TRANSCRIPT REMOTE VIEWING (RV) SESSION CD-96

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R002100340001-2
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 17
• Document Creation Date: November 4, 2016
• Document Release Date: September 5, 2003
• Sequence Number: 1
• Publication Date: July 25, 1980
• Content Type: REPORT

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CLASSIFIED BY:MSG,DAMI-ISH
DA D;051630ZJUL78
REVIEW
GRILL FLAME
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REMOTE VIEWING (RV) SESSION CD-96
#66: This will be a remote viewing session for 0900 hours, 25 July
1980.
Relax and concentrate now. Relax and concentrate. Relax and
focus your attention on the woman known as Mary in the photographs
I have shown you. Focus your attention on the woman known as
Mary in the photographs I have shown you. Relax, relax and
concentrate. Locate Mary, locate Mary, and describe this location
at the present time, and describe Mary's location at the present
time.
#31: Feeling of, um....very funny wall... massive...massive, with a...
curve in it...which is...ornamental .... The curve is maybe...
head high...like a huge, long scroll.... This place is.......
narrow fronted...but very high... I'll watch, I'm feeling...
like a memorial... place... I'm on...red tiles... There are
pillars on my right, which support this high roof...ovorhang on
my left...it's a solid, mass of scrollwork, carved in the wall...
There's a.....large, boulevard type, with parking out front...
I'm getting a...feeling of a few steps up...from the boulevard
level.....
#66: Go to Mary now and tell me about her immediate surroundings.
#31: I have a picture of Mary.... She's standing in the corner of
a room...behind a very thin and cheap podium...lecturn...
Around and behind her...are what appear to be lines in the wall,
with opposing lines.... She is...room is...large wood desks...
double desks in rows... She's lecturing or talking from this
lecturn... It is...on the arts...on the arts-music, I think...
There are a number of people, possibly...eight to ten. On her
right is a larger table...with a...some middle aged man seated
there... The exit door is on the right, and there are ten to
twenty, I'm sorry, eight to ten people in the space are sitting.
I do not feel any windows...
#66: Tell me more, now, about the building in which this room is
located.......
#31: I'm seeing almost a classic Grecian style...slight peak roof.
Massive side building. Pillars all across the front, but the
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#31: front is really a facade which is...high, and has this
scroll work in the facing of it. It's not a building I have
seen. It's academi. It's...there's a single dark entranceway
in themiddle o e front.....
#66: Where is this room located within the building?
#31: I...think it is in the second or third floor in the right side
in the back half. Because I looked there just before I found
her.
#66: Scanning the building in total, what is the function of the
building?
+20 #31: It is...a nontechnical, academic building which houses both
professorial offices and...small seminar room. I got a
fleeting shot of a basement, glass table topped ...... I mea
table with glasses on it, and such that might be technical
or chemical laboratory in the lower left...like in a basement,
but...essent.ially it is not a large classroom building. But,
rather a large seminar building. I see offices, and adjacent
to the offices are small rooms and library type paraphenalia.
#66: All right. Fine. Move back to Mary now. Move back and
focus on Mary, and tell me if this is a place where Mary
spends a great deal of time? Is this a normal place for her
to be?
#31: She is familiar with this area, and it is normal for her
to be here, but she does not come here frequently. I do not
think she...think she is more a ...returnee lecturer, but of
some academic credibility. Of the familiarity of her
audience, is as tough.-she was at one time a member of that
group. But, the system there is...I'm getting this flavor
of a part timer...held in some unknown...by the locals.
#66: All right. In this room where Mary is located, is there
a telephone?
+25 #31: I..um..place a telephone... inside the door on the right or
more of a table than a desk. It is a common service telephone.
Common access.
#66: Describe the instrument to me.
#31: It is a simple ..black base and singlehanded receiver, dial,
single line..It seems more tied to the guy at the desk than
common service, but it could still be used by anyone. They
may have to ask.
#66: All right. Place your hand on the phone, and as you have your
hand on the phone ask yourself, what number would I call to
reach this page, ..= F k, geif ,, what number would I cal-
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#66: l'iary have an interest in this telephone?
#66: I have no further questions about this target. I'd like to pro-
vide you the opportunity to comment on anything that you think
is important at this time......
+29 If you have no further comment, let's prepare to draw the images
you have seen.
