SUMMARY REMOTE VIEWING SESSION CC32

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000800250001-7
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 33
• Document Creation Date: November 4, 2016
• Document Release Date: June 17, 1998
• Sequence Number: 1
• Content Type: REPORT

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ORCON/NOFORN
GRILL FLAME
PROJECT
SESSION REPORT
CLASSIFIED BY: DIRECTOR, DlA
DECLASSIFY ON: 14 Dec 1999
EXTENDED BY: DIRECTOR, DIA
REASON: 2-301-C (3) (6)
GRILL FLAME
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REMOTE VIEWING (RV) SESSION CC32
1. (S) This report documents a Remote Viewing (RV) session
conducted in compliance with a request from SOD, J3, OJCS,
Pentagon, W';ashington, D.C. The purpose of the session was
to provide information relevant to the hostage situation in
the C.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 CC 32
TIME #66: This will be a remote viewing session. (Edited
for security.
PAUSE
I've shown you a photograph of an individual.
PAUSE
Its time now to relax and concentrate on that
individual.
Locate that individual. Focus your attention
on that location. . . . . Relax and concentrate.
Focus your attention.
PAUSE
And describe the area to me.
PAUSE
#1: A rather large building.
#66: Describe it to me.
PAUSE
#1: Not . . . very large. Large and plain. Light
grey in color.
Is got kind of an ornate entry way. And some
kind of official building.
#66: Tell me why you say its an official building.
#1: Its some kind of a building, descriptive seal
or carving or sotethi.ng or other. . over the
door. (Not audible) over the door.
t, ?
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#l: Its . . . seemed a newer . . . newer addition.
Newer addition to the old. . . old building,
Its in its own compound. And its in a
its off the street corner. . . . . There's a
there's a lot larger building there by the
street corner. Its got a funny shape.
Quite a few buildings . . . Appears to be kind
of (not audible). . .
The building has got a . . . (not audible) roof.
And its gray.
#66: Okay, the building the individual's located in?
#1: There's a modern (not audible) addition.
""Not audible) in this building.
#66: This individual's not alone in the building?
#1: No. Its many. . . many are here.
PAUSE
There's a third. . . third floor that he's on.
r? think so.
A long hallway. No windows.
PAUSE
Its like small rooms. Some kind of small rooms.
PAUSE
There's a . . . There's no windows in there.
PAUSE
#66: Tell me about this room that you're looking at.
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#l: Its a row of them. Its a row of like small
rooms. All very small. They're like cell
rooms.
There's something not right. They're not
, , . . They . . . And its like .
its kind of a dormitory building like.
..PAUSE
1-66: Ay-6 these rooms occupied?
1-1: ( Hmm. There's . . . . all but two. And ni.ybe
eight hostages in the rooms.
PAUSE
#66: Tell me about the hostages in the rooms.
PAUSE
Is the individual whose photograph I should
you there?
#l: Yes, he's over on the . . . . just living.
about 10 or 12 bare and the first eight or
so occupied. And there's. . . there's a big
slide lock on the doors.
#66: What are the doors made of?
#l: Made of metal. Not . . . They're not regular
police cells. Its like . . . These are used
for. . . ."ased for detention but they're not
. . not regular police cells.
#66: All right.
PAUSE
Describe how I get to these rooms in the building.
PAUSE
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#1: There's . . . .
#66: First, what floor are we on?
PAUSE
#66: Okay.
#1: About the . . . there's a basement. I'm not
. . . sure if that counts the basement.
There's a . . . . a zig-zag stairwell . . .
that goes up the floors. . . . . And its
to the left as you come in the door.
There's . . .
#66: As you come in which door.
PAUSE
#1: You wme in the side door.
#66: Side door to the building I find
#1: There's . . . a door on the side.
#66: Okay.
#1: And . . . faces the ornate building.
PAUSE
Some kind of . . . weird barracks or something.
But its relatively . . . modern construction.
#66: Okay.
Relax and concentrate for a minute now. I
want to make sure I understand what you said.
