Approved For Release 2000/08/07
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SECRET
GRILL FLAME
PROGRAM
SESSION REPORT
Approved For Release 2000/08/07
: CIA-RDP96-00788R001 000240001 -5
oconcT
SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION D-65
1.
(S/NOF’ORN)
This report documents
a remote viewing session conducted in
compliance with
a request from SOD,
J3,
DJCS,
Pentagon, Washington,
DC,
The purpose
of the session was
to provide information relevant
to the
hostage situation in Iran.
2.
(S/N0F0RN)
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/N0F0RN)
The protocol used for this session is detailed
in the document
Grill Flame Protocol,
AMSAA Applied Remote Viewing Protocol
(S),
undated.
4.
(S/N0F0RN)
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/N0F0RN)
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/N0F0RN)
This remote viewing session
took place concurrently with
Session D-66 .
NOT
RELE,
TI0NALS/0RC0N
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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.
.
. .ummrn
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 goin g to go next door. .
.
Give me
a minute.
PAUSE
+25
#10.5:
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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+35
+40
PAUSE
#10.5:
Up around
uh
feeling next door
Wait
a minute.
PAUSE
#10.5:
I'll try again. ...... .again
ummm. ...... .1
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.
#10.5i
c
PAUSE
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.
.
. .overhea?
sitting area.
There's only one guard in
the hall.
And
_L.i
t
uiid
i to j.i •
mivj
—
overlooking the
uh .
.
.
.
. JV,
iling.
Haven't got anybody/
/bverhead sitting area was
a rail
£jpntrance
to the lobby.
Curved railing
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
/"bitting there with. ..... .uh. ..... .feet draped up on
uh.TN
C^desk and he's sort of chatting then leaning over
the rail.
».J
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.
. .1
want
to go out the doors and see what I'm
uh
and go back
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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
I
#10.5:
Hummmmmml'm in the place that's got the woods outside.
#14:
I
am.
Ummm. .
. . -path through the woods.
Think that's where
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.
outside like there was before,
in
the woods before,
but there'
immediate area,
anyway.
There'
about
it
for me.
Don't
feel there's anybody
There were a couple of skulkers
s none there now in the
s none around here.
That's
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
' 11 give you
the,
I
' 11 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
lef t
,
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
in 'this project.
.
. I have never been
in this
end of
the building.
I
have always been
in
the right end
every time
I
' ve ever been down
there.
I don't know
if
I
cah'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
sketch one
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.
S.
/
#10.5:
Closet or a.. uh.. maybe
a ^iletjk^pe
thing,
and the door
is
like here.
Okay?
Uh .
.
. theH^e^fc
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.
. .1 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 guardjija^wulkTTTy
up-said down
the
hall,
and he
just,
LjJrnxhad thieautomatic weajagg^^Like
this.
Un. . .FAN or/FAL.
I
forget
crnnv m
is.
Just
sort
of like drapea
flV/ t?'i'
I lib HgTit shoulder.
. .arid,
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
rne 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:
#14:
#10.5:
#14:
#10.5:
Well,
no,
I
didn't have
the real
f-,
I didn't sec or feel
any hostages down there.
Okay.
Okay.
I
didn't.
. .1.
. .by that time ,
by the time
I
got down-
stairs
I was looking only for guards though.
Okay.
Okay.
I think that's good enough.
Okay
,
debrief/
The.
.
.
or as
Earlier
anc
ie other thing about
it is- for nothin the
[fig-
is
I
felt three significant changes,
lYhink.
he hostage density did not appear
to be as extens
h
level as my earlier sessions
in
this place.
thQ. E^P-I-ing fhnf-hhr»y w f-th
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
lie, as dense.
. .hostage population.
ier significant change
is
the guarding has becomermT
relaxed,
possibly because of
a lower density
of hos-
tages.
But the guarding activities are,
uh. instead
of
. tab-les where' ^ua r ds’can fortify themselves
ancTTia^e
V^clear_f ields of firc_down
a hall,
they now have fewer
quarijg^
and the guards,
some
of
them just walKTfp^ancrTfow^
hails.
Which makes them more vulnerable.
Okay.
But they've relaxed.
That makes
the guards more individually vulnerable.
But
they themselves have relaxed.
.
.
.
#14:
#10.5:
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 endsd-up
il
l' tITt'H bnjjding,
I really have not been interested
irf the left wing.^^cay?
And
I'll., .one more UwfTg.
Gu?Pr^i downstairs .
.
. leaning
.
Okay.
I
' 11 write
t/7o
"G"s at the
TphJ—
Tu/o guards.
The
guard
on the right Wy-have^fTieTidach e too.
Uh.
. .That's
about
it.
.
.
Okay.
What
do we got now?
Pictures?
Um,
I've
got
an overhead picture
of the compound.
You want me to look
at that?
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t do
iliar where you were?
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#10.5:
#14:
#10.5:
#14:
#10.5:
#14:
#10.5:
#14:
#10.5:
#14:
#10.5:
#14:
#10.5:
#14:
#10.5:
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Well,
yeah...
Well,
I'll tell you,
what
I will say-
Maybe this is-
/°
confusion.
Well,
it's
the... I,
it's
the one where
whafi 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 correlajfe^chHse sessions for
you.
But
I'd have
to say
it's building "A"^/ Okay .
Right
off
the top
of my head the configurat^wsff’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.
Ukay,
But
i
.
. .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.
Right.
Because
I've never been told where
I was before,
so there-
fore-
I
just wanted,
I
just wanted you
to get
a spontaneous
feel-
ing.
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.
Good.
And,
uh,
at this time
I would
like
you
to look through
the photographs-
Is there anything
in here that you don't want me to see?
Hostage personnel-
Okay,
then
I'll just-
-to see if we can identify
some.
Okay,
we're
ready to con-
tinue.
Okay,
So,
building
the
lef
the
wi
f rotj^Cfiat
' s-his-name
’ s place,
Ahern's
Com,
I'm sorry.
Moving
to the room
to
the guy that
I
said had white hair with
He was sitting up
in bed.
Okay.
Uh,
and
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#10.5:
#14:
#10.5:
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he had glasses
N^r
in my identification process,
here-
and his name i#as Bo^r
In my identification process here
I
overlooked wK^tJ^^nis
1 name?
Blueker-
'Cause he wasn't
wearing glasses,
I
think,
i&*Che rddyUh why
I
didn't identify
him on
the way through the
first couple times.
Urn...
believe that they guy next
to Ahern
on
the left
is
Blueker
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,
pulled out
Right
,
other
guy,
More-field.
lat was the guy's name?
I
had
Morel iolej
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.
Urn,
moving
to the left one more room where
"X2"
and
"X3"
is on sketch
,
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
Blueker,
and the room with,
urn,
Subic and Lee,
okay,
I
got,
I
got
this,
I
was working,
trying to resolve who the
guy was
in
there,
and the first imafl^=4rosl was the nose.
That nose.
You see that nose
on /Iraves?
#14:
-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:
Urn,
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-
U-Ty out
the front windows... of the place, m the main place.
side,
stepped out
in the woods that there were
guards.
These,
these feelings and these
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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TAB
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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/N0F0RN)
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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IG^W
NALS
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0RC0N
SGFOIA3 Approved For Release 2000/08/07 : CIA-RDP96-00788R001000240001-5 Approved For Release 2000/08/07 : CIA-RDP96-00788R001000240001-5