CIA-RDP96-00788R002100090001-0

Approved For Release 2000/09/40
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NOT RELEASABLE TO FOREIGN NATIONALS
ORCON
GRILL FLAME
PROGRAM
SESSION
REPORT
CLASSIFIED BY: MSG, DAMI-ISH
051630Z JUL 78
REVIEW ON:
- July 2000
Copy 2 % 20pies
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SEGRE ......
SUMMARY ANALYSIS
REMOTE VIEWING (RV) SESSION CCC-94
1. (S) 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 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 cuing
information provided the remote viewer.
5. (S)
The remote viewer was asked to locate Thomas L. Ahern and describe
his surroundings. The viewer described Ahern as being in a small room which
appeared to be something like a prison cell. He stated that Ahern appeared
to be in good physical condition, but somewhat frustrated with his situa-
tion. The viewer did not "see" any other hostages, but the names Johnson
and Thornton came to mind.
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TRANSCRIPT
REMOTE VIEWING (RV) SESSION CCC-94
TIME
#14:
This will be a remote viewing session for 2 May 1980.
Mission time is 1400 hours.
PAUSE
All right #10.5 the time is now 1400 hours. Your mission
for today is to find Thomas Ahern. I want you to identify
his location and describe his physical and mental condition.
I also want you to identify any other hostage personnel at
this same location.
PAUSE
I want you to relax, relax and focus your attention on
Tom Ahern.
PAUSE
+-05
#10.5:
I have a feeling of a carved out notch in the side of a
structure. Notch contains a flat ... some sort of a flat open
area and there are bushes or something around 3 sides, and
structure around 3 sides. It's several storied; has essentially
a flat roof with only a minor peak in it. Very minor. Seems
to divide at one end like a "Y". And it's. . . has two wings ...
it goes straight on.
PAUSE
+-07
Get a feeling that I'm looking at Ahern through two vertical
lines between he and me ... sitting there right inside the
vertical lines ..... appears a small round table with a almost
lounge chair along side cross-legged, casual.
PAUSE
Back to a vall.
Something by my head that sticks out from
the wall.
PAUSE
+13
Keep getting this cell feeling
Long box, barred in (phonetic)
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#10.5:
This is ..... Oh! This is ridiculous!
#14:
Tell me about it.
#10.5:
I wish somebody could .... to see me sitting here like this.
This is ridiculous.
PAUSE
+17
#10.5:
Sort of ... (mumbling) frustrated and Johnson has come
twice to me. Once I discarded it and it came back later.
PAUSE
#10.5:
This ... uh ... top floor just inside the notch. The notch has
some sort of a round pattern in it. This has other
spiderweb pattern. Is possibly a second window, right above
the notch .... about a second, possibly a third. It seems
high but it may not be that high.
PAUSE
+23
#10.5:
All I'm getting. . . hallway. Its long but blank. I'm
going up and down it real fast. I can't seem to get there.
I don't see anything. .
PAUSE
+28
I only got the one . .
named Johnson.
PAUSE
Thornton.
PAUSE
Thornton.
PAUSE
Okay.
PAUSE
+30
Well, that's that for what its worth.
#14:
We are now ready for debrief. The first thing that you .
described was a carved out notch inside of a structure.
#10.5:
Yeah, its not the first thing I saw. It was the first
thing I talked about.
2
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#10.5:
I had a light colored, a light reflective type building.
And I had a real close-in shot about as even with the
roof line.
PAUSE
And I had the feeling that the roof ot his building had
a very, very slight peak in it. But the thing that I
remember from it . . . was the feeling that this thing
had a . . . somewhat of a . . something that went
diagonally across it like that. You know what I mean.
Like the tar-paper had this X chape, something.
#14:
Um hm.
#10.5:
Anyway. This is the forward edge with the dotted all the
way along and there's some sort of . . there's a little
edge around the building. Its essentially flat topped.
Dark roof. Okay. Out here is the horizon. Okay and then
here is the forward face of the building. This is forward
But from the perspective that I saw it. This is the
roof, you know, this is a 90 degree angle here. Okay.
