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SECRET
GRILL FLAME
PROGRAM
SESSION REPORT
CLASSIFIED BY :MSG, DAMI-ISH
DATED:051630ZJUL78
REVIEW ON:
Oct 2000
GRILL FLAME
NOT RIECASADES FO FOREIGN NATIONALS
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ORCON
C
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SEGRET
SUMMARY ANALYSIS
REMOTE VIEWING (RV) SESSION D-65
1. (S/NOFORN)
This report documents a remote viewing session conducted in
compliance with a request from SOD, J3, OJCS, Pentagon, Washington, DC.
The purpose of the session was to provide information relevant to the
hostage situation in Iran.
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 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 cuing informa-
tion provided the remote viewer.
5. (S/NOFORN)
The remote viewer was asked to locate Thomas Ahern and describe
his surroundings. The viewer felt that Ahern was located on the U.S. Embassy
compound in a building which had a large square booth in the center of a large
hallway and a curved balcony overhead. The viewer identified four other U.S.
hostages at this same location. These hostages are Graves, Lee, Subic, and
Blucker. The viewer also felt that physical security at this location has been
relaxed somewhat.
6. (S/NOFORN)
This remote viewing session took place concurrently with
Session D-66.
NOT RELE
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INATIONALS/ORCON
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TRANSCRIPT
REMOTE VIEWING (RV) SESSION D-65
TIME
---
#14:
This will be a remote viewing session for 1 October 1980.
Mission time is 1030 hours.
PAUSE
#14:
All right #10.5, the time is now 1030 hours. Your mission for
today is to locate Thomas Ahern. I want you to describe his
location to me, describe any other hostage personnel at this
location, and tell me about the physical security at this
location. I want you now to relax, relax, concentrate, focus
your attention on Thomas Ahern.
PAUSE
+10
#10.5:
Uh ... okay, I'm under a roof feeling .... a large room .... door
appears .. uh .. offset from middle of the room. It's more
towards one end ...... on the ground. I'm on the floor trying
to find out what I got here.
PAUSE
+15
#10.5:
I'm getting the .... he is in the building that ..... the stairs
on the right, stairs on the right, and he is upstairs to the
right. I'm there. He is ..... in the lobby area upstairs,
and ...... and on the left side of the hall .... ummm.
farther to the other end, but not at the end .... uh ... like one
square back from the end of thehall, left side.
PAUSE
#10.5:
He is alone in the room ...... go in bed right side drawing
some blocks ..... boxy thing by the door.
.have
to
peek around it to see him.
I'm going to go next door
..
Give me a minute.
PAUSE
#10.5:
+25
The ....... man next door is a older man, glasses, widows
peak, thinning hair on top.
I can ...... uh.
...... recognize
him.
His bed is on the left. He seems to
be sitting up. Fewer people in here than before.
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PAUSE
#10.5:
Up around ...... uh ...... feeling next door
Wait a minute.
PAUSE
#10.5:
I'll try again ........ again ...... ummm ........
I keep getting
a guy that looks like Abraham Lincoln, and the kid that
looks like a guy I know
.Okay. I'll go to work on
the guards.
PAUSE
#10.5:
+34
+35
(
Ummm ..... got a walking guard upstairs. He ...... walks up and
down the heall. Has a ..... automatic weapon on his shoulder,
casually draped over his shoulder. He walks back and forth
..
.. okay.
I'm on the move now. I'm in .... uh .... overhead
sitting area.
There's only one guard in the hall. And
overhead sitting area was a rail overlooking the ..... uh .....
entrance to the lobby. Curved railing. Haven't got anybody
up here. Guard leans over the railing and yells down in the
lobby talking.
..
... and he's talking right straight down.
Sort of below of there is that box thing, I didn't see it when
I came in, but it's there now. .
.. got a couple guys
sitting there with ....... uh ....... feet draped up on ..... uh ..
desk and he's sort of chatting then leaning over the rail.
that is ..... uh ..
.. some reason I'm not attracted to the
other wing.
PAUSE
#10.5:
Some feller's (phonetic) up here sitting room ... not ch-cheap
plastic dayroom furniture and overstuffed type thing.
I'm going downstairs, and right through the center of the
lower ... okay ... ummm ... any (mumbling) square here ..
It's got a table in front of it. And, it's got a door in
the back of it and bullshitting with the people upstairs.
I did not have the table. This is no table. There was a
table somewhere around here, and uh, they are moving all ...
darken in there.
...... security the least intent there than
before, and right now, I want to say is this guy down at the
end of the ground level floor hall, leaning against, leaning
against the
wall.
He's not hiding. He's just
sort of leaning against the hall sort of looking back up
towards to the central lobby, and he's like down at the
end which is the dumb place to be. Four guys. This is it.
