Approved For Release 2000/08/0
96r00788R000800450001 -5
SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION
CC54
1.
(S)
This report documents
a Remote Viewing
(RV)
session
conducted
in compliance with
a request from SOD,
J3,
OJCS,
Penta.gon,
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 Elame 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
remot e viewer
.
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TRANSCRIPT
REMOTE VIEWING
(RV)
SESSION CC54
I
!
I
I
i
l
i
i
TIME
#6.5
+07
#14
#6.5
This will
be
a remote viewing session
(edited
for security).
PAUSE
OK now for the past few minutes you've been
thinking about,
studying,
concentrating on
the
photo that
I
showed you.
For
the past few
minutes you've been thinking about,
studying,
concentrating
on
the photo that
I
showed you
(mumbling) Malcolm Kalp.
I want you
to relax
and concentrate
on the photograph
(mumbling)
Malcolm Kalp.
Relax and concentrate and
describe
(mumbling)...
PAUSE
I see... ah... I
started with seeing a.. a coffee
table... had the feeling
I was
in some
sort of...
ahh... office
or something.
. .large plush office.
I perceived
a large desk
to my left so
I looked
towards the desk.
. .behind the desk were
large,
tall windows,
or door
type windows.
. .large glass
area behind the desk.
Feeling that there were
books and things around this
room.
It appeared
to be some sort of official office.
. .ah.
. .high
office of
a high ranking personnel;
large office
rather plush.
PAUSE
As
I was viewing the scene,
I had
the feeling
I
was
si.. si.. sitting
in
a overstuffed chair.
I'm
not sure if someone was
at this desk sitting.
Ihe
lighting coming
in
from behind was
so bright
it
blotted out any detail.
Sometimes
I had the
feeling that there was
just
a high back chair and
other times
I
had
the feeling that somebody was
sitting there,
(sigh)
OK.
Step outside this room and tell me what you
see •
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+15
#14
#6.5
#14
#6.5
#14
PAUSE
I can't get
rid of the feeling that
I've been
here before.
Ah,
when
I went outside of the room
I.
. .ah.
. .saw a... well
there's
a large open room
i
there which
is kind of
a receiving area from the
||
main entrance.
It's more of
a residential type
||
|
place.
. .ahm.
. .oh
I don't know how to explain
it.
And then
I
flash back into this room and it's vgrv
''similar to the room
I described
in one of the
j
earlier
mith
nnR_nfL_the women.
I believeyj
C_^I-had her reclining on
a couch in a library, type
atmosphere,
whatever.
For some reason
this room
feels the same but looks different and
as
I wen
/lout
the access to this office or room was
| identical with the other session and the scene
j just outside the office was very much the same
exeept that as
I exited
the
doorway^fea^ry
immediate right was
a tall stand
vase
o
ran4 iqye- -feyp e
tfose or vase .
Did you
see any people?
PAUSE
I didn’t see any but
I
felt the presence of people.
Perhaps
I... I didn't
see any people
in
the... this
^ceiving area... this entrance way .
. .or
.
.
. I
' m going
have
to find
a term
to call that.
But
I
perceive_people around,
perhaps outside of the main
enj^Gf)ce7. ah .
. in other areas of this building.^
I. /
'Teel more strongly now bout... about somebody
sitt-ihg
behind that desk
in that room.
Can you describe them
to me?
PAUSE
(Sigh)
I don't get much of anything for facial
features.
Ah... it's
a male,
maybe
in the
s.
.
late 40 's early
50 'j
_
co come across... I don't know where...
[(mumbling)
but
I
get the feeling he's trying
to
| /impress or come across
as
a good guy... trying
to
^-JLcjgason or influence.
. .reason with or influgng^rp'
Kour"‘ subjed L Uhu
' s eit l iei Tngfy~'Bored or
in
a state
of shock.
It's... ah... from
the beginning there's
been kind of
a feeling and it's getting stronger
now... an interrogation situation.
-
*-! ?:jj , S;„
s
^
f-.t-x*
-*
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# 6.5
#14
#6.5
#14
+25
(mumbling)
The individual
sitting behind the desk
is... is.,
ah... the guy
is trying to be very benevolent...
ah... he
is definitely not the student
type,
i
definitely very professional and
I...I
really
I
don't... I,
for some reason
I
can't identify
hint!
with being
Iranian.
OK.
Relax now and change your perspective and go
outside this building and tell me what you
see.
Go outside this buidling and describe what you
see.
PAUSE
Outside... I ah... I was gonna try
to take the
shortest route which is through the windows
or
doors behind this desk... for some reason
I was
blocked from that so... I guess
I'll
go out
the.. the
main or front entrance.
#6.5
#14
#6.5
#14
Uhm uhh.
PAUSE
I'm having problems staying
in one place.
Ah...
while trying
to focus from the outside looking at
t
this building all of
a sudden
I seem to be
(sigh)'
in
a vehicle driving down the streets watching the
buildings and stuff
go by... for quite some
distance and then
(sigh) .. .ah.
. .now
I'm trying to
focus and go back to
(sigh)
I'm not getting any
clear imagery but the impressions of that.
. .ahm.
.
.
there are columns out in front,
stairs leading up
to the entrance of this building and
I'm not sure
how many.
One' thing
I Tiave~a def ii iibe—-feel for is
fj there appear
to be four guards outside
of this
I'fJiaq.e and these were very military^ojpking-^^the^y
y were'7iot^dTe--3tyden-fe^--type
were formal type
guards.
. .spit and polish
type.
OK
PAUSE
(Ahm.
. .Before.
. .ah.
. .There appeared perhaps
two at
the entrance itself and two at the street level.
I
The two at the street level
seem
to be kind
liket'l
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they were still guards but were acting more as...
as doormen or something.
There's.
. .yeh.
. .ah.
.
.
there's
an area
in front where vehicles
or cars,
whatever,
pull up
and drop people off
- pick
people
up.
#6.5
OK.
You
see anything else you want
to add?
PAUSE
#14
i
#6.5
Yeh,
I
could throw alot of things together
in
a
nut shell.
Ah,
before the session,
this is gonna
sound crazy,
but before the session officially
started... ah... I was focusing and concentrating
on
the subject and
I
had.
. .ah.
. .the picture^of a
vehicle
or car seat and then
I'd picture of... ah...
the most detailed picture of
a crapper.
Ah...
a
rid
then a5 It:
. .when
LFie~sessio"n started,
we started
out
in
this office
type room and course,
I don't
know,
maybe
the individual
in the chair was... was
a good
guy,
I
don't know,
it was hard to tell.
He’d.
. .ah.
. .the.
. .the subject was sitting there
seemed to be ignoring the individual or bored or
in
a state of shock* vah rT7"the~iffdividual sitting
behind the desk did not appear what
I ’liroutd-.e^ect
"as appearing as an
Iranian.
Ah... seemed
botre-^a
very official type location,
place,
building,
and
would appear that the subject was brought there,
talked with,
talked
to,
interrogated,
and was taken,
when they were finished was taken away which
is
perhaps what was happening when
I went outside and
caught up zippin down the streets.
Why
don
' t you”relax, Tela* and"sit
- up-'Snd 'W'some
drawings
of images that you have,
OK.
#14
All righty.
#6.5
OK.
Why don't we try
to do some drawings here.
PAUSE
#14
Ah... drawing No.
1,
I'll put things... try
to put
things
in kind of
a perspective
in how they kind
of started coming into place.
#6.5
OK.
Better watch your mike so you
get picked up.
(mumbling)
(laughter)
Approved For Release 2000/08/07
: CIA-RDP96-00788R000800450001-5