Just relax and concentrate.
If I come in the side door of the building,
the side that's near the other ornate building,
I find a stairway, zig-zag stairway that would
take me to the third floor which is where the
rooms with the hostages are?
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#66: Have I correctly related what you perceive?
#1: Yes. Its correct. There. . . . I got
I got a parking lot or something.
There's a road with a parking lot inbetween
the two buildings and there's . . . a side
door. . . about two (not audible) columns next
to that. But the wall is cement and grey
style.
#66: Okay.
#1: And the other rooms . . . are on the third
floor.
#66: Okay. Focus your attention now on personnel
other than the hostages. Tell me about personnel
in the area other than the hostages.
#1: There's . . . Its very strange. I want to say
there's guards, but . . . they all have guns.
There's a guy sitting at a desk out in the hall-
way. He's in the hallway at a desk.
#66: Where is the hallway?
#1: It runs out of some of the rooms.
#66: All right, fine.
#1: There's no gun. I don't see (not audible).
PAUSE
#66: Are these rooms opened or closed?
PAUSE
#1: They're . . They're . . . white rooms.
PAUSE
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r1: There's . . . some kind of a . . . people in
a room, end of the hallway. Its like a
break area or something. There's maybe five
people there. They're dressed different.
#66:
Different than what?
T1:
They're dressed different than the (not
guard. They're wearing some kind of a
audible)
black
shirt like a uniform shirt. There's emblems,
there's insignia or something on the shirt.
But they're not, they're not a military shirt.
PAUSE
r66: Are they armed?
nl: Some of them are. Two of them are.
PAUSE
They're wearing hats. Its either a on, half-on
hats. There's . . . more people in an office there
too. Then . . . the rooms and a hall.
I was standing by the . . . standing by the
stairs. I'nI on the. . . . third floor by the
steps. There must be a fourth floor. The stairs
go up. Must be a fourth floor.
I would say. . Holland's sitting in a room.
By himself. Just sitting.
Sitting.
Just a bed and a . . . . . a . . . some (not
audible). Think there's . . . a stool or chair
without a back. There's . . . . white walls.
A66: Okay, where is this room now?
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#1: Its by a hallway. Hallway's like a very light
green or . . . . There's neon. . . neon lights
in the hall.
Get a . . . strong impression that. . some kind
of a . . . correction place or something.
#66: Move outside of the building and describe as
best you can from the outside the size of this
building and the surrounding area.
This building is . .
building. Maybe . .
. connected to a smaller
. . 75 feet long. Its
three stories tall.
Buts its across the . . .
I felt courtyard or a .
. . more like a parking
#66:
area.
Okay,
from the . .
#1:
area.
#66:
Okay,
from the outside,
you're saying this looks three
#1:
stories tall?
Yes. Its across from other (not audible)
building.
There are other buildings on the
is on kind of a street corner.
left. This
#66:
And . . . the main street goes into the heart
of the city.
Okay, stick with-the building now. Give us
some better descriptors of the building.
#l:
There's . . . some kind of . . .
decorative
stone columns, with like lines,
vertical lines,
#66:
by the door.
grey stone.
Okay.
Appears grey. The building is
7 L
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#66: How many entrances to the building are there?
#1: I only see three. The one on the side and there's
one on the other side. And there's one on the
end.
PAUSE
Kind of a . . (not audible) the door.
PAUSE
#66: Describe the street that's in the front of the
building. Describe the size of the street
that's in front of the building.
#l: In the front's center parking lot.
#66: All. right.
#l: Then its like . . . Its a . . . Its a mixture
of concrete and asphalt. There's . . . a side
facing the road. Its . . . its got two heavy
doors.
No windows on the ground floor on the street
side.
#66: Okay. What activity is going on right now in
and around the building?
#l: Very heavy traffic along the roads (not audible-
ambient room noise). (Not audible) its got
people walking . . . . By the end of the building
its people walking.
rr66: Okay.
+25 #1: Wait. Wait a minute.
PAUSE
There's a . . . trees, very large trees by the
road. . . by the road side of the building.