Now, Outside ....... I'm still getting ... ummm ... I want
to go out the doors and see what I'm ..... uh ..... and go back
...
+40
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#10.5:
........ and put myself in front of the desk.
.....
PAUSE
#14:
All right #10.5, you continue to work as you're working.
At this time I have to change the tape, which I will do
as quietly as possible.
#10.5:
Right.
#14:
The tape has been changed.
We are now ready to continue.
PAUSE
1 oct 80
#10.5:
HummmmmmI'm in the place that's got the woods outside.
Ummm ..... path through the woods. Think that's where I am.
I think I recognize the building from before. And, ..
uh ..... definitely less security than five, six months ago,
because I think there are fewer people here. It doesn't
seem like this is the many people packed in here is to
begin with ...... but, I think I'm on the compound, and I'm
in the place where ........ some woods outside, and, you
know, I could go back through ...... uh ...... other reports
and find it. That's about it. Don't feel there's anybody
outside like there was before.
There were a couple of skulkers
in the woods before, but there's none there now in the
immediate area, anyway. There's none around here. That's
about it for me.
#14:
Okay. #10.5. Very good. You had a good session. End of
session. We'll be ready for debrief in a few seconds.
#10.5:
Okay.
#14:
We are now ready for debrief.
#10.5:
What do you want first?
#14:
(Sigh) Let's see.
#10.5:
I'll give you the, I'll give you the downstairs lobby
type description ...... uh ...... okay
#14:
Sure.
#10.5:
. . .
.for identification of the structure.
#14:
Yeah. And, and I believe in the same area, you were
mentioning some kind of leaning over railing, box like
thing, and ..
.... . uh
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#10.5:
Yeah, that was like ...... yeah, that was when I started
looking for guards, yeah, okay. Uh ..... okay, it's .. uh ..
There is some funny box like thing there .... this.
It's
as though the damn thing sits in the middle of the room.
I don't know if I've made this up and carried it with me
throughout this project or not, but there's something
there like a booth that sits in the middle of the damn.
and, in front of this booth here, I've drawn the table
and, I had the feeling during the session that there were
two guards there, okay. Uh ...... believe in the back, farther
behind back from that booth is where the wall is, and that
there is ...... like that wall continues, and then there's
something goes back like that. Hallway in on the left,
on the left side ..... ah ..... on the right side is ..... a straight
up ..... okay .... straight up staircasing, okay, and there's
the wall like that, okay ....... and then in the background
of that (scratching noise on tape) ..... on this level here,
actually, I suppose it probably comes up a little bit more
than that, there is the, let me see now, if I'm down a little
bit, then the perspective would be ..... there's this feeling
of a ..... you know, the overhang of the upper deck ...... came in,
in the background here, and then the hall goes off again.
So,
this wall continues on up, and this wall continues on up.
This wall continues on up like that, and this wall continues
on up and would make a bow (phonetic) in there, and that goes
back like that, and there is a .... uh .... okay, I had this
feeling of.
#14:
Yeah!
We're done (Somebody interrupted session debriefing)
#10.5:
Huh !
Okay, .... okay, okay, and then down in under, and
behind the stair, okay, so we end up with hall, hall.
Throughout this entire thing, now, I've probably run
against this target and recollecting, maybe four or five
times or better inithis project ... I have never been in this
end of the building. I have always been in the right end
everytime I've ever been down there. I don't know if I can't
go down there or if there's just nothing of interest.
#14:
Aha.
#10.5:
Windows across the back of the upper deck like that. Okay?
And, then here, this is what I referred to as the lounge
area upper deck, and this is a curved balcony overlooking
lobby ... central downstairs room ..... front entrance is out
of the foreground of the picture, I suppose if I did that
okay, this damn box thing, I swear it's there. It's some
sort of a booth or something there which be ..... uh ......
I forgot to put my microphone on, I apologize. I'm going
to turn the .. uh .. turn the tape recorder down. You'll be
able to hear me regularly now whoever is typing this or
whatever.
. .
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#10.5:
Umm .. and, there's some sort of a rear door out of the box.
I saw a guy walk out of there. Okay? The damn thing's
been there. It's always been there, and I don't know if
it's just some BS that I'm carrying with me through this
project. Okay? That's sketch one.
Oh!
I'm sorry. Then
there's a hall goes that way, and then there's a hall, okay.
#14:
Could you give me some type of overhead type sketch locating
the rooms where you found these ... uh ... the hostages?
#10.5:
Okay. Okay. On sketch two I will draw the right side of
.. It's on the left here is the lobby, and
it's the upstairs lounge, okay. And, then, like back tucked
back up like this .. the booth. . okay, and the table, okay.