Like that. Okay. Anyway that was the first thing that I
saw. But, the next thing I saw was . . . this type of a
again I wasn't getting the whole thing. I had the feeling
it was a rather large building. Okay, but .
Okay. And this was the carve out that I'm talking about
okay and then here's again, building structure along
there I can't. . I couldn't figure it out. This is
like a carve out plaza. This is what I referred to as
carve out.
This is an aerial view. Okay.
Then I got this idea.
There was another one along there somewhere.
Something
like that. And that the . . this is the side of the
building here.
And in here. . . is the plaza. Its got a round thing in
it. Its got a cross thing in it and its got .
something like hedges that go around it. I'll draw a
close-up of it. Its closer. And the dark line that's
U shaped like that is is the hedges.
The feeling that there's a nitch in the side of the
building that it has got . . . Okay.
#14:
Did that circular thing you described there in the nitch
have any significance to you?
#10.5:
No, other than a pattern, maybe a pond or a plaza .
.
other than just a pattern on the ground. I didn't
get any feeling for real dimensions. But it was like a
plaza in there.
Carved out. A little thing.
PAUSE
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CEODET
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#10.5:
Okay, so then a close-up of that.
Which is what I . .
The reason that I think it has relevance is because
I think that where I was overlooks that. That's where
the X is on Sketch 3 is where I think I ended up being.
After I went to him and I came back out of the wall,
I looked down and there was this plaza below.
All right. Then I had the . . this type of a feeling.
Okay and there are. . . this thing that lines the plaza
is like a hedge row, okay.
That's what the idea I was
trying to get across.
Its like hedges or bushes .
that match that contour.
And its . . I'm drawing this . . I don't know, its only
. . . two or three stories, I didn't get a. . . Its not
some sort of a massive thing. Only two or three.
I'11
put in three, but its only two or three.
And I had the feeling that that was the
. the second
one from the left side of this notch is where I had been.
X marks the spot. Okay. And that in here. . was a
some sort of a cross pattern and it had something round in
it. Its not that big. The damn thing is only. . .
maybe 40 feet across is all. From my feeling anyway.
That's the layout. And there are other windows and this
goes off like that.
All right. Okay. All right.
Somewhere associated with this. . . again, I had the
same damn feeling I had once before. Somewhere here on
the Sketch 1. For some peculiar reason, I can remember
now, because I didn't talk about it, it registered, but
for some peculiar reason I had a . . . a thing that stuck
up in the air like . . . a not a tower so much as a. .
not a what is it on the top of a church.
#14:
A spire?
#10.5:
Yeah. But big and . . more like a. . I'll draw it as
an insert. Okay.
On Sketch Number 1. And I had the
feeling that it was to the right of this view. This
. . I'll label this insert. Okay. Tht it was . . .
something like this that protruded up. . somewhere near
the roofline because in Sketch Number 1 I was still up
around the top of this building.
Okay.
What it reminded me of is a . . a tiled, you know this
cotillian tile roof you'll see down in Miami or down
in the Spanish countries? Sort of like that. Like
almost orange tile or something very, very like that.
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SECRET
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#10.5: Anyway I had the feeling that this thing protruded
up from the top of the building somewhere where the
arrow insert - some protrusion to right. . on roof.
Like a little . . . What do I want to call it, Like
a little
e
.
.
I don't know. Tower of some kind.
All right, Five. But nowhere else did I see it.
I just remembered as having seen it. Felt it, more
felt it, perceived it than anything.
Okay. Then I figured well, you know, its time to go in
I can always go back outside and see what it looks like
outside. So in reality. . . Sketch #4 is a little bit
out of sequence for the session.
It occurred later on.
The next feeling was
as though I was looking at him through vertical lines.
sort of at an angle, okay. And there was. . . I had a
feeling at first, when I first saw him he was standing
here in front of the rods, these vertical lines. And
about the time that I recognized that I had a new scene
and that I was looking at something else . . it was like
he just sort of walked over here into a chair on the other
side of the . . table sort of and just sort of like
frustrated, pouting, just sort of threw himself down in
the chair, you know, like
Sort of like a very frustrated type feeling.
