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 GRILL FLAME
 PROGRAM
 SESSION REPORT
      CLASSIFIED BY;MSGqDAMI-ISH
      DATED:051630ZJUL78
      REVIEW ON:
                             .U-UILLFLAME
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  SUMMARY ANALYSIS
  REMOTE VIEWING (RV) SESSION
  I. (S/NOFORN) This report documents a remote Viewiny session conducted in
  compliance with a request from SOD, J3t 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 requester.
  3. (S/NOFORN) The protocol uscd for this session is detailed in the document
  Grill Flame Protocol, AMSAA Applied Remote Viewing Protocol (S), undated.
  4. (S/NDFORN) Following is a transcript of the viewer's impressions during
  the remote viewing session. At 1A13 A are drawings made by the remote viewer
  reference his impressions of the target site. At TAB 8 is target cuing
  information provided the remote viewer.
  5. (S/NOFORN) The remote viewer was asked to access target area "Victor
  and determine if any U.S. hostage personnel were at this location. The
  viewer described three U.S. hostages; two women and a man with a very pro
  minant jaw. He mentioned that there may have been another hostage, buL
  could not be sure. The viewer also gave a physical description of the
  building and security at this location.
  lop,
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      TRANSCRIPT
      REMOTE VIEWING (RV) SESSION D-21
      TIME
           #14: This will be a remote viewing session for 3 September 1980,
      mission time is 0830 hours.
      All right, #31, the time is now 8:30. You have been shown
      photos of a building in northern Teheran. This building is
      suspected to be one of the places where U.S. hostages are
      now being held. Your mission for today is to go to this
      building and tell me if there are any U.S. hostage personnel
      there. Relax. Relax, now and concentrate. Focus. Project
      yourself to the building.
      PAUSE
             +03 #31: In a....place ... P..*.outsidc corner ... wall on my left....
      several layers of windows ... to my front. In the corner is a
      ... regular pattern like a ... exposed staircase ... solid wall,
      about 6-8 inches thick, the staircase goes up and onto...
      onto a roof. This thing is only two levels high, but...the
             +05 wall on my left is three levels high. And under this place,
      it's funny like ... it's an open, but covered cutaway...
      first floor and under the stairs. It's very difficult
      structure...
           #14: 1 want you now to go inside this building, and I want you
      to feel free to explore this building, and I want you to
      tell me if you find any U.S. personnel in this building.
      PAUSE
      #31: I'm getting si~g!2alst.of pr~bsence here... ........
      I believe-my-signal is that it's ... the top rlbZr P_~o the
      left--of-the staircase, which I believe is ext or. .
      s -a
      s -,Arcase ... and this staircase goes over this cut-out garage
      ype area, patio.... Now I know where I want to-go .... they
      yp
      are ... they're in the ... what I think is.the-three story side
      .Ihr (.3
            here's a ....... getting window,,-but no door ... and a little
      (
           0
      +10 . walk around ... some sort of little ledge. I'm tryin'
      p
      to get in,-walt-a'-minute.
      PAUSE to//
      Not many here, I ... the hallway-about three rooms, maybe
      four, two on each side of the hallway-to the right of an
      interior stairwell-individual rooms... I'm sort of looking
      at this structure in a cutaway...
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                 #14: All right, I want you now to describe these U.S. personnel
            to me.
                 #31: Keep getting the feeling of the...woman with the short black
            hair ... round face.
            PAUSE
                 #31: Yes, the woman is in the-room on the left, in the end, by
            the outside wall... I see her looking down to the roof...see
            her there...
            #14: Who is in the next room?
                 #31: A man who has a... long jaw. His jaw, something is ... his
            jaw is funny... like it's deformed, like he has an overbite,
            or his jaw looks very ... thick, and underslung. It's not an
            injury, it's a facial feature. I think it's the guy that
            looks like Lincoln. I think that's why fie wears a beard, I
            don't know.
            I keep seeing her , though. She keeps coming back to me.
            She's in the corner of my mind all the time. I don't know
            why I can't get rid of her... This underbite feeling, or
            underslungness of the jaw is a very strong feature here, I
            don't know ... dark hair, and sort of flyaway top, but I don't
            know if -that's overlay. The, uh, I don't know, across from
            Mary is ... I think the other woman .....
            These rooms are nicely ... more civily furnished. I-feeling
            that I am in a academic offices or something, rather than a
            dorm. Some sort of non-private organization within the offices
            which are in this area, maybe for visiting, visitors...
            like a dorm setup ... but a dorm setup You would see associated
            with like ARAMCO as opposed to a university or something...
