REMOTE VIEWING SESSION CC 22

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000800160001-7
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 22
• Document Creation Date: November 4, 2016
• Document Release Date: May 15, 2000
• Sequence Number: 1
• Content Type: REPORT

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ORLON/NOFORN
GRILL FLAME
PROJECT
SESSION REPORT
CLASSIFIED BY:Director,Dl
DECLASSIFY ON: 31 Dec 99
EXTENDED BY: Director,DI/
REASON: 2-301-C (3) (6)
GRILL FLAME
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.SUMMARY ANALYSIS
REMOTE VIEWING (RV) SESSION CC22
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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REMOTE VIEWING (RV) SESSION CC22
TIME
#66: This will be a remote viewing session (edited
for security).
For the past few minutes you've been studying
a photograph of an individual. Focus your
attention now on that individual.
Relax and concentrate. Focus your attention. .
Become aware of the location of this individual.
Relax and concentrate. . . . Focus your attention.
Describe the area to me.
#8: Window. . . in the rear of the building.
(Not audible - mumbling). Sunlight coming
through.
PAUSE
Yellow. Beige.
PAUSE
PAUSE
He's keeping himself busy. . . by writing.
PAUSE
#66: What is it that he's writing?
#8: A pencil.
Could be ink. (Not audible) (Mumbling).
PAUSE
--ar 4% Z, 75
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Like a diary of some kind. Events.
Yeah. (Not audible) chair.
+05 Round. Small table.
Looks like (not audible).
PAUSE
I think he wants to . . . . . (Not audible).
PAUSE
So he won't forget it. He's very intent
and he . . . . .
PAUSE
They know about it.
PAUSE
I don't see him tied up. Not the hands
anyway.
PAUSE
#66: Tell me more about this room.
#8: Okay.
(Not audible) window. Two walls, it looks
like a very small bedroom. Very small.
Half. . . Half. . . Half a bedroom.
I think . . . (Not audible) For some reason
that looked (not audible). (Not audible) in
the center on the cards.
I don't see anything (not audible).
Its a door just in (not audible).
#66: Tell me a little bit about the door.
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It looks like a . . . . . little squares,
like insets. They're solid wood.
Its a (not audible). Got the impression of
(not audible - mumbling).
+10 Let's see, its. . kind of blonde, reddish,
light color.
PAUSE
That room's in the middle of the hallway.
PAUSE
There's rooms to the right and to the left.
#66: Okay. Tell me more about these areas here.
#8: Okay.
Its . . . about two (not audible) to the right
. _ with the wall. Okay.
Coming. . . . . . I see sort of a . . . . .
multi-colored . . . . like. . a bamboo or
woven mat, something like a rug. But its not,
its not soft material.
I think, in the hall.
#66: Okay.
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#8: Okay.
PAUSE
Coming back. . . . . there's one or two more
rooms to the left of this room. There's a .
. . . to the right, something like a hallway.
Entranceway. Entranceway.
#66: Okay.
#8: More spacious.
#66: Tell me about the building itself that these
rooms are located in.
PAUSE
#8: Like outside?
#66: Okay.
#8: There's no fence in the immediate area. There's
one much farther down. Much, much farther down.
#66: Tell me about the building.
#8: Okay.
+15 In front. Stairs leading to an entry way.
Entry way is recessed into building front.
On the left seems to be more wall than windows.
The windows are . . . . narrow. Much longer
than wide.
#66: Okay.
#8: The right side. . . .
#66: Describe the height of this building.
#8: I see this . . . one story.
PAUSE
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#8: Looked like an . . . like an old French building.
PAUSE
There are bigger .windows on the right.
Facing. . . that I'm facing.
Different pictures. I see a flat roof and then
I see a red tile roof.
#66: Okay.
#8: The tile roof has got a . . . its an "A" roof.
#66: Move up and away from the building and describe
the surrounding area.
PAUSE
#8 Okay.
Big (not audible) on the front. Looks like
(not audible) mainly.
Looks like the . . . (not audible) urns, cement
urns, (not audible) porcelain or . . .
