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SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION
1*
(S/NOFQRN)
This report documents a remote viewing session conducted
in
compliance with
a request from SOD,
33,
OJCS,
Pentagon, Washington,
DC.
The purpose of the session was to provide information relevant to the
hostage situation
in
Iran,
2.
(S/N0F0RN)
The remote viewer's impressions of the target are provided
as raw intelligence data,
end,
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/NOFQRN)
The protocol used for this session is detailed in the document
Grill Flame Protocol , AMSAA Applied Remote Viewing Protocol
(S) ,
undated.
4.
(S/N0F0RN)
Following is a transcript of the viewer
1 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 cuing
information provided the remote viewer.
5.
(S/N0F0RN)
The remote viewer was asked to locate Charles Jones and describe
his surroundings.
He described Jones as being
in
a room with another hostage,
>
later identified from photographs as Joseph Subic.
The viewer felt this room'
was
in
a building located
in
a large city.
He also felt there were other
j
hostages
(number and identity unknown)
in
the building.
The viewer
felt there!
were three guards,
one roving,
associated with
this area.
The viewer
felt
I
this area was familiar to him because he had "seen"
it
in
a previous remote
\
Is viewing session
(see CD-11) .
\
\
V
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ocorccT
TRANSCRIPT
REMOTE
VEXWING
(RV)
SESSION CD-91
TIME
#66 :
§66 ;
+06
#24.5;
#66 ;
+10
#24.5:
#66 :
#24.5:
#66 :
#24.5:
#24.5:
This will be
a remote viewing session for 0900 hours,
July 1980,
PAUSE
Relax now and concentrate.
Relax and focus your attention
on Charles Jones,
whose picture
I have shown you.
Move
your awareness now to be with Charles Jones.
Move your
awareness to Charles Jones at
the present time.
Locate
Charles Jones and describe his location to me.
PAUSE
Feels
like
I'm on.
.
.
I'm hanging
on.
, .a wall.
On the wall by the,
.
.
window.
,
.
open.
»
.
sandstone.
I'm looking through
this window.
.
.I'm hanging.
.
,
two or three stories above.
.
.
ground.
.
.
Inside
is.
.
.
(mumble)
.
.
.still asleep.
.
.
cubicle.
.
.(mumble).
.
.
the guy
is sleeping.
.
.
lying
in
a bunk.
.
.
in
a upper
bunk,
wrapped
in sheets.
.
.
the bunk
.is positioned
.
.
.
in front
of
a window on the other side of the
room.
.
.
It's
a familiar building,
I've been here before.
Tell me what makes you say this.
Configuration.
.
.
the color,
the size and the wings.
,
.
that stick
out.
.
,
I
just feel like
I've been here before.
But I'm in a different part,
same general area,
but may
be.
Is Jones alone
in this room?
No,
he's got a partner here.
Tell me about his partner.
PAUSE
I
don't get
any of this feeling
of
a.
.
.
blond-haired,
youthful
guy,
who's
only
in his early twenties.
He's
a
soldier.
.
»
PAUSE
There
in
the.
.
.
about one floor down
off the
roof.
.
»
on the first wing on the left
side,
.
.had
a picture
of
the
guy
that,. the young guy that looks like a guy
I
know.
.
.
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#24.5!
.
,
.
it's his rookie.
.
.
a marine first,
but,
.
.
I
got
this,
uh,
rehash
of
a photo
I've seen before
of this kid
in uniform.
§66 t
Okay,
I'll ask you to identify him
later.
I would like you
to tell me about the grea ter building now
in which this
is
located.
Move your perspective and tell me about the greater
building
in which this room is located.
#24.5;
I'd say,
uh.
.
.
a building
that has
a,
uh,
some roundness
on the top at one end like
a capital of some kind,
.
.
But
in front
it's
on
a street,
,
,
has
a wide.
.
.wide step-
way,
you
know,
like
a governmental building and
i t has
a.
.
•
big darkness
in
the front
like.
,
.
a large ornamental arch-
way.
,
,0n
the
left side there are two bumps that project
out
of the side
of the building .
»
.they are square,
.
^
»
where
I am
is,
uh,
.
.in
the first bump going around the cor-
ner,
about third floor level, maybe four ill floor
level.
.
«
building
is,
uh.
.
.on another side,
now.
.
.almost appears
to be cut
out
in
the back
of
the.