#31: The greatest difficulty I have with this session is the...
trying in words to describe the attitudinal condition in that
room f ...o ie gAr a ?the -e around her...
I~t s like a...It does not parallel anything r U.S. educa=
tional system. It is a, like she is a graduate studen , the
loosely and prolongingly affiliated with an educational place..
111... CIIlu Il Ii5 .L .+. r.c a LGGV V111 .J II~u VC:IIIGI~4 ~,~IUL OIl ..CI 1. J.nG ,
e she knows everybody an can rop y oa t; an end
up standing and speaking in front of the group of people...
like a guest lecturer of someone that used to be in the class.
he guy dragged her, or, and she came in... I didn't feel any-
thing like it was grade, I didn't feel any stress on her part,
like, Oh, I gotta do a good job, you know, or anything that
would impl-, that would correlate to a U.S. type of school sys-
tem. She arrived on foot, she did not drive, she took ul c
~
Um, she had the rapt attention of everyone, she was speaking
from behind some cheap little podium, and she did not have any
notes, or she wasn't giving a speech like a formal presentation,
or anything like for a grade... It was like, oh, look who's
here, well, come in and tell us everything that's been happening.
But I couldn't figure out if it was a. formal, come in and tell
u what's happening, or if she just showed up at the door, and
I har!' this flashing image of a bus oar of
conveyaii e. Noow,
Pamtype of public conveyance, you know, this, people
hangin' out the windows, and off the doors, and she gets off
this thing, and she has to walk some distance to this building.
And there's some sort of cleared area across this grand boule-
vard parking area...there's some cleared area that like she
had to cut across to get to the building. But the most peculiar
condition in the building is this scrolling on the front wall...
And the... the... also an unequata le peculiar condition of the
building is this, you know, I'm Ned to U.S. educational systems
where you have lecture
e
and they have their class.
meeting room, and all
t
academic, and just out
out
an office all lined w
case. This is like
tle booths, and they'
their offices maybe a
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4 the way ac
~e all erampe
?minar area i
th books and
a door ass
se peo
e
and the professors have
pss campus, and they're lit-
in. Well, this isn't the
which the professors has a,
it's nice and mellow, and
iated with it then is a
gather at the meeting room
they're not these, it's not this
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#31: massive hugeness, its just very small intimateness, of numbers
of people, like you would associate at the graduate level.
You know, graduate school, graduate level seminar condition.
Okay. sketching now... I have to draw this small, because I
have this feeling of great massiveness.
#31: All right. The...how do I describe the front of this place?...
When I was.. when I was sitting on the, standing on this front
art porch thing, it was though I was standing on Brandenburger-
Tor. A place which I've never stood, but the words Brandenburger-
Tor came into my mind. A large, ornamental facade, memorial
in nature. Something to do with memorial... And having this
ornate scroll.wotk around inn ; around words,; this thing was there
it really wasn't necessary, and it was memorial in nature. And
this, the front of thei place was masi.ive. And this art- this
this that I keep calling a scroll is etched right into the left
wall, it's bas relief, I guess you'd call it. Okay. But V's
very modern... And...and it comes all the way down from the
ceiling, which is 30 feet up, alright. And it comes around like
this. And it is in fact the shape of the wall, because it's
solid, it's not something that's hung on the wall, you walk up
to the wall and if you could reach the ceiling and move your
hand all the way down to the red tile at the base, your hand
would follow this curved, scrolly contour of the wall.
#66: Okay. It...it appears to me that you're describing some work of
um...building front in here, number-.a...a construction sculpture.
They designed sculpture in the wall.
#31: Yes. Yes, that's the, that is the situation. The design...
very good. Design sculpture in the wall... Okay?.........
Okay. Like that. And this is the actual wall face, this dotted
line that comes down... Okay?... this is a...this entire thing
is like a...a...light brown...it's a light brown or a dark sand
type of...I mean it's not like other structures over there...
Light brown, dark sand, grainy, okay, grainy texture... Bas...
bas relief. Now I perceive that the whole wall was that way.
Okay?... And this, the flatness of this outer area here....
is red clay tile. Deep red. Burnt red, okay, you know that...
burnt red clay tile. Then there is a, somewhere I presume this
is like an arched doorway... Okay, I'll draw that in, and that
dark and shadowy in there. And out here...
#66: Okay, this is the scene that you saw when you first acquired
imagery of this?
