a BS an i meh tn BARA as eA NA AEE ASA 8 ESTAR RR io UO SIN AT in EARN RP Bala 1 SE Bie ha Approved For Release 2003/09/09 : CIA-RDP96-00788R002100050001-4 SUMMARY ANALYSIS REMOTE VIEWING (RV) SESSION Cec-90 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 purpase 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 rav intelligence data ard 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 detialed in the document, Grill Flame Protecol, AMSAA Applied Remote Viewing Protocel (5), undated. 4 (S) Following is a transeript 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 cuing information provided the remote viewer. 5, (S) The remote viewer was asked to locate an individual identified as Mr. Daugherty who is being held hostage in Iran. The viewer described a two-story "L" shaped building in what he felt was a rather exclusive suburban area. The viewer felt that there were other hostage personnel kept at this site, but that at the time of the session they were temporari elsewhere, location unknown, SEGCR Approved For Release 2003/09/09 : CIA-RDP96-00788R002100050001-4
Approved For Release “SECRET TIME #66: +02 #08 + G63 #08 : #66: #08 HOG? - #08: frase A CASAS OAL AON Te m TRANSCRIPT REMOTE VIEWING (RV) SESSION CCC~90 This will be a remote viewing session for 0830 hours, 1 May 1980. PAUSE Relax and concentrate now. Relax and concentrate. Focus your attention, and your observations solely on Mr. Daugherty whose picture I have shown you. Focus your attentions locate Mr. Daugherty and describe your per- ceptions to me. PAUSE He's in an "L" shaped building. It's a two-story building. Right at the "L" is...kind of a tree there. There's something circular in the corner. Like a...like a statue. The round (phonetic)...looks like (not audible-mumbling) Small courtyard...in front of that is a-wall. Wall is capped (phonetic) like...light tile.....this is just something that caps off the wall. And, as you look at this building, indicate to me this specific area in the building where Daugherty is located. PAUSE All vight. f ain't done that yet. Just look at the building from the outside and see if there's a point in the building you could see where Daugherty is located. PAUSE My attention is brought upon....behind the tree at the "L" shaped in that area. : And, which floor? i Second. 5 PAUSE Approved For Release 2003/0 ETT AER FEN BORCZ 000500014
AEDT TT SCT REET ET IES SE 8 od ANE" SF ETE ARO? +08 +09 +11 7 ESE FT ERT ON He #O8 + HOG: #08: #663 #09: HOG: #085 y ENERO RSENS WS DRESS 6 ARE TAN Se ae RIESE PRY BE. TNR NIT, TRE “wat TMB Se TT EE PRE ES REA RE SRE FS EE OO Se a a ee Approved For Release SECRET T here are thin....again they.... There are thin poles at the bettom of the arch...boxes that.....in the front of the building there's sort of a balcony all the way t 0 t b 8 a i c I o the road.....d1l the way ‘cross the front.....- ke here's another......there's a wall on the right of the uilding...it looks brick...say game continuation of that ame wall on the right side, and beyond that point there re other similar structures. The "L" shape seems to be mportant, and on the other side there seems to be a ontinuation of a wall, but..... there's a street there. t's not a four-way intersection. It comes tossegese a dead end so that you have to make a right or a left I a e c b 8 t L t 0 d C C T water, got the impression of.....-not a very big city at all... distinct impression of a suburbia somewhat, I guess... xelusive where you would have betLer than upper middle-~ lass people wha are there.....that's kind of an exclusive suburb or something... The street in front of it...of that uilding seems to round off and curve so that this entire et-up ...uh...very large curve.....keep getting a need o look for the ocean. ike somehow this entire area faces distant bady of water. ike this were on the outskirts, or something, and beyond his area is very deserted land. Beyond that is a body ag ke Focus now down, very narrow focusing your field right own to Daugherty. Focus down..... an I go up for a second? ertainly ! PAUSE his place...this area...this is as a central building.... there's something about columns and a tower that predominates he entire building. That entire area.....there's ...uh... t li J 1 where he is.see.. 3 he north are mountains or hills. Beyond where he is, A ike an exterior boulevard that goes all the way around his thing. That center...building...main attraction...« t's a predominant feature.....and south of what I see is eooeneneec cand beyond, ta ust got an impression of a vast expanse. PAUSE. Approved For Release soosiasho E CRE Trecozto00so001.8 y