,
.
Yes,
it’s
there,
it's,
uh,
cut
oil t in the back side and has
a longer bump on the
inside of
it.
.
.building
is growing bigger and bigger as.
.
.
as though the building
is.
.
.
I was only looking at one end,
one wing,
of a "U"
shape,
which spreads
it
out an
inner court.
,
#66;
Move now above the building,
and tell
rne about the shape of
the
building and the surrounding area.
PAUSE
#24,5;
Across the,
uh.
»
.1 tried capitol and.
»
.
arts.
I've got
j
a feeling,
I'm looking
as
I'm coming across from the horizon,
• like a road,
and
a.
.’.it comes to the road in
front.
.
.come
up to it,
but there's some angles
in there,
as though there
are two angle roads that go off,
forming an arrow.
.
.
arrow-
head away
from this place.
.
.
That area
is
like
a.
.
.
not
populated,
it's like
a.
.
.an
open park area with the roads
that go through
it.
#662
Do you recognize this area?
#24.5:
No.
Do not recognize
i t,
.
. Where
I
am,
though.
.
.Now
I
have the feeling that around and behind
rne on three sides.
,
.
is the other buildings and.
.
.but,
this building
is the big-
gest
in the area.
.
.
Lower,
two and maybe three story buildings.
Some small buildings,
like homes.
.
,
I. got the definite
feeling that one
is.
.
.
it's forward aide
is definitely
on
a
unoccupied area end more residential and business area sprawls
out behind,
and.
.
.
to the right and left.
#66:
Okay.
Let
me see
if
I understand what
you're saying.
That
if,
to one side of the bu ilding
in which you perceive Jones seems
to be more
of an open type area,
no buildings.
But to the
other side there seems to be more buildings,
perhaps residential
perhaps business like buildings to one side.
So there's a
distinct difference on
the sides
of
the building.
Do
I under-
stand you correctly?
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#24.5:
Across the street
is the open area,
#66:
Okay.
#24,5:
Looking at that from up above ,
to my^ight,
to my
left,
and to
lny rear
is ths occupied area.
»
>
Cause
the buiioing
is sur-
rounded by occupied area except
on one side,
which
I perceive
to be the front.
#66:
1 understand.
Let's focus now back down on Jones,
and on the
room
in which he's located,
and go now to a search mode
for
guards.
Describe for me any security guard type situation.
PAUSE
#24.5:
Have
a walker,
who
is
on the.
.
.
floor even with.
.
.on the
main stem of the building.
I have this.
.
.
looked like a
bunch of arches,
and
I'm walking along under them.
.
.
on
like
a balcony that's covered.
.
-
.
This
is on the level
of
the.
.
.
He walks
like a
sentry.
.
.
#66;
Anything on him?
#24.5:
.
.
.he has
a pattern,
and he moves from one end to the
other.
#66 ;
Okay
#24.5:
That's all
1 can see
on
this level.
.
.
I,
uh.
.
.No,
wait.
There's
a,
I'm somewhere down the corridor
on that
little.
.
•
appears to be
a small room back in
the same part of the build-
ing off.
.
.
off the corridor,
which
is like
a guard room,
which has three people
in
it.
It's like
a,
uh,
a watch room,
on the corridor,
near what
I thought was the front part
of
the building.
.
.
From this room the people
go out and walk
down
the corridor,
checking rooms on
the right, which
is
the
main stem of the building,
and periodically checking the
rooms
on the left which are the two protrusions that
jut out
from their wings,
but they're one room wings.
They're only
big enough for one room apiece.
The guy that leaves that
place does not have to go all the way down
to the other end,
to the distant end
of this corridor.
#66:
Okay.
I'd like
you to focus for
a minute on this guard room
_
where you
say these other people are located,
the other guard
types are located.
Focus
on
that for
a moment,
just looking
at it and observing
it while
I turn the
tape
over.
Okay,
tell me a little about this room that you said
is a
guard room.
#24.5:
Has
a very.
.
.
similarly,
.
»
gat the idea
of bare sandstone
type.
No windows because it's on
the
inside stem.
.
.
It's
in the main part
of the building,
the interior.
It has
several knock-down tables in
it, 'and there's debris and stuff,
equipment and.
.
.
looks
like maybe sleeping rolls scattered
around the inside wall.
The table's back
on something
in the
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#24.5:
middle
of the room,
which is large and square.
