REMOTE VIEWING SESSION CC7

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000800030001-1
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 21
• Document Creation Date: November 4, 2016
• Document Release Date: September 5, 2003
• Sequence Number: 1
• Content Type: REPORT

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ORCON/NOFORN
GRILL FLAME
SESSION REPORT
COPY 2 o 2,
CLASSIFIED BY: Director, DIA
DECLASSIFY ON: 30 Nov 99
EXTENDED BY: Director, DIA
REASON: 2-301-C (3) (6)
I M! _E
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SUMMARY ANALYSIS
REMOTE VIEWING (RV) SESSION CC7
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 CC7
#66: This will be a remote viewing session (edited
for security).
PAUSE
Its time now to focus on the target for today.
I have in front of me and I'm looking at . . .
a picture of two individuals.
PAUSE
As I look at these individuals, just relax
and concentrate. Focus your attention on these
two individuals.
Locate them.
PAUSE
Identify the area. . where they're located.
PAUSE
Simply describe the area to me.
PAUSE
#36: I guess it will have to be one at a time.
#66: All right.
#36: I don't really understand this . . . because
its a lot different than I imagined.
#66: Describe it to me. Its not necessary to make
complete sentences or explain.
+04 #36: I don't understand where to start. . . . I'm
moving around. . and looking. Its . . .
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#66: Just relax and concentrate. Watch it carefully.
When you're ready. . . when you're ready . . . .
You've got plenty of time, just relax and concen-
trate and when you're ready to describe, then you
describe.
PAUSE
#36: I have a strong feeling. . . of a bearded one.
#66: Okay. I'm now looking at the bearded one.
Um hm.
PAUSE
#36: Its . . . very ornate. Brocade. Room.
PAUSE
I felt . . . . he slept in this room, but it
doesn't appear to be a bedroom.
#66:
Okay.
PAUSE
+06
#36:
Fancy desk over. . . Fancy desk.
#66:
All right.
PAUSE
#36:
Fancy ceilings.
#66:
What makes you say they're fancy?
#36:
What?
#66:
What makes you say they're fancy?
#36:
Ornate. . . . . . I guess scroll type stuff.
#66:
All right. Fine. Tell me more about this
room.
#36: It appears to be a room for ... pomp and
ceremony. Not like U.S. places I've seen.
#66: All right.
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I've been trying to shake this, but it was
so beautiful, I thought it was overlay.
It won't go away.
#66: That's fine. What's going on in the room?
+08 #36: I see someone, sitting. . . very tired.
May be sleeping.
There's somebody standing . . . by two doors
I see.
I can't believe how beautiful this room is.
#66: Tell me about the person standing by the doors.
#36: Just a person. Its a man. There was a door
at the end of the room. Definitely a man.
He . . . a civilian, I think. He's got a
weapon.
#66: All right.
How many people are in the room?
#36: Looking. I have a feeling . . . . . . . . .
I don't know. Five or six people asleep.
Laying . . . . there's two on the floor.
PAUSE
#66: Tell me about the floor.
#36: Its . . . dark background. Very fancy blues
and . . . blues and gold.
#66: Okay.
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#36: Is . . . . elegant.
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#36: Is real fancy. Somebody laying on a couch
or long seat.
Somebody in a white shirt and its him. . . I
thinks its the bearded one. He's half awake
and half asleep. Sitting up. Got his head
against his hands. Elbow on his knee.
#66: How does he feel?
#36: (Not audible) too good.
PAUSE
Its fairly quiet in here.
PAUSE
I feel like the guard's nudging somebody.
Trying to wake them up.
PAUSE
+13 #66: Tell me about the walls in the room.
PAUSE
#36: I see . . . . . A white or cream stanchons
like. . . or broken. . Its flat panels. .
I think they're smooth. Smooth. . . retain
vertical stanchons which appear angular rather
than round. Walking around here I saw . . . .
maroon . . . . colored . . . marble column. Just
saw part of it. I . . I don't know if its a
stand or something or if its . . pillar.
I think that's outside where . . . the guy with
the weapon. . . . .
PAUSE
I think the guy's standing. Southside.
PAUSE
#66: Tell me about things electric in the room.
PAUSE
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+16 #36: Brass plug under . . under the desk, on the
floor. Beautiful chandelier.
I don't get this. They ought to be in the
bedroom.
#36: I'm looking for it. Yeah. Ought to be
something like that.
PAUSE
#66: Just look for it; don't manufacture it.
PAUSE
#36: Got some funny furniture, but I . . . I
wouldn't. . . I don't know if it houses
anything.
I don't believe this.
I don't know.
PAUSE
There's a . . . I don't know if this is the
same desk. I think its the same room. Its
got . . . a red phone but I don't think its
connected.
Real fancy desk. I'm going to look for that
other guy.
#66: Fine. I am now looking at the one without a
beard. I'm looking at him directly. Focus
your attention on him. . . and describe the
area to me.
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#36: The room is . . . primarily white with . .
looks like some fancy plaster molding between
the ceiling and the roof; ceiling and the wall.
There is . . . its white.
PAUSE
+20 #66: What's going on in the room?
PAUSE
#36: I think . . . There ought to be beds here.
PAUSE
This guys curled up on something - got his
knees drawn up. And he . . . . Let me see.
Carpet on the floor and tile.
I see some guys over there I don't know.
PAUSE
#66: How does one get into this room?
#36: Wait a minute.
PAUSE
There's a big tall door about . . . 10 foot
tall. I don't know why in the hell I said
that; that's stupid.
PAUSE
#66: Simply describe, don't analyze.