I think the wing is only five long .... I didn't get across
the hall, so I don't know. So I go to those in ... dotted lines
okay ... uh ... Ahern. There's some sort of a box here, and
he is alone in bed. No one else, this is a ... like a booth.
I think this might be like a schrank
#14:
Closet.
#10.5:
Closet or a. . uh .. maybe a toilet type thing, and the door is
like here. Okay? Uh. .. the next one down, I went down, I
felt the bed was on the left side.
I did not .... I didn't
have a feeling for booth, but then I could see him directly.
Maybe there is a booth there. So, I'll dot that in. Okay?
And, this is the guy that I will identify later, where the
X is. Okay? Now, in the third room to the left, when I
started, I started at Ahern, and I went, one and left one
more. I had ... I didn't get any room layout, but I had the
pictures of the guy that looked like Abraham Lincoln, and
the ... a guy that looks like a guy I know. Okay? So,
it's two Xs. I'll call that X-one and in this room, there's
X-two and X-three. All right. And, I did not get a layout
feeling. But, I felt that, I felt that Ahern and this other
guy who ...... the name Bob came to mind .... (mumbling) session
Bob was .... they were alone, and then when I got into the
next room down I had two feelings. Okay?
#10.5:
Pillar, pillar, and this is ...... upstairs lounge. Is
that what you need? Now, okay. I had the feeling that the
guard which in sketch one is leaning over the rail BS'ing, was
in reality a walker ..... okay ?...... The attitude there was
much more relaxed, and the guard was walking up and down the
hall, and he just, like had this automatic weapon
Like
this. Un ... FAN or FAL. I forget what the acronym is. Just
sort of like draped over his right shoulder ... and, he was
just plodding along. You know. He wasn't at port arms.
always on the alert. You still got half a tape left here.
Okay for two.
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#10.5:
Now, the downstairs ...
In sketch two I've drawn the up-
stairs hall. Okay? And, on the upper part of sketch two
let me draw the downstairs hall. If you want me to. It's
just the mirror image, it's just a repeat of that. Except
that in the downstairs hall there was only one guard as well.
And he was like standing down at the far end of the hall,
which I thought was a very dumb position. Because granted
they could get anybody in a cross fire that broke out of
that room, but they would waste each other in the process,
because they'd have, they'd be shooting at each other.
#14:
Okay, but did you have a feeling there were hostages down-
stairs?
#10.5:
Well, no, I didn't have the real f-, I didn't see or feel
any hostages down there.
#14:
Okay.
#10.5:
Okay.
I didn't ... I ... by that time, by the time I got down-
stairs I was looking only for guards though. Okay.
#14:
Okay. I think that's good enough.
#10.5:
Okay, and the other thing about it is- for note in the
debriefing- is I felt three significant changes, I think.
The ... the hostage density did not appear to be as extensive
or as high level as my earlier sessions in this place.
Earlier sessions I had the feeling that they were packed two
to a room, and that all rooms in at least the right wing
were occupied. But here there was like one, and- one to
a room and didn't appear to be as dense ... hostage population.
The other significant change is the guarding has become much
more relaxed, possibly because of a lower density of hos-
tages. But the guarding activities are, uh, instead of
fixed tables where qu
guards can fortify themselves and have
clear fields of fire down a hall, they now have fewer guards
and the guards, some of them just walk up and down the halls.
Which makes them more vulnerable. Okay. But they've relaxed.
That makes the guards more individually vulnerable. But
they themselves have relaxed.
Huh, we gonna say three things. I think the third one that
I would want to say is that every time again that I've
worked against this building, or ended up in this building,
I really have not been interested in the left wing.
Okay?
And I'll. .. one more thing.
Guard downstairs .. . leaning.
Okay. I'll write two "G"s at the table. Two guards. The
guard on the right may have a headache too. Uh. .. That's
about it ... Okay.
What do we got now? Pictures?
#14:
Um, I've got an overhead picture of the compound.
#10.5:
You want me to look at that?
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#10.5:
Well, yeah ... Well, I'll tell you, what I will say-
#14:
Maybe this is-
#10.5:
-is it's the-
#14:
confusion.
CHANvery
#10.5:
Well, it's the ... I, it's the one where when you walk out this
door you walk through a thing in the woods. And you walk
way- you walk down through the woods. can identify it
in another session.
I can correlate these sessions for you.
But I'd have to say it's building"A".
Okay. Right off
the top of my head the configuration and the nearness of
woods leading to what I would expect to be a gate, is "A",
the Embassy. Okay. But now that I am looking at that build-
ing in this manner, and that from the, from the wooded side
looking at the Embassy, the right side is the right wing
where the hostages are. On the second level. At least on
the second level. Now there is some confusion in my mind
as to whether I'm warehouse or Embassy.