I have him with a beard. You know, sort of sitting. Sort
of splayed. And then at anotherpoint in time I thought
that he might even have been reading a book.
Sort of sitting. . . This is a table top. And when
I went into the room where he was, I went into the room,
this is sort of like a slouch chair. . like . . Bla Bla Bla
It has arms on it. And he's sort of dressed in shirt
sleeves. Bearded man. Stands at . . bars.
I'll put
bars in quotation marks.
Bars. Then, . . . walks over
. . walks to chair and slumps into it. Okay.
This is a table top. Thats only like 30 - 30 inches.
All right. I went into what I would call the cell.
Went into the cell. Looking back out it was more like
this. Here is another view.
There is guy all right ..
Sitting in this chair which was a padded type of
arrangement. Here's this round thing. And here in
the foreground there is something very big protruding ..
out from the wall. Okay.
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#10.5:
And . . . The corner goes just about like that. Like
that, there we go. Okay and then this is
the barred feeling here.
#14:
All right, I'm going to take this opportunity here to
turn the tape over at this time.
#10.5: Okay.
TURN OVER TAPE
#14:
Continuing on Side B.
PAUSE
#10.5:
Okay, so I moved in for a little bit of a closer shot.
Of what the situation had here. . . Into . . I was trying
. to get in close because I wanted to communicate.
And I had this type of a feeling looking towards the
back of the room.
Over his .
.
. sort of a shoulder. I still had this
feeling . . you know, its very similar to other sessions
I've had. I'd say the guy was . .
. in . . . in a sort
of a long longish. . . window there and here in the
background, which is this thing here protruding from the
wall, is something like that and I perceived that there
might be another one down here.
Like that. Okay and here's the corner of the room like
that.
Get rid of that. That's not a bad sketch is it?
#14:
No.
#10.5:
And then here is the table top, like sort of in under his
arm or right here in the foreground okay.
That's the chair. . handle of a chair there okay.
That's. . his feet sticking down there like that.
Okay and then here in the foreground would be . . okay,
getting a close look right in through the bars, would
be the bars coming down. I'm not going to put them
in though. . Okay, anyway, this is maybe two bunks on
the left. . . some sort of a weird box in the back of the
room that makes the room have three. . . makes the back
wall have three angles to it instead of one straight across.
And then the window. Okay, and that's where I went out.
X on Number 7 marks the spot where I went out in order
to get Sketch 6. Okay.
Sketch 6, I'm sorry, Sketch 4. I said 6, I meant 4.
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#10.5:
Okay.
Ahh. . .
. I tried. . . I got right in
back behind his head and I sort of nestled up on
his shoulder and I really tried to communicate with
the guy and the feelings that I got were feelings
of sort of like . . . through up your hands in sort
of satirical frustration. And when I said the things
that I said at that moment .. . on the tape, they
were like his feelings. I wasn't trying to say well
like this is ridiculous. I was saying, he was feeling
this is ridiculous. Only if they could see me now.
You know. . . all . . That's all I'd need is for them
to take a look at me now.
You know.
Sort of like. .
Here I am locked up in this place and nothings happening
and everything's just all - you know, .
. I mean high
spirit bitching. You know. The troops always bitch
type of a situation and that's all that I dectected that
it was it was not any real gut rending morasity or despair
so much as it was. . you know, so much as it was . . like
he was griping in order to get his spirits up. You know,
just sort of blowing off steam, sort of hap-hazardly.
Okay. And the names that I had. . . came when I was
focused in here in the area of him.
I'm not saying that he's bald either.
Okay. The names. . whatever the hell the names were.