.
.
go from
floor to ceiling.
It
is
a linear vertical pattern like,
almost like wall lockers were stacked
in the middle
of
the room.
The room is deeper
than
I. first expected,
but.
.
.1
got a
feel that
on the sides and the back are several single beds
for sleeping and they appear to be.
.
.metal frame,
about
four
in here.
One along the left wall
in
the back
to the tree
along the back wall.
#66:
Those were the cots you're. talking about?
#24.5*.
Yeah.
.
.
#66:
Now,
you had mentioned that when the guard goes on patrol to
a,
what you refer to as
a
level,
that he
looks m rooms on
both sides
of the hall.
Do you perceive that there
is more
hostages than just Jones and his partner here?
#24.5:
Yes.
About four or five rooms,
other
than this one,
that are
all located
on
the right side of
the hall.
And the first
room is the guard room,
arid the rest of
them down there have
the people
in them that are checked.
#66:
Okay.
Let’s move back outside,
now,
to
a point of
perspective
where we might be able to locate
this building and it's
neighborhood within a larger perspective*
Let's see if we
can't determine the location of this area.
#24,5:
I am over Iran.
.
.
over the Persian Gulf,
.
.
my attention
is.
.
.
imagining
tie outline
of
Iran.
.
.
My attention
is
drawn
to
a dot
in the upper end of the Persian Gulf ,
just
to
the right,
and
inland.
.
. wherever
that
is.
.
.
#66 s
Okay,
remember this map that
you have
in your mind so you may
draw
it for me.
I have no further questions.
#24.5;
I’m reducing the scale,
#66:
All right,
continue.
PAUSE
4A033OOO1-3
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#24.5:
/fOkay,
the first thing was this,
uh.
,
,
The predominant
theme in this
is
a building that has wings,
short,
stubby
wings that stick out
of
it,
.
.
ft
PAUSE
.
,
.
like this,
in sketch
one.
And the feeling was that
I
was about three floors
up.
Okay?
I'll draw you
a sketch
of
the thing,
the whole side,
because it's right near
the front,
that's what
I was talkin'
about.
I'll draw more of this
later.
And that goes across
there,
and there's some sort of
capitol,
.
.
there.
That's how
it pieces together.
The
place that
I had my first image,
this later developed,
okay,
the rest
of
the building grew,
but where
I
thought
I was
to
begin with was right up
in about this
level,
where
the square
cutout
is, which
is the window.
Okay.
And,
you know,
I
didn't detect any windows.
.
.
It's a funny
layout.
This
forward right part of the building
I don
' t see
the humpty-
humps along
it.
But on the interior side,
like past this
first wing where the
guy
is,
there's this type
of thing,
as though there's an exposed balcony along the outside of
the
building,
like that.
Okay?
I didn't feel that
that was
repetative all the way down
t
I
know that
.it's
not. out here
block out on
the right side
o
type structure.
But
in here
covered balcony
is
in
there.
The reason
I got the idea
that these wings were only
one room
thick was because when
I penetrated
the. window right
on
the
other side
of the
room,
which
is only
15 or
20 feet wide,
which would imply to me that the wing is only 15
or 20
feet
wide,
were the bunks,
which I'll draw
in sketch two,
and
the
bunks were
in
front
of another exterior window and they were
on the other side
of the room.
Okay.
So
for sketch
two,
I
had our
guy
on the top bunk.
.
.
That's really way up too
high,
but anyway.
.
.
And there's
a window right there,
and
the bunk lays right
in front
of the window,
on the other side,
that's the
thing that gave me
the feeling,
you know ,
that
I'd gone to
the
other side of
the
room.
The room's not very
big.
Very plain inside.
And our guy was. up here.
What's
his name?
Jones.
he
wall,
on
the
inside
but
#66:
Jones,
#24.5:
Jones was sleeping there.
And the guy.
.
,
I worked on the
guy
in
the bottom
of
the bunk,
and
I had
a definit feeling
of a younger guy,
a definite feeling of a white guy with
sandy blond hair came through first,
end then
I was,
and the
military
feeling came through first.
And
I
figured,
well,
he just went into the Marines.
But
then
the feeling
that
I
had,
the
image that
tfecuwwtli to me,
the picture
I
saw
was,
I
saw
a picture
that we have,
that
I've seen before coming through
trying to
identify people.
