CIA-RDP96-00788R000800600001-8

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CEORET
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ORCON/NOT RELEASABLE TO FOREIGN NATIONALS
GRILL FLAME
PROGRAM
SESSION REPORT
Copy 2 d2
CLASSIFIED BY: DIRECTOR, DIA
REVIEW ON: JAN 2000
EXTENDED BY: DIRECTOR, DIA
REASON:
2-301c (3 & 6)
GI
TLAME
SECRET
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Approved For Release 2000/Cox
SUMMARY ANALYSIS
REMOTE VIEWING (RV) SESSION CC76
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 CC76
#14
This will be a remote viewing session (edited
Rasal
security ).
PAUSE
Am
Alright #24, I've shown you the overhead photo of the building
that is annotated as Area "J." This is the area we're
interested in today. I want you to relax, concentrate and
focus your attention on the building. I would like you to
start out at the main entrance and describe what you see.
PAUSE
#24
Hearing them talking out there is really distracting me, is
that because of this mike set up?
#14
No, you're hearing them through the wall. Want me to go tell
em to hold it down?
#24
Ah ... yea.
PAUSE
Ah ... I see a sidewalk, near a sidewalk with ... ah ... looks like
bushes, low bushes on both sides leading up to the, well I
guess it's the main entrance.
#14
OK. I want you to go up to the entrance, go inside the
building, just inside the entrance, and describe what you see
around you.
PAUSE
#24
Ahm ... Looks like a tile foyer, square.
PAUSE
#14
Look to your left and describe what you see to your left.
#24
I'm not getting real strong images, but it seems to be an open
area.
To the left, as I ... as I look to the left, I, again,
it's either tile or it's a flat rug, it's not a plushy rug,
with ..: with some sort of square design like, 5 or 6 inches
size square designs, and to my left there is what looks like
French doors with paned glass, you know, the small panes.
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Ahm ... that looks out in. .. ah. . . you know, over bushes, a yard of
some kind. I'm getting a lot of images of ... ah. . . either
inside plants, big plants, and outside bushes around this place.
#14
OK. What I'ld like you to do now is locate the kitchen.
#24
You want me to tell you where it is ?... or describe it, or
anything?
#14
Yea, I ... I got some things that I need described from in the
kitchen itself. I would like to know where the exits are and
what is beyond the exit or these exits.
#24
You mean exits from the kitchen?
#14
Right. In other words, the first part of it would be to
describe where the exits are in relationship to where you are
in the kitchen. Ah ... once you've done that, then I'ld like
you to move to each exit and go out the door or exit and
describe what you see when you immediately go out the exit.
#24
#14
#24
#14
How do you know there are exits in the kitchen?
Well, doorways, exits, entrances or ... ah ... yea.
You know that they have doorways?
I really don't know, so whatever you find I'ld like you to
describe as it is.
PAUSE
#24
Well, I got a room, I don't know if it's the kitchen, I'm
looking out a window, it's another one of those paned windows.
It looks like it's close to the street, cause it looks like
there's a car not to far from that window parked outside. A
parking lot or something.
PAUSE
AMB
RESId
All I'm getting is that window.
#14
OK. You can move from the location you are now and feel free
to move around the building ... the building Arca J, and tell
me if you find any of the hostages in this building.
PAUSE
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!
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#24
I'm getting (mumble) faces again. .. ah. .. one that I got the last
time. Ah ...
PAUSE
#14
OK. I want you to focus on the person or persons and describe
your surroundings.
#24
Uh ha. Appears to be an elaborate room, middle eastern type
elaborate. I see a series of arches as part of the decor of
gold overlaid. Appears to have high ceilings. Very, very
elaborate. And it seems like a formal room, like a formal
ballroom or a formal dining room, it doesn't seem to have muc
furniture.
#14
Where in the building is this room located?
PAUSE
#24
Ah ... it's upstairs, maybe the second floor.
As I'm standing
on top of the stairs looking down to what looks like a main
room, so I would guess it's the second floor. The room I'm
looking down on has Persian ... red Persian rugs. Couple of
chairs, like dining room chairs.
I don't see anybody anywhere.
Now I'm in a hallway. It seems like you come in this door, and
it's probably the main door, there's a. .. like a white ... the
walls are white, and there seems to be a white column, maybe
5 to 8 feet from the door, like a pillar, and ... ah ... stairs I
think are to the left of that hallway, and I think that room
as at the top of the stairs.
Did you say you didn't perceive anybody?
No, but I think that one person that I ... whose face I saw, I
saw him very strongly before, either is or was in that room,
bet no, I didn't. . . I haven't seen anybody.
#14
#24
#14
OK. I want you to move now down to the first floor, the
ground floor and tell me if there ... if there is anybody or
any individuals on the first floor.
PAUSE
#24
There might be, but I can't tell.
It looks like ...
occasionally I see groups of people, but I ... it's not a
strong image. There are a lot of big rooms I think or at
least 2 or 3 really big rooms in this place. I think, and
that, like, there appears. .. at least I've got & couple of
images/of long tables, like long, real long ... ah ... dining
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a
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hall tables like you'ld see in a. . . any of your barracks or
something like that. That's the size of it, probably would
hold 20 people. And I got a glimpse once of people sitting
around this table.
#14
OK. I want you to leave the building now and go outside and
I want you to take a look at the roof and describe the roof
to me.
PAUSE
#24
There's some kind of an antenna. It's ... ahm ... I could draw
a picture of it, I don't know what type you would call it.
#14
#24
#14
OK
It's a gravelly top. There might be 1 or 2 people to top,
it sounds wild.
Are they there now?
#24
Well, I saw what appears to be. .. ah ... like poeple in robes,
you know, those ... ah ... long Arabian robes, whatever they
3
Icall em. I thought I saw 2 people sort of huddled there.
I
pretty sure that antenna's there.
saw them, now. I don't know if they're there now.
I'm
#14
I have no further questions. Is there anything that. .. ah ...
you think is important or anything you can add.
#24
I got ... I just couldn't get much at all from that building ...
ahm .. not beyond the descriptions of those rooms, no.
I
saw .. Jah ... when you asked if there were people there, I saw.
2 faces pretty clearly. One was someone I had seen before,
and the other was ... looked more middle eastern. Ahm. .. that
was a pretty strong image. That ... that's all I've gotton.
#14
OK. Turn some lights on here. Alrighty, I can't ...
#24
I don't think it did much good.
#14
We ... ah ... we got the antenna on the roof. OK, this ... is this
room this room?
#24
Yea.
OK. As you walk ... if you walked out of the room ...
#14
#24
That'snot a very clear ... no, that's a. ... I think this should
probably go out. Well, I don't know, is that critical. .. ahm ...
would you do it over?
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#14
No ... no, go ahead, it's alright.
#24
Well, see this ... this refined into that.
#14
I see, OK.
#24
You sure you don't want to me do it over.
#14
If it makes you feel better you can.
#24
No, I don't care. It's just the (mumble), it's not good, it's
my best, and this just makes it worse.
#14
But if you walked out the room it refined into ...
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#24
OK. I'm upstairs and I'm looking ... I walked out ... I think I
was outside the room, it seemed like it, cause you said that
and suddenly I saw myself looking down as though I were
standing right outside the room looking down from, you know,
if you go up the stairs and you got a hallway and you look
down, one of those things. That's what it seemed like, and I
was looking down ... first it was like a ... just a big open room
and then it seemed to refine into this hallway.
#14
OK.
#24
#14
#24
So.
Anything else you can think of.
No. I ... as I said, had trouble getting ... getting anything at
all.
1
#14
Alrighty.
#6.5
OK #24, you had a opportunity to look at some photographs and
from them you've selected a couple of people that you've
mentioned during the session. OK, the first one that you've
positively identified was a Michael J. Metrinko.)
You want to
tell me anything about him, or why you feel so strongly about
him.
#24
I don't know why. Ah ... I just got his face very clearly this
time and the last session I also got his face very clearly.
#6.5
OK. You've seen this face before then.
#24
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Yea.
#6.5
OK. And he was ... ah ... in relationship to your drawing, this
.
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...