Approved For Release 2003/09/09 SECRE RET +14 +15 +16 +17 +18 #08: Ok. I'm waiting. #66: Focus now, narrowly down on .this building closer and closer and closer. Move inside the building, and as you approach the area where he's located describe as you go. PAUSE #09 : The first impression is of a very quiet, wide. ‘room for such a small building. PAUSE Extremely veird, but on one wall seems to be a place for a Fireplace tO. seeel don't know.ceseD Veryeee ei proportion to the size of the room is alot of light in the back of the room with a main window. PAUSE I don't see any indication of physical abuse. #656: Tell me what makes you say that. #O8 s I just.....got him in open white shirt and JOANSsecaceeces PAUSE I keep....eeeethis is like a conference room. There's no table there, but there should be one. PAUSE There's a cot in the right corner of the room. He reads alot. Then there's a feeling of relief. #66: Explain this to me. #08 : / t's just a raw impression of relief....contentment. He , reads alot and, I guess, he's made up his mind, and...uh//. no apprehension......there's no sense of apprehension. J #663 All right. Turn your attention now to determining whether or not there is anybody with him. | #08: Nobody in that room, except him. SECRET Approved For Release 2003/09/09 : CIA-RDP96- 00788R002100050001-4
Bea eeresmacranenen ernie ween eae OME ANT RAITT. AAR AR EER RB RD ER aCe eS Approved For Release ~ SECRET. ; #66: Ok. book around the area for other personnel, and identify them for me. PAUSE #08: Got a hard time moving (mumbling). PAUSE +20 #108 s There's one more guy in the left part of the wing, and next to that guy there should be somebody there. But, he's not physically present. Then, there's the guy... t just described, I guess. PAUSE And, to the right of that or the other "L" there seems to be two more places where people should be.....they are, but, they're not physically present....just a white accent (phonetic) .a.«- PAUSE. Our guy.....-.the weird thing about this thing is that the second floor is that I seem to have te go through the room to get to the other, I think. Can't find any +22 dumb corridors. I-get the impression downstairs is all for...es+.around here. I'm under the impression. of 5 people responsible to oversee this thing. I'm having a hard time with the inside of this building. #66: Ok. I have no further questions about the target area. - Now, if there is anything that you think you would like to add, do so now. . #083 No, no. That's it. #66: Ok. Fine. Let's draw the impressions that you had. PAUSE - #08 < Ok. i'm going to indicate in sketch 1 where I picked this up here, at the very beginning. And, I'll try and qive. you a view of what I saw from the front. In fact, that's where I was when you said you wanted a view. #66; Ok. Approved For Release 2003/09/09 SECRET rooos0001- Es PRMD DRS NL Pa A Red RARE SES ERE RTE RA i CA AAS PA
Approved For Release 2o0s/os/o Fy fs- (OP App FR002100080007-4 #08: And, what I got the impression was..-..-.I'm going to make this small because there's alot of garbage to put in here.....of an "L" shaped type building...came like this....-this is not quite right but, what the hell. Bredominant features....there was a huge tree here...-- /Asomething here, ok.....and there was like there were arches....huge arches which looked like poles because they seemed to meet, and this went all the way aroundy, . It continued....what I thought were poles turned out to be arches. And, here there seemed to be a balcony....it was like there were two floors...and this was all...uh...white, yellowish cement sort of.....-In the front of the yard, or in the center of this courtyard there is something circular...--. like this was a.....a fountain or a statue of something. It was dry. Had like a white cement or something. Like a sculpture. I don't know what to...call it. And, then beyond here was the wall. I got the impression it was somewhat circular here, and there was a....what I thought was a red brick wall...and the weird thing about this is (A ‘that it was capped, As if...you know...the old European roof tiles where it's kind of circle like. Got the impression these were more or lesa at 90 degrees. The wall was capped off with something. This wall extended here, and extended here, but somewhere around here it stopped, or it continued this Way....eeeand this way here. And there was foliage here, and beyond the wall was street. nd, the weird thing about this was street that goes to™ the right and to the left, but it was definitely a dead end ) here ; Oh yes. There was a gate, but it had an arch on the gate. But, that looked like cement of some kind,....eand this was a grated gate. That's about the perspective. Over here were other buildings along the street, and down here too. And, this entire......1 should draw my street....-parti- cularly here where this curved.....which is little unlike what I. saw in the overview shot,....that was separate. But, here, I got the impression the street was curving avay from the house. Particularly on this right side. #663 Ok. And, you say further down the street there were also buildings...-there were also buildings further down the street. , . #08: Yeah. It's like there were series of building along this boulevard type road.....+.e..+- and it just continued as if it were on, on a beach or something....that was weird too. | 5 Approved For Release 20031081098 fen OBsfid fEBETFG02100050001-4