There's a shorter space behind the building -
looks like same. Then a row of trees.
Very green trees. It seems to . . . be located
as if it were . . . built at the . . . (not
audible) enough at the apex of a curve.
Guess. . . Guess the impression is a . . .
like a small, small . . . little building to the
right of that one. Like . . . its small.
Now, its in the . . . buildings (not audible)
to the side of it.
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+20 #66: What activity is going on right now?
PAUSE
#8: Very little. I just see one . .
big black car.
In front. . . . of the building. In front
of the steps to the building.
I guess the impression is a couple of . . .
rural military vehicles like. . jeep like.
(Not audible).
#66: Okay. I have no further questions about the
target area. If there's anything you'd like
to add, now is the time to do so.
PAUSE
I don't think he's in trouble. (Not audible).
PAUSE
He's concentrating on doing things. Being
active, writing. Busy. He's not . . . .
in personal difficulty.
#66: Okay.
#66: Okay fine. I'd like you then to draw your
impressions that you've had of the target area.
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#8: What the hell happened at the beginning, I
9?
#66: I don't know. Can you tell me some more about
your feelings?
But it wasn't towards him. I thought it was at
first, but 'cause I couldn't recognize him. In
fact, I warn' Leven concentrating on him, I was just
waiting for you to . . give me the go ahead.
I had a terrible feeling of depression. Terrible!
Unless it was just a relay. (Not audible) control
it. So then I started all over again.
PAUSE
At first I thought it might'be him, but I wasn't
concentrating on him. I didn't want to concentrate
on him until you gave me the go ahead.---;,-,-
I don't know where I got that feeling. I don't
know what caused that.
PAUSE
I said he was in trouble at first, but he isn't.
PAUSE
What I saw. . . . I'll give you the overview
first.
#66: Okay, try to make your lines real dark so that
we can copy this.
#8: Okay. I'll go over it.
#66: All right.
PAUSE
#8: Okay. This is more pronounced this way.
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#8: And there were stairs running along back here.
And he was, from what I saw, this is a corridor.
But he was in a small room, here. Okay.
Then there were other rooms here. I'm not sure
whether there were two or three. But I only saw
a couple more here to the right. Something like
this. Then a bigger area. And this was all wall.
This was one window. I didn't see any bars.
And I got different impressions here. As if this
. . . this might have been like a stage room or
it was an open space and the predominant one that
came out was that it was an open space afterwhile.
All right.
#8:
And this is . . sort of a wider entry way.
there's steps and this is kind of covered,
recessed in.
And
its
#66:
The entry way is recessed into the building?
#8:
Yeah. Sort of. Not much, but a little bit.
PAUSE
Okay and this looked like a . . just that, an
entry way or something. There was a rug as if
if were a bamboo woven rug like you'd find in
South America or something. And it was multi-
colored. Then the yellow. Some red. Some green.
Okay. Then I had a . . . bed. There was a chair
and eitheria desk or small table.
Oh, and the guy that's in there more often than
not is in this corner.
Okay. I don't understand this either; there's
no bars on this window. . . that I could see.
#66: You commented several times that there were
no bars on the windows. Is there some feeling
that made you think there should have been?.
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#8: Yeah, I was looking for them.
#66: Why . . ??
#8: Because I saw bars before.
#66: Okay.
#8: In the last session. That was one of the items
I was looking for. Okay.
This is not quite in proper sequence.
But that
entire building . . . whatever this was, there's
a curvature here some place. Okay. And this
building, somewhere around here.
. . I'm going
to draw it small to give proper
Okay, now, the only thing I saw
dimensions.
. . . At first
I didn't see anything. But the only thing I saw
was some place here which was a small building.
Stucco, cinder block, like that. Like a guard
house type. Okay. And this was all empty But
far away, at the bottom some place,
is a fence.
#66:
What type of fence?
#8:
It looked like black iron fence to me.
#66:
Black iron fence?
#8:
Yeah.
#66:
Okay.
#8:
It could have been on a wall, I'm not too sure.
