Approved For Release 2000/08/07 CIA-RDP96-00788ROO0800790001-8 ORCON/NOT RELEASABLE TO FOREIGN NATIONALS GRILL FLAME PROGRAM SESSION REPORT CLASSIFIEDM: ?DIRECTOR, DIA REVIEW ON: March 2000 EXTENDED BY: DIRECTOR, DIA REASON: 2-301c (3 & 6) Approved For Release 2000/08/07 CIA-RDP96-00788ROO0800790001-8 Approved For Release 200 01 -a' Will?96-00788RO00800790001-8 SUMMARY ANALYSIS REMOIE VIEWING (RV) SESSION CCC21 1. (S) This report documents a Remote Viewing (RV) 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 US Embassy compound in Teheran, Iran. 2. 'IS) 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 and describe the surroundings of Kathryn Koob. The viewer felt that there was another female hostage and two female guard-type personnel at this location. He was shown overhead imagery of the US Embassy compound in Teheran during the debriefing and was asked to locate the area he was viewing. The viewer identified buildings "D" and "E", with building "D" being his first choice. 6'~ now __,6pproved For Releasp Q01Q8/Q7_: _ClA-RDP96m00788R0N 004-8~ 20 T77 Approved For Release 2000/0-WrM 7 CTA-RDP96-00788ROO0800790001-8 TRANSCRIPF REMOIE VIEWING WIV) SESSION CCC21 TIME #14: This will be a remote viewing session for 12 March 19BO. The on-target time is 0900 hours. PAUSE All right, #31, the time is now 0900 hours. Your mission today is to locate Kathryn Koob. Locate and describe her surroundings. Identify her location. Relax and concentrate. Project yourself to Koob. PAUSE +07 #31: 1 got a . . . . PAUSE feeling of a . . . . PAUSE a someplace . . . . It is a hallway feeling. But not a hallway. PAUSE On the right . . . . PAUSE +10 1 get this feeling of accordian . . . . walls. Curves . . . . . . . . PAUSE Open space farther down. I can't explain it. Its The more I look, the more it becomes familiar . . . layout. PAUSE +13 Behind me is a real hall. PAUSE 7 J 7- 7 Approved For Release 2000/08/07 :'CIA-F4bP96-60788ROO0800790001-8 711 Approved For Release 200 1 ~%J-00788RO00800790001-8 +15 #31: This central place is is a business type office. I'm seeing familiar things. Layouts. Windows. Low windows now. Across of the small central room behind these open . . . No, I'm looking the other way. PAUSE There are . . . PAUSE I think . . . . PAUSE Somewhere over one of the PAUSE little buildings . . . . little houses . . . . . I can't see her. Yet. PAUSE Feel . . . she and others . . . are here . . . . somewhere. PAUSE #31: Its no use #14. #14: Noise again? #31: Yeah. #14: This session is prematurely aborted due to noise and disturbances outside the room. Session end. We are now ready for debrief. PAUSE #31: Right Of the ve)routset of this session, I had the feeling that I was someplace familair. The floor plan was very, very familiar. I know I wasn't saying too Mch. The reason I wasn't saying too much is because I was having hard enough time keeping my focus so I . . . was . . was remote viewing but not talking. The reason is cause I was afraid the talking would be the final snap. #14: Right. Approved For Release 2000/08/07 : CIA-RlJ"M- MSIOWOZ00790001-8 -T-7 ' 7' Approved For Release 2000/00MI,:, ,L.;Ilpkm-ITDN'P96-00788ROO0800790001-8 (~-_ .,%, j .11 #31: BULI I had the feeling that I was in a central part of a structure. It was a small structure. It was similar and yet diFfcrcnt from a place that I've been before. Arid I didn't know where it was until later on in the session. I went up above it. Okay. #14: UM hm. #51: But, I had the feeling that here on the right was a linear pattern that sort of went around a 90 degree curve. Okay. Like this. And that this thing was wafflely and went on like that. Like a curtain hanging. Or, I called it an accordian. It had the very similar feeling to this accordian. Again, one time way back, I had a feeling like . . . these accordian sliding partitions. You know. Okay. Only it makes a 90 degree curve. PAUSE And, I had the feeling - I'll draw in a different sketch - there is something behind this funny thing that seemed to me to be an accordian partition. It looked almost like a permanent fixture in the back behind it. But, I don't know. Anyway. Okay. On the other side or on the far side of this accordian thing is - let me see, the roof line would come like that, okay, and the floor line would go like that. is a feeling that there's an open space. Okay. Arid then there's a wall on the other side of the open space. And this