            There's a wall around this place, I can see it on three sides.
            And inside the yard.
            #14: Tell me about the security at this location.
                 #31: 1 have ... standing in this yard maybe, a,10-15 foot wall on
            my left, and there's some turkey walking in the yard, but I
            have the feeling I'm at the back of the building. This
            thing all goes round and ... this overhang thing goes past
            that part of the building. That wire on top ... it is ... it
            is like, uh, like ... anti-burglar as opposed to tactical wire.
            Something on top of the wall that-when they built the com-
            pound For whoever like the Americans, or-they put that in
            there to keep the Iranians out. But it's not an embassy
            type compound, it's a company compound ... old company compound
            of some kind. It reminds me strongl of a villa in Nam, it's-
            a villa type a fidre, -rrrrMs-aM---gice-plhg--~uarters all
            mixed together. And one guy walking in the...the backt and
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                  #31: going to the other corner. Let me focus for a minute...
            Turn this corner the building makes a jog closer
            ~0-~~e wall and then has another jog in it. Like it's got
            a swollen corner.... There is something that ........
            I would say that the ..... how the hell do they get through
            the wall? There is some sort of a weirdness here, the wall
            comes around the corner and goes a good ways down the build-
            ing, and then it just sort of cuts right into the building.
                 +30 In other words the main entrance here is isolated from the
            surrounding yard ... by wall. The wall closes off the door
            so you can't- but there's some sort of little wire gate on
            the right side, where somebody could walk 17"57nd the grass
            inside the compound, and then could walk up towards the door
            and then could step through using the little iron gate, out
            onto the front porch, or into the cubicle or foyer maybe.
            But the wall comes all the way up to the doors ... block roof
            overhang, something very blocking and flat and this whole
            thing protrudes from the front of this structure, which is
            accessible on the street ... the sidewalk...
            There's a feeling the guards will walk around this structure
            ... infrequently here, they're not too concerned. They're
            concerned more about the main entrance here on the street,
            and because of that they keep at least one guy inside ob-
            serving the street through double wooded doors with glass
            panels that swing. They're like swinging doors.
            I'm backing up down the main front hall now. It's dark,
            and I'm having a mellow warm feeling of a finely decorated
            interior. I am moving in backwards, looking at the door as
            I leave it ... tapestry on the floor ... and the narrow, 20 foot
            wide and longer foyer with something that's on ... zigzags up
            +35 my right wall like a ... double ... double backed wood bannister.
            PAUSE
                      I gotta...focus for a few minutes
            PAUSE
                 #14: 1 have no further questions. We'll take a pause here for
            debriefing.
            We're now ready for debrief.
            #31: All right. I need my microphone.
            #14: You've got one right in front of you.
            #31: Oh, okay. Where the heck did I start? Okay, I started by
            the cor- an int- what I would call an interior corner of a
            building, okay? Of the building, which is ... and I was in
            what I would call also...I, uh... Okay, I got Lhis here ...
            And this comes out like that. This is what I would refer to
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      #31: as a structural anomaly that might be verifiable by looking
 at it from the outside. This place that I'm drawing an the
 right of sketch one... is to the right of what I would call
 the stairwell, or the staircase. It's, of course, not as
 steep as this looks in the sketch, you know, but now remem-
 ber this is the outside of the building. I think that this
 place is two stories on the right side here. And the bottom
 story, if I had my druthers, I would say the bottom story
 was open. That's what I was trying to say, like a porch.
 And it had repetitive type thing on it. Like, you know,
 pillars, and it was dark. And I felt it might be something
 like a ... elevated second floor. I don't recall being able to
 see through it like it was a drive-through or anything, or
 anything like that.
 And this floor had- was regular- and had like windows in it.
 And I'll write in here open but shaded, because I think it's
 open. And what it is I don't know, I did not perceive that
 there was like any blacktop or anything out here in the fore-
 ground, which would imply that this was like a parking gar-
 age or anything like that. You know, I just don't know what
 it was, but it felt very open there. Arid like I found myself
 in under it a couple times, like sitting there with this edge
 by my elbow saying, hey, that's neat, you know, the building
 is up here, but what's all this stuff down here and under
 me, you know. It was just this big openness.
 Okay. And then back here is a third story on the left sidep
 or it is a story higher, I'll say that, I can say that ...
 Okay, and this had-I had the feeling that I was dealing
 with three stories and two stories ... okay?... I'll write
 this two story section with open round floor, and this is
 a solid...and there's more, you know, it's so complex....
