Approved For Release 2000/~W"- 9,,-Rl,;rq;m; 100090001-0 NOT RELEASABLE TO FOREIGN NATIONALS ORCON GRILL FLAME PROGRAM SESSION REPORT CLASSIFIED BY: MSG, DAMI-ISH 051630Z JUL 78 REVIEW ON:. v2coles Approved For Release 2000/08/Z=f'%MQ8MROO2lOOO9OOOl-O 'ftO LmW,%w g % L.---F- Approved For Release 2000/0all &;rr_x"__,,,,,01_0 WL-m%-A% %&WM is SUMMARY ANALYSIS REMOTE VIEWING (RV) SESSION CCC-94 1., (S) This report dOCUMOnLS 2 relfl0t,e viewing session conducted in compliance with a request from SOD, .13v OJCS., Pentagon, Washington I DC. The purpose of the session was to provide information relovant to the hostage situation in the U.S. Embassy compound in Teheran, Iran. 2. (5) The remote viewer's impressions of the target are provided as raw intn1ligence data and as such have not been subjecte~d to any intElrrf)C~diate analysis, evaluation or collation. Interpretation and Uae of the information provided is the reaponsibility 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 ViMllil~g SCSSiCln. At TAB A are drawings made hy the rerflote viewer reference his impressions of the target oite. At. TAB B is target cuing information provided the remote viewer. 5. (S) The remote viewer was asked to locate Thomas L. Ahern and describe his surroundings. The viewer described Ahern as being in a small room which appeared to be something like a prison cell. He stated that Ahern appeared to be in good physical condition, but somewhat frustrated with his situa- tion. The viewer did not "see" any other hostages, but the names Johnson and Thornton came to mind. Appr.oved For Release 2000/08/08 Q~'21100090001_0 Approved For Release 200ulualua, U n2ino090001-0 TRANSCRIPT TIME REMOTE VIEWING (RV) SESSION CCC-94 #14: This will be a rbinote viewing session for 2 May 1980. Mission time is 1,400 hours. PAUSE All right #10.5 the time is now 1400 hours. YOUr mission for today is to find Thomas Ahern. I want you to identify his location and describe his, physical and mental condition. I also want You to identify any other hostage personnel at this same location. PAUSE I want you to relax, relax and focus your attention on Tom Ahern. PAUSE +05 #10.5; 1 have a Feeling of a carved out notch in the side of a structure. Notch contains a flat ... some sort of a flat open area and there are bushes or something around 3.sides, and structure around 3 sides. It's several storied; has essentially a,flat roof with only a minor peak in it. Very minor. Seems to divide at one end like a IIYII.~ Arid it's-has two wings- it goes straight on. PAUSE +07 Get a feeling that I'm looking at Ahern through two vertical lines between lie and me... sitting there right inside 'the vertical li,nes.....appears a small round table wit[i a almost lounge chair along side cross-legged, casual. PAUSE Back -to a wall. Something by my head that sticks out from the wall. PAUSE +13 Keep getting this call5feeling -Long box, barred in (phonetic) Approved For Release 200"8-4,4i~~Qa af,17R8R002100090001-0 % Approved For Release 2000108108: CIA-RD1396-Obf&R002100090001-0 #10.5: This is ..... Oh! This is ridi,culOLISI #14: Tell me about it. #10-5: 1 wish somebody could .... to see me, sitting here likc.-.% this. *This is ridiculous. PAUSE +17 #10.5.- Sort of ... (mumbling) frustrated and Johnson has come twice to me. Once I discarded it and it came back later. PAUSE #10.5: This ... uh... top floor just inside the notch. The notal has some sort of a round pattern in it. This has other . spiderweb pattern. I6 possibly a second window, right above, the notch .... about a secondq possibly a third. It seems high but it may not be that high. PAUSE +23 #10.5: All I'm getting. . . hallway. Its long but blank. I'm going up and down it real fast. I can't seem to get there. I don't see anything . . . . . PAUSE +28 1 only got the one . . . named Johnson. PAUSE Thornton. PAUSE Thornton. PAUSE Okay. PAUSE +30 Well, that's that for what its worth. #14: We are now ready for debrief. The first thing that you doscril-.)ed Alias a carved out notch inside of a structure. #10.5: Yeah, its riot the first thing I saw. It. was the first thing I talked about. 2 Approved For Release 2000/08/08: C1A~RDP96,-0Q7$&R002100090001-0 7C-a _017- ~t A- 07 81RRO 210 090001 -0 Approved For Release 200010810088 :: CCIIA #10.5: 1 had a light colored, a light reflective type building. And I,had a real close-in shot about as even with the roof line. PAUSE And I had the feeling that the roof cit his building had a very, very slight peak in it. But the thing thatJ remember from it . .. . was the feeling that this thing had a . . . somewhat of a . . something that went diagonally across it like that. You know what I mean. Like the tar-paper had this X chape, something. #14.: Um hm. #10.5: Anyway. This is the forward edge with the dotted all the way along and there's some sort of . . there's a little ~.edge around the building. Its essentially flat topped. Dark. 