And there's . . a asphalt turn-around in front
of the decorative building. Its an old drive-
way.
#66: Okay.
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#66: As you're looking now at the outside of the
building, as you focus your attention now on
the building, ask yourself, "How do I find this
building?" Ask yourself, "How do I find this
building?"
#1: Very center of the city - the very. . . the
very heart of the city. (Not audible - room
noise). (Not audible) the road that'goes
to the right. . . about seventy degrees
from the center of the wheel.
Maybe . . . two kilometers (not audible) to
this building. . . next to the decorative
building. (Not audible) its (not audible)
the Iranians don't like. I don't understand
that.
This . . . section of the city is not liked by
the Iranians. I don't know why. Its a feeling
I got.
#66: The section where the building's located?
#1: Yes.
#66: Okay, is this .
#1: Oh. . . strong, repugnent feeling I got when
I was looking. . at the road going through
this area. . . . Iranians don't like it and
I don't know why. Some work there (not audible).
#66: Okay. . . . Any outstanding terrain features
that looking down at the building from several
thousand feet up that would help us locate this
building.
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#1: The decorative building looks like a . . .
a big E with a period in the center. I'm not
sure I understand what that means.
See two courtyards behind it. And they're
framed. Framed courtyards.
#66: Okay. I have no further questions about the
target. I'd like to provide you the opportunity
at this time to add anything that you would like
to add.
#1: I just . . . I got a very strong . . . . sense
of dislike or . . . a more . . . more repugnant
feeling for this whole section of town. I don't
know how to qualify that. But I think its very
important.
#66: Okay.
I'd like you now to draw those perceptions that
you've had.
PAUSE
#1: I don't think I want to move.
PAUSE
I had a terrible time concentrating on this
session T66.
r1r 7-t.
Cf E
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#1: I don't know why. (Not audible)
PAUSE
Kept drifting away from the target here.
PAUSE
What was that?
#66: Do you think your imagery is valid?
PAUSE
#1: Yeah. But there's . . . the building that these
hostages are in is . . . I'm pretty sure, fastened
to another building that's smaller. But, I'm
not entirely sure whether or not that's completely
accurate. Say that. It is in a long line of
buildings, approximately the same size. Its on
a street corner and . . its very much related in
some way to this decorative building. Like its
a compound of buildings that represent some offic
function of some sort like its a . . . like this
building is the functional part of this entire j~
complex of buildings right in here.
#66: Okay.
And I keep seeing the differences between the
decorative building and this building, I keep
seeing a dividing parking area. When I look at
the overall overhead view of the way that the
buildings are laid out, I'm not sure if this is
like off the one end of the E or off the
actual end of the building. You know, its actual
position in relationship to the decorative build-
ing is difficult. . to ascertain other than the
fact that its right next to it. Its kind of a
confusing . . kind of a confusing thing.
So, on Page 1, I guess I'll do a picture of the
interior and just work out from there.
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#1: Getting an impression of a . . . this building
being fastened to a smaller building like this.
This larger portion being flat roofed and the
attached portion is not flat roofed.
I sense on the third floor there's stairs about
like here that go up.
Stairs that go down. And at this portion of
the wall is like a . . a corridor that goes like
this. And that this area is all open here. Over
in this area. Its all open here. Its like a
desk or something. Here. I think there's .
a lot of small rooms in a row down this corridor
Its like a dormitory type effect. And I don't.
I don't get a. strong impression that these are fU!
cells or anything, that they are used for some
other reason, but I just get a . . . there was
like 10 or 12 of these and about the first eight,
which I'll mark with X's, are occupied by hostages.
#66: Okay, when you originally described them, you
said they were like cells and then you kind of
kept exploring them and then you said well they're
really not cells.
#1: Right. I don't know how to explain that.
#66: How were they furnished?
#1: Very, you know, a small table, or a stool or
chair that doesn't have any back or arms, a
stripped bed and essentially that's it. From
what I can see. I was for some reason, I was
particularly interested in finding a mirror in
one of those rooms and I don't know why but I
was unable to find a mirror and I don't know why
I had that distracted interest. . . in finding
a mirror.