One Johnson. . . I . . . I . . think it was Johnson
I said. Anyway the first name that I said I sort of
said no, you're just thinking that and then the next
. . I went on and I was in here and around and then I
was trying to say How are you and I wasn't getting
anything . . . and everything. You have to help me,
help me find how you are and all these things and I
was trying to lay these things on maybe a subconscious
or whatever. And, I just sort of got this good-
natured pain in the ass attitude. And then the name-
-- out of nowhere, the name Johnson came back to me
again. But I did not see anyone else in the room. But
the name Johnson came back to me again.
And then, I was asking who else is around here. Who else
is around here and I went out of the room and I started
going up and down the hall. Sort of rapidly but. I wasn't
getting any imagery. I knew there was a hall outside
but I was using that as sort of an accelerator to try
to intensify my focus and .
. there's a hall somewhere
down there that I think is toward the big end of the build-
ing. Towards the other end of the building. The hall
would be that way. He's out here and here's the notch
and that's him and then there's the hallway. I was like
going this way down the hall which would be
Sketch 8. All I got was a feeling of a
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SKADET
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#10.5:
an insert door, you know. And then here is like his
block starts. His block starts here or whatever ..
His room starts here. But I . . This was . . This
almost felt like it was blank wall down here. 'Cause
I was going up and down the hall and I couldn't find
anybody else. Not saying there was nobody else there
and that he was alone but just I couldn't see any.
And this was like blank wall. And this is a door within
a hallway insert.
That's what I'm talking about there
like that.
#14:
Okay and where you've drawn the vertical lines its
.
. .
#10.5:
Yeah and this is
. . a a . . What was the guy's name?
#14:
Ahern.
#10.5:
Ahern.
Ahern.
Ahern's room or cell.
So I was getting nothing at that point - nothing new.
You know, no other names and I came back in and then I
forget what I said, thorndon or something like that.
#14:
Thorton
#10.5:
Thorton . . . Thordon. I forget what I said. I came
back in and then I nestled up behind him again and I
tried it one more time and that's when I got the word,
the name, I think a name, Thorndon or Thorton.
Whatever.
Anything I missed?
#14:
Let me run through my notes real quick.
PAUSE
No. Did you . . . Did you have a feeling for where this
building was located?
#10.5: Well.
. I sort of presumed it was off the compound.
Okay.
That was the only feeling I had. It was something
else.
Its not a . .. building that I had seen associated
with the compound. And when I got inside and I had the
barred doors and the rest of it, the barred, rather the
barred wall type front type situation, then it
.
you know, sort of meant to me it was the other place that
we'd worked in the long past.
#14:
You're saying you had somewhat of a feeling of recognition.
#10.5:
€
Yeah.
That's why I was sort of . . . I don't know
what the hell is the name of the other place. The
one that's off the compound where the four or five guys!
were kept separately, supposedly?
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#10.5:
We found them all before, long since worked it. .
I haven't worked it in like 3 months I guess, but
. anyway.
#14:
All right, I have no further questions. End of session.
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OLDALT

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TAB
-.
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HORIZON
dark
90
-
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1
forward face of building
INSERT
Some proTRusion To
37L

2
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C
1
1
0
Spig to a pis nl
carve-OUT
Aerial View
-
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3
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Y
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BUSHEL
<
532474
BUSHes
17
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Shirtsleeves
bearded man
Stands at "BATS
Then walks To
chair and
slumps into it
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30'
TABLE
TOP
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----
-
"SomeThin
ProTRUdes
WALL.
short
beard
not
Long
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3
×
1
T
1
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within a hallway Insert
ROOM/CELL
BLANK
WALL
BLANK
WALL
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TAB
1
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TARGET CUING INFORMATION
REMOTE VIEWING (RV)
SESSION CCC 94
1. (S) The 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) At the time of the session the remote viewer was shown the
attached photograph and was asked to find Thomas L. Ahern. He was
asked to identify Ahern's location, describe his physical and mental
condition, and to identify any other hostage personnel at this same
location.
3. (S) The remote viewer has been briefed on the current status
of the hostage situation and told that the whereabouts of the hostages
was not known.
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SGFOIA3
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