'roof. Okay. Out here is the horizon. Okay and then here is the forward face of the building. This is forward But from the perspective that I saut it. This is the, roof, you know, this is a 90.degree angle here. Okay. Like that. Okay. Anyway that was the first thing that I saw. But, the next thing I saw was this type of a again I wasn't getting the whole thing. I had the feeling it was a raLher large building. Okay, but . . . . . . Okay. And this was the carve out that I'm talking about okay and then here's again, building structure along there I can't. . I couldn't figure it out. This is like a carve out plaza. This is.what I referred to as carve out. This is an aerial view. Okay. Then I got this idea. There was another one along there somewhere. Something like that. And that the this is the,side of the building here. And in,here. . . is the plaza. Its got a round thing in it. Its got a cross thing in it and its got . - something like hedges that go around it. I'll craw a close-up of it. Its closer. And the dark line that's U shaped like that is is the hedges. The feeling that there"s a nitch in the side of the building that it has got . . . Okay. #14: Did that circular thing you described there in the nitch have any -SignifiCatICO to YOU? #10.5: No, other than a patto -may-be-a-ppnd or a plaza . . . D-KE4 na_.--1--%,didn ' t other than j~,s~~attern on the grOU get any fee J_Jjg for real dimensions But itlwa--like a plaza in Approved For Release 200010810.8: CIA-RDP9&Q~88RQ02100090001-0 3 Approved For Release 2000/08/08 CIA*&Wstiouv i -i n #10.5: Okay9 so -then a close-up of that. Which is what I The reason that I think it has relevance is because I think that where I was overlooks that. That's where -the X is on Sketch 3 is where I think I ended up being After I went to him and I dame back out of the wall, I looked down and therewas this plaza below, All right. 'Then I had the -this type of a feeling. Okay and there are. . . this thing that lines the plaza is like a hedge row, okay. That's what the idea 1'. Was trying to get across. Its like hedges or bushes that match that contour. And its . . I'm drawing this I don't know, its only . 0 . two or three stories, I didn't got a. . . Its not some sort-of a massive thing. Only.tWo or three. I'll put in threat but its only two or three. And I had the feeling that that was the . . . the second one from the left side of this notch is where I had been. X marks the spot. Okay. And that in here. . wa's a . . some sort of a cross pattern and it had something round in it. Its not that big. The damn thing is only . . . maybe 40 feet across is all. From my feeling anyway. That's the layout. And there are other windows and this goes off like that. All right. Okay. All. right. -*Mope Somewhere associated with this. . . again, I had the same damn feeling I had once before. Somewhere here on the Sketch 1. For some peculiar reason, I can remember now, beCaUse I-didn't talk about it, it registered, but for some peculiar reason I had a . . . a thing that stuck up in the air like . . . a not a tower so much as a. not a what is it on -the top of a church. #14: A spire? #10.5: Yeah. But big and more like a. . I'll draw it as an insert.. Okay. On Sketch Number 1. And I had the feeling that it was to the right of this view. This . 0 I'll label this insert. Okay. Tht it was . . . . something like this that protruded up. somewhere near the roofline because in Sketch Number I I was still up around the top of this building. Okay. What it reminded roe of is a cotillian tile roof you'll see in the Spanish countries? Sort almost orange -tile or something a tiled, you know this down in Miami or down of like that. Like very, very like that. Approved For Release 2000/08/0.8 : C.IA-RDp96-.OO788ROO2100090001-0 k - R t ~ t ~68'16 2 Mo Approved For Release 2000/08/08 : CIA-R '66- 8 002 0001-0 #10.5: Anyway I had the feeling that this thing protruded up from the top of the building somewhere where the arrow insert some protrusion to right. . on,roof. Like a little . . . What do I want to call it, Like a little . 4 1 don't know. Tower of some kind. All right, Five. But nowhere else did I see it. I just remembered as having seen it. Felt it, more felt it, perceived it than anything. Okay. Then I figured well, You know, its time to go in I can always go back outside and see wh& it looks like outside. So in reality . . . Sketch #4 is a little biL out of sequence for the session. It occurred later on. The next feeling was . . . . . as though I was looking at him through vertical lines. sort of at an angle, okay. And there was. . . I had a feeling at first, when I first saw him he was standing here in front of the rods, these vbrtical lines. And about the time that I recognized that I'had a new scene and that I was looking at something else . . it vies like he just sort of walked over here into a chair on the other side of -the . . table sort of and just sort of like frustrated, pouting, just sort of threw himself down in the chairs You know, like . . . Sort of like a very frustrated type feeling. I have him with a beard. -You know, sort of sitting. Sort