#66: Okay.
#1:
two-way glass of some sort.
doors or what, you know, but it
notice if there is some kind of glas
So . . . you know, I just have, there's some-
thing like scratching in the back of my mind
here and for some reason I had an interest in
a mirror and I don't know if that. . . didn't
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room. Its like if you were to go into a
hospital and say okay, we're gonna take this
whole floor right here and we're going to
put on locks and heavy steel fire doors to
all these rooms and we're going to call this
now a detention room. Or a detention floor.
#66: Okay, so were these rooms locked?
#1: Yes. They were locked with slide locks from
the outside. Heavy bolt slide locks.
#66: And the doors were . . What were the construction
of the doors? . . When you looked at them?
#l: Just metal. They didn't appear to be, you know,
heavy. I would call them fire doors more than
#66:
I would cell doors.
Okay.
#1:
I think that's the flavor I'm getting.
. .
from
this. You know, its the way the thing
constructed. For economy reasons, it
is
would
make
a fairly good cell. If you had the people
and
they were close (not audible) observation.
But would not normally be used for a cell that
holds prisoners.
I have a strong feeling that this is some kind
of a . . . this building has something tg Ae h
a correctional institution, but .
#66: Okay.
#1: Correctional institution. Its almost like, you'd
never have prisoners there permanently. It was
like a holding area or something but not really
police associated. Well, that's not really true.
#66: From your diagram right now, I didn't want to
interrupt what you were saying before, from your
diagram before, what you have right now, I can't
tell which side the doors to these rooms are
in relationship to the stairway.
#l: Okay. I'll just put the doors in here.
#66: They're on the stairway side then?
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#l: They're on the stair - the desk side, where this
guard, and I'll put a "G" in guard, is sitting.
Call him a guard, but I don't sense he's armed.
That's kind of strange. Down here was like a
room in this corner that had some people in it.
And they're sitting like at a table or something.
Its like a break area of some sort.
These are also guards. And . . . two of these
are armed.
#66: Now, you were saying before something about, this
is like a correctional institution, but not a
prison. .
#1: Right.
#66: And police oriented.
#l: Well, no. This sort of confused me a little bit.
PAUSE
You know, I have an analytic problem here. I have
a personal desire to say, Oh yeah, this is police
station. And I think that's analytic because of
what I'm remote seeing. And, I would be more
inclined to say that its got the flavor of a
correctional institution but I wouldn't jump to
conclusions and associate it with the police.
You know, I feel like that would be analytic
for me to say that.
#66: All right.
#1: And I don't want to say that. But I do see that
these guys that were in here are wearing some
kind of a uniform shirt. Maybe its some kind of
an adopted uniform or something for their particular
brand of nationalism or something. I don't know.
But, its a dark shirt, like a very, very dark
brown or black shirt and there's some kind of
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~`'4'a tiff ~ i ~ _ d
emblems on the shirt but they don't appear
to be military type. They appear to be
a lot more complex and that may be an Iranian
form of military emblem, but I don't associate
I personally don't associate . . . .
#66: Would it be too much for me to suggest that
those might be police uniforms?
#1: I don't . . . I don't . . I don't know. It
seems like I would know if those were police
uniforms and I'm not getting that. You know,
I'm not remote viewing that. You know, I'm not
I'm not sure I want to say that sort of thing.
Its just strictly an analytic problem. Its
probably better if I don't.
#66: Okay.
#l: This. . This building. . . Oh, incidentally, let
me draw arrows here. This side faces the street.
#66: And you called that the side door.
#1: IISide door, yeah. And this side. . faces a
courtyard. I called it a courtyard but its not
hemmed in on four sides. Its like an open end
this way. I sense there's light that I can get(
a whole lot of light out of this area and that
that was . . . that's an open end. And the
decorative building was this way.
#66: And where is the front entrance to the building?
#1: Right . . .
#66: You perceived as the front?