 And this top, the top of the second story, was like people
 would go up there and would stand up there, okay? It's like
 it's ... almost like, like a sunroof or a patio type of a
 feeling. I don't know ... Sunroof or patio. Okay.
 The peculiar thing about it is when I got to the top of the
 stairs I did a quick aerial which told me where- you know
 you asked me to determine if there were any hostages therep
 and I was getting this aerial "V, you know, an 'W1 on the
 top of the building portion that was sending me down in
 there. Location of ..... All right, and this whole area's
 got a yard around it, I mean a wall, enclosing some sort of
 a yard.
 Okay, two .......... Okay. Then when I got to the head of
 the stairs I was sort of being, just letting myself drift
 in the direction of the target, and I, from the way I was
 feeling, I felt like I had to go up the stairs, so I drifted
 up to the top of the staircase. And I had a, like a close-
 up view of this rDofline ... going like this, and there being
 .... okay, that being the staircase down. I'm looking at it-
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                 #31: this is like the sun- open sunroof ... And the funny thing
            being that right on this line is a ledge. I drew it so it
            goes the other way. Sorry. That's what I want it to look
            like, like that. Okay. Ledge. And then there being windows
            along here. What I did was I got to the top of the stairs
            and I looked around and said, well, okay, that "V is draw-
            ing me to the spot, you know, over on the other side of this
            wall here, so there must be a door. So I got up here to the
            top of the stairwell and I looked to the left, and I said
            okay, well there should be a door here, because I know that
            these rooms are off a hall right inside. I just sort of
            knew -that. And there wasn't any damn door on the outside of
            the building.
            Up here there's some sort of a ledge, but that ledge is not
            necessarily a walking ledge. Shit, I don't know how big it
            is. It may just separate two floors and be ornamental, but
            it may be a walkable ledge. But all I Felt was that there
            was a flat area around it. Okay, anyway ........
            All right, now where am I? .....
                 #14: Okay, then you went on to the rooms, two on each side of
            the hallway.
            #31: Yeah.
            #14: To the right of interior stairwell.
            #31: Then I went- yeah, that's right. Then I went to sort of-
            I couldn't get- I think I passed through the wall. And then
            I was standing around trying to get the feel for what the
            hell was happening. And I had like this overhead, sort of
            a half cut away views like I was looking in a little model,
            with no roof. Okay? And, uh ... the feeling was like I was
            looking at a model ....................... like that type of a
            thing, okay? ..... And here's what I call what, where the
            door should have beent and it wasn't.....Ilm doin' this
            bass ackwards here. Okay ........ I'm drawing this maze here,
            but that's just what it looked like. There. Okay?
            And then out here I had the feeling like this was the third
            floor. And then out here I had the feeling that this was
            like the third floor, and that out here in a cutaway- that
            the building was bigger, there's garbage over here somewhere.
            But that the stairwell ... went down here ... outside stairs,
            and that the roof went on out like that. Okay. Open sun-
            roof area. It may not be a sunroof, but it's just this open
            flat roof that you can climb up the stairs and stand on.
            Okay. Now, 11P marks the spot, this was where I b3lieve the
            woman was, was in that room.
            #14: Okay, you mentioned during the session two women.
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            #31: Yeah.
            #14: Okay.
                 #31: That's right. Yeah. This is where this 'W' marks the spot,
            11X11 two, this is "X" one, is the woman. "X" two is the guy
            with the funny jaw... It's like he had an underbite, and
            had a really pronounced jaw. Okay. And this is the woman
            with the short- with short- the one I can identify from the
            pictures, I know... And this is a other- I had the feeling
            that the other woman was here and that she was across the
            hall from the.-from the first woman. But I did not get any
            imagery of her, I just got the feeling that that may have
            been overlays too, that they keep the women together. And I
            don't know what's in the fourth room here that I haven't
            labeled. Okay?
            And I'm not going to draw the rooms, but the rooms had a
            feeling- individual rooms had the feeling of, like I described
            a professional dormitory setup. Like a ... a villa ... not a
            college dormitory, nothing academic like thaE. Itwas like
            a company villa. It had transient rooms in it that were
            nicely 6utfitLed, I mean they were- they weren't spartan and
            they weren't PlUsh, they were sort of mature and functional,
            but nut barracks type stuff, you know.
            Then what did I do? Then I cruised around the building.
                 #14: Yeah. I want to know more about the security. You know,
            physical security, guards, trip wires, alarm devices, anything
            like that ..........