And it's the youthful Spec
4 or
E-5,
wears glasses,
and he has darker light hair,
and he's
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#24.5:
dressed
in greens,
okay,
and
I
can identify the picture that
atwKnxA. to me
there.
Anyway the other guy here was there,
okay,
and it was
just a plain,
again,
just a plain sandstone
room.
Maybe
25 feet that way and maybe 15-20 feet that way.
Okay?
And this
is like peering
through
the window from this
view
in sketch two.
.
.
Didn't even see any access door
or
anything like
that,
cause
I had my back,
I was perceiving only
from this direction,
1 didn't really see any door.
I pre-
sumed
that the door was at this end,
cause of
rny perspective.
#66 :
#24.5:
Okay.
Why don't we go now to
a,
like an overview,
a floor-
plan of the parts of
the building you perceived.
Yeah.
It’s
The room wa
the
last,
se
3QQ *
*
*
*
sort
of complex,
is why it's gonna be difficult
s familiar,
I mean the building was familiar
from
ssion
that
I did some months ago,
a month or two
You want
just
a .floorplan,
then?
#66:
Yeah.
#24.5:
Okay.
#66:
To the best of your recollection,
don’t add anything that
you didn't actually
feel was
there.
#24.5:
Dotted lines are because
I had this overpowering type feeling
that this
tiling was actually
"13"
shaped.
.
.
Oh,
I
just re-
membered,
I
left something out that
I saw before.
.
.
Here
on this side was something else that sticks into the.
.
.
but
it's
a different
size than the exterior.
Okay.
"X"
marks the
spot.
There
is some sort of a capitol dome type
thing here.
#66:
Okay.
Label that dome.
#24.5:
Okay.
The floor plan
is this.
Along,
between these two ex-
terior
-
oh,
and there's a street here,
and there's,
I'll
draw a front,
okay,
later.
This
is the exposed area with
the
humps
on
it.
Okay.
And
inside
that,
there's
a hallway.
The
hallway goes somewhere around the corner,
I don't know where,
around the corner.
Up here,
one,
two,
three,
four,
five,
are
five rooms.
I’ll
label them H,
H,
B,
H,
H.
These are rooms
that guards checked.
Okay?
I
did not go in those rooms.
All
I know
is
I
labeled them H because the guards checked
them.
Presuming hostages.
The
"G"
room on the end is the guard
room.
Okay?
The guard activity that
I
saw,
and this was some
sort of a court,
grass court with sidewalks
in
it.
But
I
couldn’t detect any pattern,
like a geometric pattern
in there,
anything liketjiat^dfe
walked,
he would,
the
guard was^mrtT'concerned with
anyth.ir/g'-4Iaat was around the
cornered towards the dome.
The guard waSs^oncerned only
wifeh going halfway down the side
of building. \ I don't know
Jn
there's another guard that covers
the other) end or any-
/thing like that.
The guards patrol would check doors
alfloq-—
\dn these rooms,
and would
i
mil
‘
'> ~r
rlnnn
''JiVi' mn
i r~"T
wjhwand then he'd turQ
ft*
-1-
^ b- t'i
i
f
.
back.
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#66:
Okay.
#24.5:
Okav?
So he'd come out, he'd go down- no,
he's actually
going down the inner hallway there.
Have to remember I'm
up
on the third floor,
or something like- about that high.
#66:
Now,
how many
guards did you actually see?
# 24.5:'
I had
a feeling that three people were there.
I
only saw
one,
and that was the guy
that was moving.
Okay.
But when
I
got
into
the room,
I
just had this spontaneous feeling
of
well,
three people bunked here.
#66:
Okay.
#24.5:
Okay.
Maybe ran rotating shifts or something
like
that.
#66:
Okay.
#24.5:
Ail right?
#66:
That's fine.
The room with the
"X"
in
it then
or the-
#24.5:
Is where Jones
is.
#66:
-where Jones.
.
.
Do you have any feeling for number
of
occupants of the
"H"
rooms?
#24.5:
No.
#66:
I
know that you didn't explore them ,
but you did feel
the
guard was checking?
#24.5:
Yes,
I felt the guard was concerned with those on
the right
as well
as on the left as he moved down the hall.
#66:
Okay.
#24.5:
Urn.
.
.
#66:
Um,
I—
#24,5:
I don't know how many
are
in each room or anything like that.