wall goes on down forming a hall. PAUSE Okay, like that. Then that on the other side - a hallway type of thing. And, okay, then on the other side then the hallway is a classic type. You know, horizon. Okay. This hallway comes back like that . . . on the other side. PAUSE As y0LJ can see what I was trying to say is that I'm in a room but I'm not. I mean I'm in a hallway but I'm not really in a hallway. You know. #14: Um hm. #31: Because I'm in, actually my perspective is from some place, big open place. . that's got a hallway there on the other side of it. And then this comes back like this. And there is these low, the idea of low 31 ...... ~-., Approved For Release 2000/08/07: CIA-RDP9 .6-0078!WbO0800790001-8 1 1.11 '--T " -- - "' - -7 7 Approved For Release 2000T0@ ,!97, ~..,~CIA-'R6P96-00788ROO0800790001-8 windows in here. Like that. Okay. PAUSE Then in 2, all ricjhL, I had the feeling that there was a room down here. I had the Feeling that there was a room down here. There was something here in this end on the right*but that I couldn't see a . . I couldn't see a door there. But that there should have been a door or something, some sort of a passageway there. PAUSE But I didn't see one. But this feeling here in the foreground right is that is is one of these temporary type things that you slide them together stuff. Didn't feel permanent to me. It didn't look or feel it was permanent. And it appeared gray. As opposed to what - partitioning. I mean, paneling would appear - some sort of a wood color. This, I felt was high school auditorium gray. Okay. PAUSE A gray accordian . . . moveable. . I didn't see it move but I just had the feeling. I'll put it in quotations 'moveable type' partition. PAUSE All right. Two is the other view. From 180 degrees out from one, . . I'll draw that. Two is that way. Two is the feeling that, again, its almost geometric opposite. except that at the two position, the nearby hallway is much closer. Its as though I was standing right on the entrance to a hall. Instead of standing across the room from a hall. PAUSE Whoops! I screwed Up My line there. PAUSE Now, its a little off . . . 1-celiny is iLs n lit Lle oFf'seL like . . . Okay. And then hpre in the foreground, if I was to turn around, then here would be . . . . . these accordian things. So that these make a ninety degree angle. Okay, those are the accordian. And, this is maybe some little hallway you can walk down, right here, but its . . . okay. That's the other feeling. PAUSE 4 .~~pproved For Release 2000/08tQ_T.,-, .-CIA-RDP96-00788-RODOaM7gnnO4,8. -7.11- ~... -.11. , T 7- ~ Approved For Release 2000M..., ~J%J-VVMR000800790001-8 1, ? , #31: 1 didnt get 1 feel for doors or anything in this one. All right. What else. I was having a hard time just staying where the heck I was and I didn't want to turn it automatically into the building that I thought it might be. I didn't even want to think about that. So I was forced to sort of stay with just raw imagery and not try to look a[iy further. But, I was sort of surprised. . . . because when I went up in the air, I was saying, where is this, you know, where is this, and I said, you know, to myself, I've got to get an aerial imagery. I had the feeling of having been over . . . . . or being over . . . . this building with the X in it. A regular pattern. Okay. And then I felt that I had been . . I have never been in that building. I don't believe if you go back and check, I think you'll find out that I worked what I think i,s end and this end and have never gotten in the other two. Way early in this game, back in December. But I felt I was over the second one from this end doun here. #14: Um hm. Where the X is. #31: Right. Now. Somebody will have to take that and try to go like that. But I had the feeling I was over a series of four L shape buildings arid that I was over the second one from the right end looking down. All right. And, the only thing I could add is that there's some linear feature here. And that its open around them. It gave me a very quick flavor of that section of the compound. Arid this is openness all in through here. All around these structures here. Okay. PAUSF So, let me see. Then I went back in . . . . and I only got feelings. I'll write them on four because there's no sketching.Throughout the whole thing I never saw Kathryn * I never saw her but I felt that I was in the right place. And that . . . I felt that