#1: That's. . that's . . the front. The front.
And I sense that there was an end door here.
#66: Okay.
#l: For some reason, this
little building, I ju
know, like its not a
15 ,
Kttached
``t hae
1 t v
ilding, this
use for. You
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complex or enterprise or whatever you want to
call it. This side that faces the street, I
sensed a large walk with some very large trees
lining the street. This being a grassy area.
I just sensed there'd be some large trees here
along the street. This being the street.
And incidentally, a large street, with
cluttered with traffic.
Down here this turns the corner and this is a
small street.
And its a lot quieter. I sense like there was
people walking up and down here.
#66: On the small street?
#1: Yeah. On the small street. But not on the large
street side, because of a lot of heavy traffic
over here.
PAUSE
And . . the doorway. . .
#66:
Did that large street continue on?
#1:
he large street's that spoked thing that
comes out of the center of the city.
#66:
Yeah, but you have it turning to the small street,
am I . . ??
#l:
Oh. The large street.
goes on by.
Yeah, the large street
#66:
Okay.
#1:
Goes right on by.
The
small street's a left
hand turn off the
I don't remember
large
seeing
street.
another
Although,
side, you know,
another end of the
opposite direction.
small
street
going in the
#66:
Okay.
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#1: Its like a "T" intersection where the small
street hits the large street.
Page 2. The doorway appeared to be just a
standard stone block square doorway.
And there appeared to be double doors.
maybe one step. Very simple entry way.
#66: This is the side entrance you're drawing now?
rrl: This is the front or the courtyard entrance.
#66: Courtyard or front entrance, all right.
#1: Yeah. And there appeared to be, on both sides,
some kind of a . . just a section of column
like a column you would cut in half and glue
up against the wall. Two decorative column
shapes coming down like this. This was kind
of . . design up here. An oval of some sort.
Street indicator or something. There was some
kind of design in this oval.
Now essentially as the . . . . . .
And I sense that . . there were windows on this
side of the courtyard but on the other side there
were no windows. Courtyard entrance.
rr66: Okay. It would be appropriate time for me to
ask you now to discuss the confusion between
the three story/four story building.
#1: Well, . . . outside looking at the building, I
get the impression of three floors of windows
and a flat roof. Inside I get the impression of
being on the third floor but with stairs going
up like to another floor. Also, inside, on the
third floor, I get the impression there are
no windows. So . . you know, that's . . I know
that's very confusing, but that's the impressions
I have. And you know, I could analytically
attack that and say well, inside maybe I'm
counting a basement and outside I'm not. Or
inside maybe there's another floor in the attic.
Which of course, I'm not seeing because of a
flat roof. You know and there's . . . I don't
know how to explain it.
iy T`.~ L1i
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#66: Okay, that's fine.
#l: That's essentially the feeling that I'm getting.
Page 3, well I'm not going to . . the other
door, I'm not going to do, because all it is
is just a square front and just two very large
heavy wooden doors facing the street side.
And the wall was bare all the way down. Grey
stone. No windows. . on the street side.
On the ground floor anyway. The . . . Page 3,
the front of this decorative building I get
the impression is like an arched or semi-arched
kind of entrance with the you know, the decorative
white stone work like . . . this with a . . .
fancy steps. . in the front. As well. And they're
recessed in here. And its like another semi-arch
and there's big double doors in there with more
of the, you know, the stone work or whatever in
here. And that the face runs through the square
section of the face like this, drops back a little
bit and then the wall comes in this way.
That sort of thing with a big oval driveway.
And this being a street out here. And that
there's, you know, this portion, goes up to the
top of the building.
n66: Okay. Write decorate building next door.
Or something or other.
Do you feel that there is some connection between
the decorative building and this other building?
Yeah. Yeah. Like . . . there's some shared
F I.
function. You know, like if this would be Depart'"
ment of Agriculture, that would be Department of
Internal Rice Growers or something.
Okay.
rl: You know, there's some functional connection.