of splayed. Arid then at anotherpoint in time I thought that he might even have been reading a book. Sort of sitting. . . This is a table top. Arid when I went into the room where he wash I wont into the room, this is sort ofelike a slouch chair. '. like Bla Bla Bla it has arms on it. And fie's sort of dressed in shirt sleeves. Bearded man. Stands at . . bar,,:,,. I'll put bars in quotation marks. Bars. Then, . . . walks over 0 . walks to chair and slumps into it. Okay. This is a 'table top. Thats only like 30 - 30 indies. All right. I went into what I would call tile cell. Went into the cell. Looking back out it was more like this. Here is another view. There is guy all right. Sitting in this chair which was a padded type of arrangement. Ilere's this round Lhing. And here in the foreground there -is something very big protruding. out f rom the wall. Okay. Approved For Release 2000/08/08 14-R 6-00788R002100090001 -0 IVP "tiA-R" 9b- A Approved For Release 2000/08/08 DP knM 00-2100090001-0 And . . . The corner goes just about like, that. Like that', there we go. Okay and'then this is . . . . . the barred feeling he~re. #14: All right, Ilin going to take this opportunity here -to. turn-Lhe tape over at this time. #10.5: Okay. TURN OVER TAPE #14:. Continuing on Side B. PAUSE #10.5: Okay~ so I moved in for a little bit of a closer shot.: Of what the situation had here. Into I was -trying to get in clo 'se because I wanted to communicate. And I .had this type of a feeling looking towards the back of the room. Over his . . . . sort of a shoulder. I still had this 'feeling you know, its very similar to other sessions I've had.. I'd say the guy was . . . . in . .. . in a sort of a long longish. . . window there and here in the background, which is this thing here protruding from the wall, is something like that and I perceived that there might be another one down here. Like that Okay and here's the c6rner of the room like that. Ge~ rid of that. That's not a bad sketch is it? #14: No. #10.5: And then here is the table, top, like sort of in Linder his arm or right here in the foreground okay. That's the chair. . handle of a chair there okay. That's. . his feet sticking down there like that. Okay and then here in the foreground would be okays' getting a close look right in.through the bars, would be the bars coining down. I'm not going to put them in though, Okay, anyway, this is maybe two bunks on the left. . . some sort of a weird box in the back of the room that makes the. room have three. . . makes -the back wall have three angles to it instead of,one straight across. And then the window. Okay, and that's where I went out. X an Number 7 marks the spot where I went out in order to got Sketch 6. Okay. Sketch 6, I'm sorry, Sketch 4. 1 said 6~ 1 meant 4. Approved For Release 2000/08/08 CIA-RDP96-007,88ROO21,00090001-0 6 "004M,11011 "J= .Approved For Release 2000/08/08: C]A-RDP4Z7 786"MONTM01 -0 #10.5: Okay.. Ahh.'. . . . I tried. . . I got right in back behind his head and I sort of nestled up or) his shoulder and I really tried to communicate with the guy and the feelings that 'I got-were feelings of sort of like . . . through Up your hands in sort of s,atirical frustration. And when I said the things that I said at that moment. on the tape, they were like his fcelings.~ I wasn't trying to say well like this is 'ridiculous. I was saying, lie was feeling this is ridiculous. Only if they could see me now. You know. all 'rhat's all I'd need is for them to take.a look at me now. You know. Sort of like. Here I am locked up in -this place and nothings happening and everything's just all - you know, . . I mean high spirit bitching. You know. The troops always bitch type of a situation and that's a.11 that I dectected that it was.it was not any real gut rending morasity or despair so much as it was. . you know, so much as it was . . like he was griping in order to get his spirits up. YOU know, just sort of blowing off steam, sort of" hap-hazardly. Okay. And the names that I had. . . came when I was focused in here in the area of him. I'm net saying that lie's bald either. Okay. The names. whatever the hell the name s were. One Johnson . . . I . . I . . think it was Johnson ,%wool I said. Anyway the first name that I.said I sort of said no, you're just thinking that and then 'the next . . I went on and I was in here and aroundand then I was trying to say How are you and I wasn't getting . anything . . . and everything. You have to help me, help me find how you are and all these things and I was trying to lay these things on maybe a subconscious or whatever. And, I just sort of got this good- natured pain in the ass attitude. An(] then 'the name- -- out of nowhere, the name Johnson came back to me again. But I did not see anyone else iintho room. But the name Johnson came back to me again. And then, I was asking who else is around here. Who else is around here and I went out of the room and I started going up and down the hall. Sort of rapidly but.1 wasn't getting any imagery. I know there was a hall outside but I was using that as sort of an accelerator to try to intensify my focus and . . . . there's a hall.somewhere down there that I think is toward the big end of the build- ing. Towards the other end of the building. The hall would be that way. He's out here and here's the notch and that's him and then there's the hallway. I was like going this way down the hall which would bL . . . . . . . Sketch 8. All I get was a feeling of a . . . . . . . Approved For Release 2000108/08 : CIA-R6k6-00788RO02100090001-0 rt r rN r Approved For Release 2000/08/08 CIA-RDP96-60788R002100090001-U #10. 