#31: Yes... Okay, there's the steps down. Out here... greenish green,
like a grass counter, green like grass, and then there's this
wide... wide boulevard... wide boulevard, yeah, with like, cars
would park along the side of it.......
#66: Okay.
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##31: Okay... I`remember the angle parking... ut not too many cars
there, ut cars could park there, like it as, again it was like
this id a of Brandenbu.rger-Tor. This big collage of effort and
facade ilt in, when in reality nobody would ever walk through
it. Okay. he-re;?this big, wide, festive, massive
boulevard, and there aren't any cars to drive down it. Okay.
And all these parking areas along the side, like it looks really
affluent. But every time you look at it, there's only four
cars parked out here, in this big huge area. Okay. And then
over here... some sort of low trees and maybe a low bush or so,
but this is essentially and open grass...area. Okay. Alright.
Now for just a quick overview of the building, then I'll go into
the room. I'll draw it from the other perspective, so that I
can show where I thought this place was..... Very...well, in
my description I called-it Greek. Okay... Almost like classic
Greek architecture. Ostentatious. Bops... It's elevated up
from the buil.- from the base of the building, is what I'm tryin'
to get across here... You can see your up, above here.
#66: You have to go up the steps to get to that level?
#31: Yeah. You can't just, well, I didn't have the feeling that you
could just walk in across the grass, you'd be faced with about
a five foot wall, if you just walk across the grass and try to
get in the building..... Okay. Maybe one, two, three, maybe
four in a basement. Okay, and where you asked me to focus on
her- oh, let me put the rest of this stuff in... I caught it
essentially standing by itself, but.there are other buildings
around it, but their not jam packed, like inner city buildings,
they're spread further apart. This is the boulevard....
Actually that should go that way. Okay. It was almost as if
this boulevard dead ended just past it. Okay... Because of this
lack of traffic, it's like you couldn't drive, really drive
through it. And here's open...area over here. And "X" marks
the spot of about a second or third...second or third floor..
a room. But inside the building. Not, not a, cause once I was
in the room I didn't see any windows. I didn't have a real
strong impression of windows, I like, said, oh gee is there a
window around there, and I sort of saw a window and then it dis-
appeared, which to me means I made the window and it didn't fit,
so it poof! faded out of the net. So it's somewhere inside the
building, and interior room is what I'm saying. Okay.
#66: Okay.
#31: Okay, so it probably was an interior. room, just in case that was
missed. On sketch three...have, um... I'll draw it from her
perspective, is probably the best way to do it... Or is it?
#66: From the top looking down, if you can draw it.
#31: Yeah, that's probably the quickest and dirtiest way to do the
thing............
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#31: Telephone instrument is here where the arrow is. This is like...
the professor...
#66: That was the gentleman you saw?
#31: That's the gentleman sitting there, he was sitting facing that
way, Mary was standing at this podium over in the corner, facing
that way... And these people who were her age, I didn't get the
idea that this was a bunch of elementary school kids... Okay,
were paying rapt attention, I mean, they were all sitting there,
and there was like there were two at a table...
#66: And, uh, you mentioned something about what the, you thought the
lecture was about, or what she was talking about?
#31: Well, I had this feeling of art and music, okay, when I was,
when I was there. But because of this, because of this looseness
of trying to find out what she was doing there, it doesn't fit
with arts and music. There is this big contradiction there.
This whole situation is a large contradiction. Logic contradiction
to me. Because she's here, walks in off the street, oh, hi, how
ya doin'? why don't you talk. She's not worried about a grade,
she's not giving a formal presentation, she's standing up talking,
no notes. The feeling of arts an music came through, liberal
arts, music, came through, but it's just another one this dis-
jointed feelings. I think that the area., or the class maybe a
arts or music calss that she may have been a member of.
#66: Okay.
#31: Or knows the professor, because she's one of his grad students,
but, or something, an old student, but she's here talking about
something else, just off the top of her head, and it's just one
of these, it's just cloudy, just like the whole, that's part of
this cloudy flavor to the whole episode. And, uh, okay .....
Interesting situation, here. I never would have believed it
unless I actually saw one, but there's a Persian rug on the
floor, but it doesn't go the whole size of the room.