And . . . looking from the very top, I get this
impression that there's this main road and this
little road. . and there's this rather large grey
building here.
Now, I'm not sure about the positioning of this
decorative building, but I'm getting, I'm getting
like the impression that its like this. The shape
of it, I'm fairly certain of.
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1: It looks like a giant "E". And there's like
a period in the "E" on the decorative front
out here in the driveway.
#66: Okay, now, before you said you had trouble
really orienting the decorative building to the
grey building as to how the "E" might be turned
or how they ??
#l: Okay, let me explain that.
#66: Okay.
#1: There's a row of buildings, incidentally, that
go this way.
#66: Okay.
#1: I don't know if they're associated or not.
This courtyard for some reason, I feel like its
boxed. These 2 courtyards. Okay, the reason why,
is I sense an open end to the left, okay. . .
when I'm looking at this courtyard. And I sense
it being closed in on the right so I don't know
. . If this grey building's positioned like this
like this in Page 4, which I for some reason I
feel like is appropriate, that its positioned
like that - or, let me give you some variations
on Page 5.
#66: Then Page 5 will be a variation.
#1: A variation of the way that that might be positioned.
There might, in Variation A, the "E" shaped building
might be like this with the grey building on the
end.
Sharing . . . like a common rear courtyard. Or,
in Variation "B", it might be that the "E" shape
building is . . . this way. You know. (Not
audible) or whatever you want to call it. But,
the thing that I think is important, okay, there's
. . I think that the . . the . . "E" shape of the
`decorative building's important. The shape of the
grey building is important. In the fact that in
every case, the grey building on the smaller
connecting end has a row of buildings going out
from it.
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#1: I think that those are the three important
characteristics h re.
#66: You're not sure about the orientation.
#l: The orientation of the building I'm very con-
fused by. But there is a courtyard separating
the two.
=66: Okay.
71: And I don't know why I had the confusion.
11And the courtyard and the "E" shape building
Ilappears to be fairly boxed. The "E" shape
building, incidentally, is very large . . .
fwhere the gray shape building is perhaps a fifth
the size of the "E" shape building and that there
is a cluster of buildings there and that the
buildings represent some general sameness of
unction.
766:
Okay.
#1:
And that
are being
detention
it.
these
held
area
aren't cells that these guys
in but some kind of a converted
of some sort. That's essentially
#66:
Okay.
#1:
Oh! And,
I want to reiterate, probably that the
strongest part of this whole session that doesn't
make any sense at all to me, was maybe of
importance, is that the general Iranians have a
dislike for this section of the city for some
reason. Almost a repugnance, like maybe its not
a moslemic area of the city or something. There
is one other thing.
Page 6. To get there, I feel like you have the
center, or the heart, what they call the heart
of the city, and that there's spoked roads going
out. There's like five major roads going out.
And that this road where the arrow is is the one
that goes to this facility and its like seventy t
degrees from Northern section of the city.
And you know how my directions are.
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#66: Okay. Because I've noticed in what you've
indicated there the thing that you say is
70 degrees is actually less than 25 degrees.
No, I supposed that's right. 90 degrees would
right angle and the 70 degrees is okay. Yeah.
#66: Okay. Is the . . . If there are, in fact, in
the city, angular roads as opposed to square
road construction, is the road, the major road
that you've drawn by the building there - is
that an angular road?
#l: Yeah. The major road's an angular road. Its
a primary road tributary road going straight
into the heart of the city.
#66: So, if in fact there are angular roads that cut
through the city as opposed to, you know, typical
square block construction . . .
#1: That is one of them.
#66: Okay.
#1: One of the main tributaries.
#66: Okay.
#1: So, that's it.
#66: Okay.
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TAB
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L LA
o `D
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TARGET CUING INFORMATION
REMOTE VIEWING (RV) SESSION CC32
1. (S) The remote viewer had been exposed to open source news
media information and had seen overhead imagery prior to the session.
He knew he would be working against the hostage situation in Iran.
2. (S) The following picture was the only information provided the
viewer at the time of the session.
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 SGFOIA3
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