GRILL FLAME RV SESSION CC14

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000800090001-5
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 20
• Document Creation Date: November 4, 2016
• Document Release Date: May 15, 2000
• Sequence Number: 1
• Content Type: REPORT

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GRILL FLAME
CLASSIFIED BY: Director, DIA
DECLASSIFY ON: 31 Dec 99
EXTENDED BY: Director, DIA
REASON: 2-301-C (3) (6)
IL L
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REMOTE VIEWING (RV) SESSION CC14
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. (3) 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 CC14
#66: This will be a remote viewing session (edited
for security).
Bring your attention to bear now on the target
for, today. Relax and concentrate. Focus on
today's target. In the last few minutes you
have reviewed some information; biographical
information; have looked at a photo. . . . of
an individual.
And where he's located.
remembering now that it is early evening.
five-thirty, six o'clock in your target area.
Relax and concentrate. Relax and concentrate.
PAUSE
Reach out and describe the area to me.
PAUSE
#19.5: Its a . . Its a concrete building. Its.
(not audible - mumbling). Its . . .
#66: Tell me what makes you say its not in the Embassy
grounds.
+03 #19.5: Its . . . on a road. Recessed (not audible)
Its . . . . near a police station. There's a
a white room.
Its in a white room. There's a. . . . steel
chair. . . He has . . . He has tape on his arms.
#66: Describe his dress to me.
#19.5: Its old. . . old gray pants. . . and . . light
tan shirt. Its . . grayish colored shirt, sport
shirt. Its not a uniform.
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#19.5: He's taped to a chair. And he's tired.
PAUSE
#66: Tell me what makes you say he's tired.
PAUSE
#19.5: He's just tired.
66: All right.
1
77
+06 #19.5: He's . . . He's not . . not depressed, he's
a lot a lot of emotion. He's.
PAUSE
He's . . . . He's at peace in his mind.
PAUSE
He's angry.
He's been very. . . very humiliated. . . but he
doesn't care anymore. He's angry. Very angry.
PAUSE
#66: Tell me more about the room he's in.
PAUSE
+08 #19.5: Its all white. And there's . . . . there's a
steel door and its white.
There's . . very intense light that's on. Very
bright light light. Its in the ceiling. And he's
sitting on a chair. And his arms. . . his arms
are like they have tape on them to the chair.
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#66: Is he alone in the room?
#19.5: He's alone in the room.
PAUSE
His . . . He's threatened alot.
#66: Tell me what is it that makes you say that.
What is the raw information that makes you say
that?
#19.5: His . . . They. . . They tried to humilitate
+10 him. Threaten him. Tell him things aren't true.
And . . . he. . he understands. He understands.
And he doesn't. . . doesn.'t care. He's tensely
angry.
#66: What's going on in the room right now?
#19.5: Nothing.
He's . . . He's just sitting and he's. . he's
not thinking. He's just waiting and he's
he's angry. (Not audible) room is all.
Its like a police station. The room is in a
police station. Its like a cell in a police
station.
He's . . There's four other, four other people
in this building from the Embassy. Different
room. Only. . . only one other, two others -
+12 two others are military. One is a civilian.
#66: Tell me more about them.
#19.5: They're . . . They're being. . . They're being
held the same. They're not . . not at odd
together where the (not audible). Not just say
anything. They're being lied to, always lied to.
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#19.5: They. . . They believe they're going to die.
#66: Tell me what makes you say that.
#19.5: They've been told this. Over and over.
PAUSE
#66: Focus your attention now on one of the other
military individuals. Focus your attention
solely on one of the other military individuals
and describe him to me.
115 #19.5: Sandy, sandy colored hair. Speaks . . speaks
Arabic.. 5, 5' 11", 180 pounds. Moustache.
Speaks Arabic.
#66: Tell me what' impression it is that makes you
say he speaks Arabic..
#19.5: He . . . He understands more. Its a feeling
that he understands more.
#19.5: Intensely angry. Don't care. . . Don't care
anymore. Intensely angry.
#66: All right now. Tell me about the other military.
The other military there. Focus your attention
on the other military and describe him to me.
+17 #19.5: Okay. Camoflage...He's wearing camoflage.
He's. . ..I think he's a marine officer.
He. . . He has black hair. 160 pounds. With
a tatoo on his right forearm.
PAUSE
Intense. . . got a feeling of anger, frustration.
Maybe it wasn't frustration.
#66: Now bring your attention to focus on the other
individual, the civilian. Focus your attention
on him and describe him to me.
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#19.5: Black. . . black hair. Longer hair. Got gray
. . . gray streaks. Glasses. Glasses are . . .
silver wire glasses. Got a square jaw on him.
#19.5: Has a white shirt and dark pants. He has blood
on his shirt. He's been slapped. Been slapped.
Saw . . . See a blue light by him. Its an
irredescent blue light by him.
Appear cells, some kind of cells in a police
station like building. Got recessed doorway
in the front. Two doors. . . with decorative
stonework around both sides.
#66: Describe the height of the building.
#19.5: Four stories. Three or four stories. Four
steps in front. And its . . concrete.- No
windows.
#66: Which floor are the cells on?
#19.5: Second floor. Second floor. No, no elevators.
Just steps.
#66: Okay. Relax and concentrate. Relax and
concentrate one more time. Focus your attention
back on the building. Relax and concentrate.
And as your attention comes to focus on the
building once again, ask yourself, how can we
locate this building. How can we locate this
building.
PAUSE
Focus your attention on the building once again.
PAUSE
And tell me about the area.