#66: Okay, so you've drawn dotted lines-
#31: The dotted lines is like where the rug is.... Bare floor all
around. There's this little telephone sitting there on this
other table right inside the door. And Mary on the left. These
are all bookshelves..... Okay? And this is some sort of a
cutout that I don't know what it is, I couldn't see anything in
that corner of the room, but it was blocked from my, you know,
from the room, it was blocked off, like a... Okay, and then
I had the feeling that outside was some sort of a corridor, but
I didn't go outside. And that's it.
#66: Okay.
#31: Now, let me see, the little "X's" are, let me describe these
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#31: litle "X's". They are, how do you say, adult students, they're
grown-up students, they're not kids.
##31 No, Absolutely not. No, these were a 31 ~P?=re1.ans. These were
all locals that were being talld to Flow do I describe this?
These are, uh, mature udeiE.. Mature students, i.e. the
n
g. Urn, [nature students rapt attention...
-_2 .year old fe li
sitting two to a desk. Oh, let me, telephone number, what did
I say? 737? I had the definite feeling it was like an extension
but it wasn't, you had to dial something else and go through a
board and then you'd end up ringing that phone. Sitting two to
a desk, desks... are light blond wood. Okay? And what do I have
here? I said something like ten to fourteen? No, what'd I say
eight to-
#66: You started to say 10-20, and then you said no-
#31: I reduced it because it was in the bracket of ten, it wasn't
from ten on. It was bracketing ten. So I'll say ten to four-
teen. Small seminar type.... room. Okay. Possibly associated.
The class, or class, or room itself possibly associated with
arts...liberal arts. Strong music flavor, feeling. That's it.
#66: Okay. So we have a rather ornate, for lack of better word, bal-
cony type thing with a sculptured. wall on the left, pillars on
the right, in a rather large, multi-story building, and has
considerable parking area out front here. A d inside the building
we have what you perceive to be, uh-
#31: Somewhere like second or third floor...area.
#66: Okay. And towards the rear of the building, and interior room.
Uh...not what we would call a conventional classroom with many,
many desks in one, uh, teacher, but a, more of a small grouping,
a smaller discussion-type area. Okay. Any other comments you
have?
#31: Well, I did mention that the overall dominant feeling throughout
the whole building in sketch two was the feeling about, professorial
offices adjunt, or next to and connected with small little seminar
professorial discussion rooms. Like I've drawn. With one exception,
as I was scanning the building to get the overall flavor of the
building, I had the feeling that in the lower, on sketch two,
the lower left hand side, in like a basement, was some sort of
technical area, because I, like got a laboratory feeling with
beakers and glass and tubing and all that kind of stuff. Right?
#66: Okay.
#31: Feeling in the left hand basement, in the view of sketch two.
But that, the, that was like the odd bird, like they didn't have
room for all that stuff over in.the real technical building, so
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#31: some of it was shoved into the basement of this building, but
essentially this building was all liberal arts.
#66: Okay. And one other, comment you made, in reference drawing two,
that there were other buildings, but they weren't close in and
crowded, and you haven't drawn any other buildings in two, which
is fine, but you did say-that, like there were other buildings
scattered around.
#31: Yes, associated. I had the definite feeling that I was on a
university campus, after I gat out of there, and got through, got
into the session, and then went back outside and took another
look, you know, I hadn't...
#66: Okay, fine. I have no further questions.
#31: Not a university campus. Per se, but the attitude of a university
campus, in other words, the buildings being separated by open
space, and being separate, unique buildings, as opposed to other
sessions we've run in what may be downtown Teheran, where it's
buildings jammed on buildings jammed on buildings, and... stifling
pressure.
#66: Okay. Things seem to be more spread out, in the buildings and...
#31: Spread out. Much more mellow attitude...
#66: Okay.
#31: Relaxed attitude.
#66: Okay fine.
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REMOTE VIEWING (RV) SESSION CD-96
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
information provided the remote viewer.
5. (S/NOFORN .--The remote viewer was asked to focus on i 1 known
as 'Mar~~y !`~`He described Mary as being in a class-type room givin a lecture.
The Fr`lding had an academic flavor.
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TARGET CUING INFORMATION
REMOTE VIEWING (RV) SESSION CD-96
1. (S/NOFORN) Prior to the session the remote viewer was shown the
attached photographs and asked to focus on the individual identified
as "Mary."
2. (S/NOFORN) During the session the viewer was asked to locate Mary
and describe her surroundings. He was asked to elaborate on his
descriptions.
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