#66:
Okay,
I™our concern with drawing
a different scale now,
and moving up and away from that and putting this
in
a
neighborhood and into
a city.
#24.5:
Okay.
All right,
for four.
,
.
This
is my arrowhead.
Talked about an arrowhead
#66:
Which you think
is a street pattern?
#24.5:
Which
I think
is
a street pattern
in
a,
in essentially
a open,
more open park area.
Okay.
Extending for some half mile
or
something,
a good sized open area,
which
is different than
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#66 j
#24 * 5 s
#66 ;
#24
. 5
:
#66;
#66 :
#24.5:
#24.5:
#66 :
#24.5:
#24.5;
# 66 :
#24.5:
the whole other area surrounding this place.
There's
a.
.
.
Okay.
Uh.
.
.
The hash marks
is just this different area.
An open area of some kind ,
okay.
.
.
Well,
when
I
say open,
I don't mean open bare.
I
meats it's
open from habitation.
It doesn't have houses
in
it.
It’s-
it has
trees,
it has streets to go through the trees, boulevards,
it has people ,
but
it doesn't have houses and buildings.
Okay.
PAUSE
Street pattern,
okay,
and that continues on and up.
.
.
Okay.
Along the right, what
I was trying to say during the
session
is that as
I looked at this arrowhead away from the
front
of the building,
on the
left,
on the right,
and behind
me was all city,
structure, humble- jumble.
Two and three
story buildings,
max.
Didn't see any skyscrapers
or anything
like that.
Uh,
small little houses,
mud hovels mixed
in with,
you know,
two story cement brick buildings,
you know,
it's
sort
of
a humble- jumble
of city.
Okay,
why don't
you hash mark that area
and label that
appropriately.
PAUSE
Is this scale inapproriate
to indicate your airfield?
Yeah,
.it
is.
I'll indicate
the direction.
Uh,
.
•
PAUSE
The city also sort
of sprawls across
into the area surround-
ing this open park.
I'm not going
to say that the city
is
linear
like this.
Once you're out of this open area
or maybe-
this
is
a half mile -about
a half mile,
I'll say.
Is there city beyond the bounds
of the open
park?'
Yes,
Yes.
Half mile,
and this
is half mile.
And once you
get a half mile down the road from the target building,
then
the city comes around the corner and sprawls
out.
PAUSE
Go to higher scale?
Okay
.
PAUSE
I was looking at the damn thing from a
low,
very
low oblique.
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#24 .5:
I'm trying'
to remember what the hell that airport pattern
was
.
PAUSE
#24.5:
I
didn't really look at
it
dawn from above,
I was looking
at
it from the side.
There were two subrunways on each
side.
And there’s connections
in there
too,
but
I
don't know,
have no idea what they are.
.
.
The thing
I remember recall-
Ing out of
that whole importance of this area™the reason,
I
don't know why,
you know,
I was looking around,
well,
okay,
where
in the city am
I?
The only thing
I could think
of
or
the only
thing that came to mind was
- Oh,
over
there
is the
airport,
and Oh,
look at that the main runway,
just about
points right
at this building.
Okay?
It's a awful little
bit,
it's not
a
true azimuth.
It's off to the back
ot
it.
Like that.
But
it's almost.
PAUSE
#66:
And again,
can you
estimate the distance?
#24,5:
Yeah,
it's about™
it was way over there,
you know.
It was
like,
I was up on top
of
this building,
and
I
just make out
the runway
on
the horizon.
So
I have to say
it was like
8-10 miles,
looks
like.
#66:
Okay.
On top of
a two
or three story building ,
looking out,
just being able to make
out the runway to the horizon.
#24.5:
Right,
#66:
There are people that know how to calculate how far you can
see from the
top of the building,
so
that might help.
#24.5:
Yeah,
but do they know how to calculate how far you can see
using remote viewing?
#66:
I have no idea.
#24.5:
It could be 450 miles long.
#66:
Right.
#24.5:
Yeah, and the major urban sprawl,
major city complex was
here,
okay.
Call
it
the main city spread,
and then
out here
was
like beginning suburb.
The character of the
land,
the
character
changed’,
it wasn’t
in the country,
but
it was
like
out
in what
a developing suburb area would look like.
#66:
Okay.
#24.5:
This isn't
right,
I made
it too big.
PAUSE
Ol
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