she and another woman and several female guards were dormed here. Okay /~Several female type other people. But that she, another friendly, and possibly two female, maybe student guards or whatever, okay, were in this buildin(j. PAUSL so~ its And I felt and I didn't know if they were sleeping or where they were sleeping or anything like that. I really Couldn't find them. I had . . the only feeling I had . . when I got those feelings, is when I had a return and I proceeded down the hallway F 5 __,approved For Release 2000/08/07 CIA-RDP96-00788RO-QO 0,~r8 8~`7 Approved For Release 2000/08/070i&&fim6~&l6-QU88ROO0800790001-8 in Number 1, down to the or whatever. How far that not to say, there has to that type of thing. But were anywhere, they were #1. Okay. Down at that PAUSE other end of the building is. Saying . . . . trying be a bedroom here. You know, the feeling was that if they down where the X is on Sketch end. On that end of the building. Nobody on the other end of the building. Nothing happening up there. So, I'll just write Out: Target - feelings only. PAUSE Target - one other friendly . . . . One other friendly woman plus possible two other female guards. PAUSE Watchers is a better thing - watchers. Watchers in the building. Or are all that's in the building. Possibility, feeling that two friendlies are at X Sketch #1. No feeling of activity. No feeling of harassment. No feeling of imprisonment. You know, its really funny. Its the sort of a feeling of how, you know how you can take . you can take four totally strange women together and put them in rather weird circumstances of dominance and no dominance and they'll actually establish some sort of a relationship. Where the good guys don't screw up so the bad guys don't beat up on them. Arid its just a very . . . with men you have to worry about it. The men always have to watch the other guys to make sure nobody . . . But it was sort of like . . . The feeling I had was like the first day in a woman's dormitory, where they're all four stranges. Nobody knows what the other guy is going to say but they're working on this very neutral ground. No hostility, but no . . . . you kn its like, okay, you know, I'll let you go to the bat room any time you need to as long as YOU promise that oulre noL going to run ~iway. You know, a woman will arrive at that type of agreement. A man would never do that. You know. OF Bien would never do that. #14: If I brought in some aerial imagery, do you feel that you could identify the approximate location of the area that you were looking at? #31: Yes. I think I could because it looked familiar from earlier sessions, targeLings that I've done. Approved For Release 2000/08/07 : CIA'-RDR96-007-8.6RO60800790001-8 Approved For Release 2000/08(A-7,1- ;-I Mr-mna n0788ROO0800790001-8 #14: I'm going to got and got some imagery and we'll put that on the tape. PAUSE #31: The last thing, while you were out #14, 1 realized that I had said I wanted to . . . had a feeling of something permanent behind this accordian type feeling. So, I'm drawing that now in Sketch 5. And, its hard to explain. It could be could be very possibly just be straight overlay. PAUSE But I . . . For a fleeting moment, I caught myself thinking . . . I'll stay with my first imagery and that . . . my main imagery and that is that this is an accordian type thing here, moveable wall. But for a fleeting moment, I thought I could look through the moveable wall and I saw what I thought were permanent kitchen fixtures in there. So, for the sake of accuracy, I have to do that. Now what I'm doing is I'll draw this feeling of kitchen fixture and then I'm going to dot line around it the accordian feeling is the feeling that I was looking through. Squares that, would . . of the size. . squares and boxes of the size that are human sized. You know, they're not little stacks of stuff. They're human size squares that had the flavor to me of permanance. You know, permanently fixed. Which is unusual as hell that you'd find something like that tucked behind a moveable wall. But anyway, I've got to do it. So, dotted line wise . . . . . . and like I said, at this time I thought I was . . . you can see here how it comes down at an angle, you know, from the perspective that I have to draw. And then it gets to the corner and then it bends around - that 90 degree corner that I drew in the other sketch and goes back up forming some sort of