I'll state that.
Okay. But I do naj I feel that the. . . well, I, you know,
you've never, I do not know where I was before.
So this is
probably not the right thing for us to do.
#14:
Right.
#10.5:
Because I've never been told where I was before, so there-
fore-
#14:
I just wanted, I just wanted you to get a spontaneous feel-
ing.
#10.5:
Yeah. Yeah, well the spontaneous feeling is automatically
this long, elongated building with the square in it. That
was the first place I looked at when you showed me the photo-
graph.
#14:
Good. And, uh, at this time I would like you to look through
the photographs-
#10.5:
Is there anything in here that you don't want me to see?
#14:
Hostage personnel-
#10.5:
Okay, then I'll just-
#14:
-to see if we can identify some.
Okay, we're ready to con-
tinue.
#10.5:
Okay.
So, moving from what's-his-name's place, Ahern's
building, Anern's room, I'm sorry. Moving to the room to
the left, uh, was the guy that I said had white hair with
the widow's peak. He was sitting up in bed. Okay. Uh, and
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#10.5:
he had glasses on.
Noy
in my identification process, here-
and his name was Bob
In my identification process here I
overlooked what's-his'name? Blucker.
'Cause he wasn't
wearing glasses, I think, is the reason why I didn't identify
him on the way through the first couple times. Um ... I
believe that they guy next to Ahern on the left is Blucker
And I believe he wears glasses, and that like they might
be reading glasses that he just wears, and so that's why
they're not shown on the photograph. Uh, okay, that's that.
The other, the other guy, what was the guy's name? I had
pulled out
Morefield.
#14:
Right,
#10.5:
Morefield because he has the, essentially the same physical
configurations, and he has a widow's peak, and he was wear-
ing glasses. But his hair is dark, and he appears to me to
be a younger man. Even though he has a full face, he appear
a younger man. And he just did not fit. And as #14 can
say, I went back through and through and through the damn
pictures, you know, lookin' for the right guy. Okay.
Um, moving to the left one more room where "X2" and "X3"
is on sketch 2, uh, the spontaneous images were those I've
picked out here. The guy that looks like Abraham Lincoln
is Gary E. Lee. Okay? Always pull him out. There's no
way to mistake that. And Subic , who reminds me of a former
close friend of mine. Okay. So I always manage to pull
that out. I feel real firm about those. And this guy here,
John Earl Graves, is there somewhere. And the reason he's
there somewhere is that when I was working between the room
with Blucker, and the room with, um, Subic and Lee, okay,
I got, I got this, I was working, trying to resolve who the
guy was in there, and the first image { he was the nose.
That nose. You see that nose on Graves?
#14:
Mm-hmm.
#10.5:
It's inflamed and red, sort of bulbous. So, the- what I'm
saying is the, that Graves is in there somewhere. Now he
might be in the room with Subic. Okay? Or he might not
be. But the bulbous nose and the full beard, there may be
some overlap between the Graves and the Lee. One of the
two of 'em are there and the other one might be next door.
#14:
Okay.
#10.5:
It's that bulbous nose. And I know what it's like to have
that, 'cause, uh ... it doesn't mean the guy's an alcoholic
or anything, but it's a viral skin infection. And my father
had it.
#14:
Okay. Is there anything else, uh, you can think of for
debrief.
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#10.5:
Um, the only thing I'd like to add is that even the outside
in earlier session, outside in the woods I had said that
there were, in the lobby, two or three people watching eager-
ly out the front windows ... of the place, in the main place.
And that. .. outside, stepped out in the woods that there were
one or two
guards. These, these feelings and these
imageries did not come through this time. There was nobody
lurking around outside as they had earlier.
That's all I
have to add.
#14:
Okay. End of session.
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Lounge
AREA-upper
Gu
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TALKING
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Lobby,
CENTRAL
DOWNSTAIRS
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Lounge
Bo
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L
TARGET CUING INFORMATION
REMOTE VIEWING (RV) SESSION D-65
1. (S/NOFORN)
The remote viewer has been exposed to open source news
media information as well as classified overhead imagery and numerous
photographs of hostage personnel. He knew he would be working against the
hostage situation in Iran.
2. (S/NOFORN) At the time of the session the remote viewer was shown the
attached photograph and was asked to find Thomas Ahern. He was asked to
identify Ahern's location, describe any other U.S. hostage personnel, and
to describe physical security at this location.
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NOT RELEASABLE TO FOREIGN WATIONALS
ORCON

SGFOIA3
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