TAB
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1
DARK
Hired Pers.
SANof
£
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1
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Foyer 4
11
3
2
1-
1
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ROOM
READING
*
CHPPC 55479
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,
.
1
1
J
1
+
1
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$
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.. ..... ..... .
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TAB
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TARGET CUING INFORMATION
REMOTE VIEWING (RV) SESSION CC65
1.
(S)
The viewer has been exposed to open source news media
information, 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 trying to locate Charles Jones, Jr. The viewer was shown
the attached photograph and was asked to locate and describe the
surroundings of the individual in the photo.
ADMIN NOTE:
This is the first time an attempt has been made to
locate Jones.
The viewer expressed his lack of motivation prior
to the session. He felt little confidence in his imagery after
this session. The viewer is experiencing personal family problems
at this time (father-in-law living at home near death).
1
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SGFOIA3
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