PAUSE
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#19.5: Its main . . . not a main road, but its south
of the main road. Main road. . . Now wait. . .
the main road goes . . . north and south and
this is a west road from the main road. You
can walk, walk to the Embassy compound. . from
there. Its . . . go to the main road and you go
about six blocks to the Embassy compound. Its
east, east, southeast of the Embassy compound.
East, southeast.
Six blocks.
Okay. Now tell me a little bit more about the
actual raw information that makes you say east,
southeast and six blocks, tell me about the very
raw, impressions that makes you say those things.
#19.5: All right.
+26 I see. . . I see coming out of the building and
going left for two, maybe two blocks.
And I see going right. . . maybe four blocks, the
compound. After the right, its a large street.
Many, many people on the street. And traffic,
but it doesn't move.
#66: Okay. Remembering clearly now all that you've
seen its time to sit up and draw those impressions
that you've received.
#19.5: My arms hurt.
Page 1, I'm going to draw a picture of the build-
ing as it looks in the front.
I got the feeling that I was looking down at
the front doors from about a second floor height.
Fifty feet or so from the front of the building.
There's two heavy doors like a . . a recess, going
back to the doors.
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#19.5: There was decorative blocks of . . something.
concrete or masonary or something. . that went
around the sides.
Like that. And it was like three steps. . .
coming down the front like this. Then the rest
of the building was . . poured concrete or
something. Very heavy construction. And this
block pattern appeared to be on the front of the
building as well. And I don't recollect seeing
any, any windows.
Okay, make sure your drawing is nice and dark
so that we can reproduce it.
#19.5: These doors were a dark color. I get the feel-
ing they were heavy doors. I don't. . I don't
have a feel for whether or not these rooms were
#66: Okay, we're moving to Page 2 now.
:;19.5: Page 2. Yeah. Close together or not. And I
don't have a feeling for whether or not I was
seeing the entire room, but the angle that I was
at, was like on one end of the room. I believe
this is a steel door because there's like an edge
around it, its got rivets. I just feel like these
are rooms in a police station like. I don't know
how to explain that.
And its all white. And there's just a straight
back. . . steel chair. . . that this person's
sitting on. And their arms are just taped to
the chair. And there is a very intense white
light there. That's all I . . That's all I was seeing
in the room.
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#19.5: I was seeing just a . . . I was getting glimpses
of steps inside that were all. . . .
#66: Moving to Page 3 now.
#19.5: Moving to Page 3. If you came in through the
front door, the view thatyou would have of the
steps were there would be the hallway on the left
and the steps appeared to go straight to the
second floor with, you know, no turn in the steps.
Or any of that sort of thing.
I don't know how good this drawing is, but
I got the feeling that the steps went up like
this.
PAUSE
Very good. Just straight to the second floor.
PAUSE
And that was right inside the front.
Then on Page 4, the impression I get is is you
came out of the front of the building, Iget the
impression that you would go left on a small road
about two blocks, city blocks. To a main road.
And this main road would come up here about four
city blocks and this would be the Embassy compound.
And I . . I think. . . what leads me to think that
this is the Embassy compound . . in tracing my
route, I'm seeing like a . . . right here, I'm
seeing like a wall with black iron top. Some kind
of black iron. I don't know if that's the Embassy
compound or not but I'm. . . I think that's
analytic. But I'm doing that because of the wall
and the iron.
#66: Okay, you're saying that approximately four blocks
down this big street, there is a wall with iron on
the top.
#19.5: Yeah and there's like an entranceway.
#66: And you're assuming that that might be . . .
#19.5: Yeah, I'm assuming. . . I'm analytically making
this a compound.
#66: I understand that.
#19.5: Its a compound and I just for some reason feel
like its the Embassy compound.
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#66: Okay. But what you saw is a wall with iron on
the top. Is that what I understand you to say?
#19.5: Yeah, with a compound behind it. I think that
this is the Embassy compound.
#66: Okay.
#19.5: And that's essentially it. I don't
I don't like this session.
#66: What makes you say that?
#19.5: I think I got inside a couple people heads and
. the raw information that you sense that
way, is .,. extremely difficult to iron out.
And it . . . . . I think it bothers me a little
bit. . . from an emotional standpoint. .
#66: All right.
#19.5: You know, it just personally bothers me a little
bit. I'm not sure if I'm . . . I don't know how
to explain it.
#66: From an experiential standpoint, how do you feel
about the imagery?
#19.5: Imagery's good. The emotions I think I was able
to describe I think are accurate. I . . . that's
that's the problem, I . . . I . . . Its sort of
an overpowering sensation I guess you would say.
I don't feel like I'm sensing my own emotions,
I'm sensing somebody elses and its kind of an
overpowering thing. Its. . . When you get . . .
When you sense the emotion, the raw emotion, what
you're getting, you're getting all the cuastive
data for it at the same time. I don't . . . That
doesn't explain it very well either.
#66: Was it a pleasant experience?
#19.5: No, its not a pleasant experience. That's what
I don't like about it. You're. . You're getting
accurate in motion. If that's what you want to
call. it. You're getting accurate input. But you're
getting all the reasons for it at the same time.
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#19.5: You know, you don't just get a raw feeling of
fear, you get all the reasons for the fear at
the same time. Its like getting all the answers
too. I don't know how to explain that.
#66: Okay. Is there anything else you'd like to add
about this session then?
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TAB
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TAB
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REMOTE VIEWING (RV) SESSION CC14
1. (S) The remote viewer had been exposed to open source
news media information and overhead imagery of the US Embassy
compound in Teheran, Iran, prior to this session. He was
aware he would be working on the hostage situation in Iran.
2. (S) The remote viewer was provided with the photos on
the following pages as well as a biographical sketch of COL
Holland at the time of the session. Biographical sketch is.
not included herein because it is personal in nature.
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