lai
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was the guy that you saw in this room that's outlined on. . . ah ...
Page 1 of your drawings?
#24
#6.5
#24
No.
That's right.
OK.
Anything else you want to say about him?
#6.5
Afright. Now, this other one that you're very unsure of ...
ab ... but looks something like him or whatever other words you
want to use, is Phillip R. Ward. What do you want to say
about him?
#24
That's really hard to say with this one, because the second
face that I saw was ... ah. .. looked more middle eastern than
this fellow in this picture, has similar. . . ah ... facial
characteristics.
#6.5
OK. The individual ... are you saying then that the individual
and the other individual you saw might not even have been an
American.
#24
That's right, yea.
#6.5
But it looks similar to the picture of . .. ah. . . Phillip Ward?
#24
Ah ... somewhat, yea, yea.
#6.5
Yea, OK. Was he in the same room, the same area?
#24
No.
This was just a flashing. . . ah. .. face that I got, I don't
know where he was.
#6.5
OK. OK, not in relationship to anything.
#24
To anything, no.
#6.5
Sure. OK. Fine. Anything else you want to add?
#24
No, I don't thing so.
#6.5
OK. Very good.
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1

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TAB
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- antenna
on Roof
Room
5
Sold
filique
very elaborate
defor
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₣
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:
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low
paraen tuskes beyond
0
1
till
7
1
<
LEFT for main entrance
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[handwritten, above the banner: -3 -]
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[handwritten, upper left, beside an angled arrow pointing down-right:]
looking down

[handwritten, upper right:]
for room in
[interlinear, above, with a caret below: outside]

# 2

[sketch: a dark scribbled blob at upper left; a large rough square with an oval shape inside, heavily hatched with diagonal strokes, and words written inside the oval; below the square a vertical corridor (two long lines) running down the page with a zigzag arrow pointing downward inside it; at lower left a slanted rectangular block with cross-lines; labels around the corridor]
Persian(?) rug(?)
red

white
column

5-8' for entrance

entrance
hallway

stairs to left
for entrance

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TAB
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TARGET CUING INFORMATION
REMOTE VIEWING (RV) SESSION CC76
1. (S) The viewer has been exposed to open source news media
information as well as classified overhead imagery. He knew he
would be working against the hostage situation in Iran.
AMBASSADOR
RESIDENCE
2. (S) At the time of the session, the viewer was asked to
describe an area referred to as Area J.W
He was shown overhead
imagery of the US Embassy compound in Teheran, Iran. The area
designated as Area "J" was pointed out to the viewer by the
interviewer.
The imagery is not included herein due to its
classification.
3. (S)
The viewer had not worked against this target in the
past. The viewer was not told anything about the area he was
trying to describe except for its letter designation.
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SCORET
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