a little sub hall I guess or whatever you want to call it. Like that. Like that. Feeling of quick . . . feeling. Feeling of kitchen, kitchenette type area behind the accordian wall. Okay. #14: Okay. #31: Dum De Dum . . . To bring that into perspective . . . then. This is sort of an aerial view. Its hard to draw but then like here Would be the corner. This is Sketch 2. To the Sketch 2 view. All right. Right there. Its as though I was standing here but floating at the ceiling, looking down for Sketch 5. Okay. You under . . . You follow. #14: Um hm. 7 Approved For Release 2000/08/07 : CIA-RDP96 007'88P,000800790001-8 T' T Approved For Release 2000/08/f bO66-00788ROO0800790001-8 1A -RI #31: All right. #14: Okay, I have here some overhead imagery . . . of the US Compound in Teheran, Iran. I would like you to look over the imagery and see if you find any area that you can identify that you have a feeling of being in. #31: Well, here. The . . . without a doubt the area I'm talking about is this one here. I don't know what you're number for that is. #14: Okay. #31: With the four four. . appear to lie sincjle story, almost private dwellings type, suburban dwellings. Okay. #14: Uh huh. Okay, now do you have a feeling, somehow, for which duelling you were looking at. Now don't forget sometimes we can get mirror images. #31: Yes. Ha! Its sort of hard one way or the other. Thinking about the way I drew this sketch. The way I drew this sketch it would be this one so I have to trust the sketch feeling. #14: Okay. #31: Wait a minute. Let me get the sketch out. Oh do you . . where is the sketch? Oh, here it is. We layed it down on top of it. There, okay, if we go with the sketch, sketch proportions,! the way the ~ d bE L shapes are on the sketch, it w d be this one here. 'D #14: Okay. Pointing now to Building 'D". delta. #31: Okay. #14: But in either case, even if it is in reverse imagery, iL would be . . . #31: Right. #14: either DeIL- o- Lcho. 0 ' Lc" #31: Fcho would be the A r way if its . . . Delta accord- I 0 ing to the ske ch p op rLions. p0 h Ode.t #14: Is the first cho' e. #31: Is the first choice, but if really my feeling, the way I have see the way I have this openness here, Approved For Release 2000/08/07 CIA-RDP96-00788 0"'r7o" Approved For Release 20001volut 7= T96-00788RO00800790001-8 14: Right. #31: The openness corresponds to a reversal of this sketch. #14: Right. #31: Which would put the openness this way. Which would make it then the second one from the other end which is - what is it Echo? #14: Echo. #31: Echo. #14: All right. Very good. I have no further questions. Is there anything that you can add? PAUSE #31: No. no. #14: End of session. 9 Approved For Release 2000/08/07: CIA-RDP96-00788ROO0800790001-8 Approved For Release 2000/08/07 : CIA-RDP96-00788ROO0800790001-8 TAB Approved For Release 2000/08/07 : CIA-RDP96-00788ROO0800790001-8 - Approvid For Release 2000/08/07 ti I , CIA-RDP96-00788ROO0800790001-8 Id Approved F ol 'd ,--ApW~~ ~ease=Ui OPI-:--CI-A-RDP997-DO79BRUGUSUD79MUf 1-8- ---, , , , - "'" - --l-T 1.7 11-1 Approved For Release 2000/08/07 CIA-RDP96-00788ROO0800790001-8 Approved For Release 2000/08/07 CIA-RDP96-00788ROO08007 01--8. Approved For Release 2000/08/07 CIA-RDP96-00788ROO0800790001-8 Q -15J U-7 C4- cz~ Lb ~ St %) O .5 C--t Approved For Release 2000/08/07 CIA-RDP96-00788ROO0800790001-8 T-7, 7- I Approved For Release 2000/08/07 CIA-RDP96-00788ROO0800790001-8 C* APPLQV 7: CIA-RDP96-00788ROO080079DO O'~ p _-ed For Release 2710-8-710, 1 8 A Approved For Release 2000/08/07 : CIA-RDP96-00788ROO0800790001-8 TAB Approved For Release 2000/08/07 : CIA-RDP96-00788ROO0800790001-8 -.-- -, - -- . .1--1.1.-1 111-7 .1 1 -- 1. 1-1 - I i - Approved For Release 2000/08/OL-Lk~-RdPq~-00788ROO0800790001-8 TARGET CUING INFORMAT10N RIMOTE VIEWING (RV) SESSION CCC21 1. (S) The viewer has been exposed to open source news media information as well as classified overhead imagery. He knew he would be working against the hostage situation in Iran. 2. (S) At the time of the session, the viewer was told that he was to locate Kathryn Koob. The viewer was shown the attached photograph and asked to lcoate and describe the surroundings of the individual in the photo. Approved For Release 200 -00, 88ROO0800790001-8 -T-'-'------7 7`17 SGFOIA3 Approved For Release 2000/08/07 : CIA-RDP96-00788ROO0800790001-8 Approved For Release 2000/08/07 : CIA-RDP96-00788ROO0800790001-8