PAUSE
In here, I could see a person. There was a road
leading up to the building. I saw a big black
car here when I looked for it.
There were a couple of military vehicles. Okay.
And behind here was a treed area, with a space
between the back of the building. Kind of some-
thing like this where you would have the trees
and this was more open.
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I got the impression these things weren't
occupied by the way. And most of them .
#66: Did the other rooms, up and down the hall
#8: Were not occupied.
#66: Were not occupied, okay.
#8: (Not audible).
#66: Okay.
#8: Okay.
PAUSE
Did I draw the front?
PAUSE
Okay, the front looks something like this.
Extended here. Like I should do two sides.
I got the impression here that there were this
type of window with some, something like this.
And they were much longer than they were wide.
This was recessed. Stairs. Doors here. Okay.
Then the only significant thing here was that
the windows are much bigger like they were
double French windows. . with the crank that
you open up. That's what this was.
#66: Okay.
#8: Various isolated shrubbery or (not audible).
One or two, maybe four. Maybe something here.
Maybe a tree, but . . I got the impression that
was openness here.
#66: Okay.
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#8: I got the strong impression its definitely "L"
shaped, but I'm not too sure of the way the "L"
goes. Whether it went that way or that way.
And I got confused here as if this were an open
space or natural kind of storage ar9a. Much
darker with less window e. Lip? this type
of thing in front. I j(on't Now) this is
recessed in. But th building, got the'impres-
sion was definitely 'L" shape ut I don't know
which way it went.
#66: Okay.
#8: Okay.
#66: Okay, if you'd kind of darken in some of the
lines that you have there, so . . .
#8: Okay.
#66: Then we can copy them.
#8: The roof. . . The roof at first looked flat.
And I don't know if it reminded me of -a -French
Villa but then I saw a red tile roof and I'm
not too sure.
#66: Okay.
PAUSE
#8: Entry way sort of (not audible).
PAUSE
I'll do it this way. It was higher than that,
but. . . and more interconnected.
This was a gate of some sort.
PAUSE
#66: Okay, you're drawing in One now, you're darken-
ing lines. You said you thought that the rooms
were unoccupied except for where he was located
there but did you, didn't you say something about
a guard person at some time.
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Yeah, in his room.
In his room.
In his room,
Okay.
I don't know
Okay.
if he's supposed to be in there.
But more often than not, he's there. I get the
impression he spends a lot of time in there.
The ironical thing when I saw him writing and got
the impression that he was only keeping busy but
making damn sure, like making (not audible) to
remember all the details and putting it down
and as he was putting it down, then I got the
impression this guy was fully aware that this
was going on.
#66: Okay.
#8: Wasn't that weird. Okay.
I . . . I just sensed emptiness. I didn't go
into. . . but I sensed emptiness, as if you
were more or less in isolation. Okay.
#66: Okay.
#66: Do the rooms a-little bit darker. They won't
come through on the copier.
#8: Then I got the impression of a couple of rooms
here but . . . I don't really know what's in
here. But that looks like the waiting area.
#66: Okay.
Space.
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#66: Okay. Anything you want to add then?
PAUSE
#8: I don't know where that original feeling of
despondency came from.
I don't know if its from me or as a result of
the situation. But its definitely not reflect-
ing of him. I thought it might be. But I didn't
detect that subsequently.
#66: Okay.
#8: He seemed to be like an active . . . even making
a real effort to make the time go by and keeping
himself busy and making something, (not audible)
that he wants to do it and will do it and will
maintain the complete mental and written record.
#66: Okay.
#8: So it wasn't him.
#66: All right.
#8: Put it down on the paper.
#66: Okay. Anything else?
#8: No.
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TAB
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TAB
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TARGET CUING INFORMATION
REMOTE VIEWING (RV) SESSION CC 22
1. (S) The remote viewer had been exposed to open source news
media information prior to the session. He had not seen overhead
imagery prior to the session. He knew he would be working against
the hostage situation in Iran.
2. (S) The following picture was the only information provided the
viewer at the time of the session.
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 SGFOIA3
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