                 #31: Now, I believe this has got the... I didn't really get a good
            close look at it, but here's a cutaway view. Okay? I did not
            get the idea- there was triple strand barbed wire type socur-
            ity on top of this wall, 10-15 foot wall. And the same
            thing along here. And that was it, essentially.
            This view is from sketch one looking left. Okay? That's the
            view of four. Okay? I labeled that on sketch #1. Okay.
            And then like here is the building ....... Some sort of a
            bump there ........ and there's our magical stairwell. The
            only thing that I saw while in this area- this area, by the
            .way, is maybe ... 30 feet from building to wall. And the only
            thing I saw was the old random guard ... walking past me...Okay?
            #14: It's gettin' hotter than a son of a bitch in this room.
                 #31: Yeah...Okay. And of course there are windows in here .......
            All right. So that was that. So I'll draw a little "X"
            down here with five, and draw another corner view. For five,
            what we have is again essentially the same view.
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      #31: Okay, now. It's funny here ..... Okay ..... Okay, there's wall
  again from the viaw of -the corner, the other corner. Here's
  the building on the right side. There's like a wrought iron
  picket gate. And here is a protruding roof... What do you
  call it? Porch roof. So that the guard walks around here,
  and lie goes in and- in other words- I'll draw another quick
  overhead of the front area here, cause it's- and then lie
  goes through that picket gate and he's standing on the front
  porch and lie walks in the building. Okay?... Really weird
  and twisted. Okay.
  Here we have the front porch overhang. Here we have ... the
  whole thing was very, very reminiscent of the old French type
  villas in Nam. The whole atmosphere was like it was a self-
  contained compound .............. comes out here at the street,
  sidewalk ... um...had double doors there that were wood ......
  glass ..... Okay, and then here-be the picket gates ... on
  each side, which would allow someone ... access. This is con-
  nected somehow, -there's a post Out here. All right.
  These are picket, wrought iron ... wrought iron gates ... access
  building-what I'll call a building perimeter yard. Okay?
  And this is the building face, here. Okay? Like that.
  And this is building face ... three flours ........ That's it,
  this is the front view .... I didn't go an around the building
  from this point ..... I had a very- inside, I had a very
  shadowy, not really gloomy, but very mellow and cool feeling
  of .... these two swinging doors being viewed from the inside
  ....... no, actually, it went something like tFis, and then we
  come off at an angle like that. Nice tapestry ... Guess
  what? It was a Persian rug, too.
  #14: That's interesting.
      #31: Okay? And, you know, a couple chairs type situation, like
  this was a, maybe a waiting room, or some sort of a place
  like that ... It's about 30 feet wide. And there is some-
  thing very funny on the left wall. And, the only thing I
  can think of is that it is a curved staircase bannister that's
  made out of wood and it's light brown. "Cause it's this ...
  just all I could get was a glimpse of it, Icouldn't get
  any depth perception at all ... Okay? Just some sort of a
  feeling that there was a staircase over there, and -that
  this had something to do with it. Curved with- there was
  some depth to the wall like a stairwell- stair-...bannis-
  how do you spell bannister? B-A-N-N-I-S-T-E-R? That's
  light tan wood polished. Okay? And it goes this way
  around, it recedes, and comes back up like this. All right.
  Mellow, dark, cool lobby, narrow lobby type area. My last
  sketch eight I'll do what I have as overview and thaL'll
  be it ..................
  Aw
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                 #31: Okay, this is the two story ... and this is the three story.
            And this is essentially all I remember. This first came up
            in -the beginning of the session when you asked me to find out
            if there were any hostages there. I had this type of a feel-
            ing, that that's whore I wanted to go. Okay? That's all I
            had, and that' what started me off on going up the stairs
            and trying to get in there ..... That's it. Any questions for
            me or anything?
            #14: No, nothing further. Good job.
            #31: Thank you, thank you.
            #14: End of session.
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  r- a
  TARGET CUING INFORMATION
  REMOTE VEIWING (RV) SESSION D-21
  1. (S/NOFORN) The viewer has been exposed to open source news media
  information, classified overhead imagery and photographs of many of the
  hostage personnel. He knew he would be working against the hostage situation
  in Iran.
  2. (S/NOFORN) At the time of the session Lhe remote viewer was shown over-
  head imagery of target site "Vicjggja:~.~ The target location was poi-EF767
  0 ~viewET-b-y--UFe-i-n-reorm~vl*ewer. The remote viewer was then asked to
  access the target and determine if any U.S. hostage personnel were being held
  at this location. The imagery is not included herein due to its classiFication.
  NOT RELUS.AFE __L~ATIONALS
  Tn ~yLjrN
  V~~ 1--v F~__
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