PAUSE
#36: Wait a minute.
Wait a minute.
#66: Relax and concentrate and focus your attention
and when you're ready, describe.
#36: I see . . . a . . . . I think there's a door
+22 in the roof of this room.
#66: All right.
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#36: Just let me . . . I . . . I wonder - a door
in the ceiling.
#66: Tell me what makes you say that?
#36: I just had a look around and I . . . this . .
thing/this shape, just appeared. Like a door
laying flat and I was under it. Its somewhere
in this room; it must be in the ceiling.
Its like a . . Looked like two panels. . .
Its twice as long as it is wide and it is two
panels.
There's somebody on the roof. Outside.
There's somebody up there.
PAUSE
Its . . . Its not our people.
PAUSE
#66: Okay.
I have no further questions. I'd like you,
at this time, to make any comments that you
feel you'd like to make.
PAUSE
#36: Wait a minute.
PAUSE
I see what appears to be . . a curved portion
of a room. Curved wall.
I . . . I saw a hand reaching, trying to
stretch to someone to help them up on something,
I think.
Okay.
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#36: I guess a pitched roof building and the main
entrance is . . . . . where that guy was
standing. I mean in that direction. . . .
I said South.
#66: Okay, I don't want you to get too far out now.
We're interested in the description of these
two areas. You've done just fine. So relax
and concentrate. Relax and concentrate.
Remember the images that you've had. Remember
clearly and concisely, every detail, all the
images that you've had. Bring your attention
to focus back into the room now. Move your arms,
move your legs. Sit up and draw those impressions
that you had.
PAUSE
#36: I don't understand this.
PAUSE
#66: Would you like some overhead light?
#36: Yeah, I guess.
PAUSE
Huh! I never looked at that wall.
PAUSE
#66: When you're ready, as many little labels and
diagrams and arrows that you can put on the
actual picture itself, the better. Because we
may have to give someone just the picture with-
out any words.
#36: There were people on couches and things. I
just got glimpses of them. I don't know exactly
where these couches were. There's also some
people. . . in on the floor over here.
PAUSE
#66: That's the way, that's good.
PAUSE
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#66: You can just add a few words to the side
like you say a chandelier. . in the room, and
things like that.
#36: How in the hell do you spell chandelier?
#66: With a ch.
#36: Right.
PAUSE
You said it had fancy carpeting too?
#36: Um hm.
#66: And you made a comment at the beginning that
this didn't look like what you might have
assumed you would find when you'd look for
these people.
PAUSE
#36: Another word for stanchons is
PAUSE
#66: Okay.
#36: There was furniture like I've never seen
before. Very fancy chairs. Fancy. . antique,
I guess, you know.
I can't draw that fancy stuff.
#66: Okay, why don't you go on to the second area
where the second gentlement is located.
#36: The . . . That room was very clear, but I
can't get all that fancy stuff. There was
even gold colored cords with tassels on them.
#66: Okay.
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#36: I saw a guy that had a beard all doubled up
sleeping close to me towards or against
something. I don't know, a couch or something
else.
Over here were some people . . . lying on the
floor.
#66: Do you feel this is a different area than the
other area?
#36: Oh, most certainly.
This had fancy stuff up here but it wasn't
painted. It was painted white. There appeared
to be something on the ceiling like that.
That could be a light, but I had the distinct
feeling of a window or door, an opening through
to the outside.
I don't know why, but. . . . I couldn't
. . I don't remember any windows in the blame
place but there was a . . . very tall door and
I didn't .
I was aware
. I didn't see any guard or anything.
of someone on the roof.
#66:
Um hm.
PAUSE
#36:',
Maybe a skylight, I don't know.
PAUSE
There was ing over here in this corner.
I couldn't make it out.
PAUSE
What'd I say that color was? Maroon?
PAUSE
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#36: Okay, that's about it.
#66: Okay. Write a number down here for this.
Okay, that's good.
#36: These stanchon gizmos were fluted and there
was a . . .
#66: Which room were these in?
#36: These were in that first room. And then
there'd be open panel and then this thing
would repeat again.
PAUSE
#66: They stuck out from the wall, or . . ?
#36: They stuck out from the wall, um hm.
#66: Okay.
#36: The ceiling had all kinds of fancy, symetrical
stuff on it.
#66: Okay.
Stanchons are pillar-like things that stuck
out from the wall a little bit. Were they
decorative or supportive?
#36: Um hm. Decorative, I think. I'm sure they
supported - I mean they covered a support.
#66: Um hm.
#36: But they were very decorative.
#66: Okay.
Can we go back to Drawing 1 here and indicate
which wall you think those were on in Drawing 1.
#36: Right here.
#66: Okay. Write see Drawing 3.
PAUSE
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#66: Put your number down here. The chief
analyst will get me for that.
#36: Okay. He's a God damn bear.
PAUSE
Here's where the phone was.
PAUSE
#66
I don't think it was hooked up and this
the desk that had the brass plate under
Ok
is
it.
:
ay.
#36:
I would have thought there would have
been
#66:
a lot more austere than what I saw. I
have been, you know, clean across the
somewhere else, but . . .
Anything else you want to add?
may
God
damn
#36:
Only my complete surprise that (not audible)
more austere - like a big Government building.
#66:
Okay. That'll do it then.
12 .: ."7
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TAB
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TARGET CURING INFORMATION
REMOTE VIEWING (RV) SESSION CC7
1. (S) The remote viewer had been exposed to open source
news media information and extensive overhead imagery prior
to the session. He knew he would be working against the hostage
situation in Iran.
2. (S) The following page shows the only information provided
to him at the time of the session.
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