5: an insek. door, you know. And then here is like his, block starts. His block starts here or whatever. His room starts here. But I This was This almost felt like it was blank wall. down here. 'Cause I was going up and down the hall and I couldn t find anybody else. Not saying there was nobody else.there and that he was alone but just I couldn't see any. And this was like blank wall. And this is a.door within a hallway insert. That' s what I'm talking about there like that. #14: Okay and where you've drawn the vertical lines its . . . #10.5:, Yeah and this is a a What was the guy's name? #14: Ahern. #10.5: Ahern. Ahern. Ahern's room or cell. So I was getting nothing at that point nothing hew. You know, no other names and I came back in and then I forget what I said, thorridon orsomething like that. #14: Thorton #10.5: Thorton . . . Thordon. I forget what I said. I came back in and then I nestled up behind him again and I tried it one more time and that's when I got the word, the name, I think a name, Thorndon or Thorton. Whatever. Anything I missed? #141: Let me run through my notes real quick. PAUSE No. Did you . . . Did you have a fe0ling-for where -this building was located? #10.5: Well.. I sort of presumed it was-off the compound. Okay. That was -the only feeling I had. It was something else. It-, not a .. . . building that I had oeen associated with the compound. Arid when I got inside and I had the barred doors and the rest of it, the barred, rather the barred wall type front type situation, then.it . . . . . you know, sort of meant to me it was the other place that we'd worked in the long past. #14: You're saying you had somewhat of a feeling of recognition. #10.5: t~eah. That-s why I was sort of . . . I don't know what the hell is the name of the other place. The one that's off the compound where. the four or five guys t were kept separately, supposedly? Approved For Release 2000/08/08 : CIA-RDP96 FIN Approved For Release 2000/08/08 CIA-RDP96-00788ROO 100090001-0 #10.5: We found them all. before, long since worked it. I haven't worked it in like 3 months I guess, but . . . anyway. #14: All right, I have no further questions. End of session. Approved For Release 2000/08/Q4% OM nn2100090001 -0 I X Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100090001-0 TAB 11 - Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100090001-0 Approved For Releas 2000/08/08,:, CIA-RDP96-00788ROO 100090001 ell Al V) -ftmPOI Ira Approved For Release 2000/08/08 CIA-RDP96-00788R60~100090001-0 Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100090001-0 Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100090001-0 Approved For Release 2000/08/08 : CIA-RDP96-OC Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100090001-0 Approved For Release 2000/08/08 CIA-R P96-00788ROO2100090001-0 Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100090001-0 c') Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100090001-0 i.A 04, V- Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100090001-0 Approved For Approved For Release 2 B CIA4-1 96-007881 cv .3 Vj\ -RDP96-00788ROO2100090001 -0 A~provecl For Release 2000/08/08 CIA-RDP96-00788ROO21000 Approved For 000900014. Approved For V08 CIA-RDP96-00788ROO2100090001-0 Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100090001-0 Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100090001-0 I I 11 TAB Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100090001-0 Approved For Release 2000/08/08: 100090001 -0 TARGET CUING INFORMATION REMOTE VIEWING (RV) SESSION CCC 94 1. (S) The viewer has been exposed to open source news media information as well as classified overhead imagery and numerous photographs of hostage personnel. He knew he would be working against the hostage situation in Iran. 2. (5) At the time of the session attached photograph-and was asked to asked to identify Ahern's location, condition, and to identify any other ..Location. the remote viewer was shown the find Thomas L. Ahern. He was describe his physical and mental hostage personnel at this same 3. (S) The remote viewer has been briefed on the current status of the hostage situation and told that the whereabouts of the hostages was not known. Approved For Release 200010810 :)~P~)f'%P021 00090001 -0 SGFOIA3 Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100090001-0 Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100090001-0