Approved For Release 2003/09/09 SPORE? ail #66: Ok. Now, can you tell me something about the styling of these continuing buildings? #08 ¢ No....they seemed....well, they seemed in a style, but they weren't as elaborate as this one. They were more rectangular.....more simpler. #66: No. Let me see if I can rephrase my question. #08 : Go ahead, #662 Are they residential buildings; are they business buildings; offices. Pa #08 : Yeah...eno, no, residential with small shops? I think most of the small shops were to the right. #663 Ok. As apposed to office buildings. #08: Yeah. No. They were nothing beyond two stories, it seemed. That's why I said it looked like suburbia or suburban setting..-not a very busy setting....or not a metropolis. #66: More residential than..-..-- #08 : Very residential. Uh...maybe I should jump to the overview. #663 Ok. #08 3 I don't want to lose that. #663 Ok. Why don't you go ahead and do that now. #08 s L felt.....what I was trying to figure out is give you gome type of geographical feature that would help to maybe pinpoint where this thing was. I just felt before going inside since I was...wherever I was...1 thought it was time to go for the overview shot. And, what 1 got....the Ve impression was...glmost a square like,,...busy area... was alot of houses and streets. ey weren't completely square. They all kind of spaked into the middle, ok. In here was the distinctive feature where everything seemed to lead...like the Champs d'e Lesai (phonetic) or something. There was, wha ink, was a building. Oo official or religious building, and on top of this building Vas 2 TUge spire ana it predominated the entire view of the city.. And then I got the distinct impression....-na, this is much, much smaller.....that this entire thing was nenetnemunninmaesinacan an ovhceumanesamatiet Approved For Release sansyosins dee lteeh pecdooo: 0005000 -4
Approved For Release 2003/09/09 : 4 FOES PR RT or 080001- #66: #08: #66: °" #08: #66: #08 : surrounded by..-like you would in the European cities..o-. by an exterior boulevard that gave access to the interior af the city. Where he was in relation to this feature, s I understood it, was around here someplace. I'l] call it Daugherty building, ok. That's the overall impression that I got. Then I got lost in directions here. I wanted to say there's a vast expanse here......that it was sort of . desert like....-going towards the ocean.....and one side...-. Ok. Towards the bottom of the page...then you feel that: it's FAoacnuce ‘ , Yeah. »a«this would be south.o12 >to me it was southseeee tng, oe " Qk. Towards the bottom of the page a a there was a vastness and maybe some water beyohd the vastness. sete se ASTER SEY OPERA NET IET: N fee eran AH Ho tS TE Which would be to the right of your page. “Yes....-would be a mountaineous or hilly area. This thing about the ocean kept coming back, but I had a hard time pinpointing it in terms of distance, but there was a nearness of it, But, not in terms of 10 miles, 6 miles; but fin terms of maybe.....I don't know...+e300, 500 miles, ar something like that. Somewhere in here....or someplace ff #66: #08: #66: the ocean was there someplace. I can understand from your altitude how simply changing your focus would bring many things..-. Yeah...-it sjust....was there...and it came back three times. But, it was there, and it was from the overview, view of the damn thing. some place in there was the ocean in some proximity. I'm going to draw that spire on 2 here. Tt was just so, so blatently high and huge...and had...I think, some religious or official significance.It just powered over the entire area. And underneath...this is the building huge... shuge building. Maybe I'd better redraw this to try and give you some.......no, I'll just draw the overvied, of the L shaped building. ? Ok. So we're moving to page 3 then. Approved For Release 2003/0903 Fei pdpedoo7}sr002100050001-4
Approved For Release 2003/09/09 : CIA-RDP96-00788R002100050001-4 #08: #565 | FOB: #663 #08 2 #662 #OB 3 #66: #08: #66: #08: #66: #08: SECRET Ok. This will be a third attempt at a sketch. I saw him...-and this was the tree.....in here someplace.....- It doesn't make sense, but this room was much more spacious than anything in there. I had a hard time inside. I couldn't, I couldn't...seemed when I changed rooms | was going from one wall to the next, to the next, to the next and there was no corridor. You didn't go in and out of doors and down hallways, but YOU s sear There were rio hallways. I couldn't see any hallways. I just went through the doors.....through the doors. [ got the impression there's a bearded man here. Not Daugherty, but another. Not Daugherty. But, somebody else, smaller. And, these other two impressions of whiteness which gave the impression that these other guys should have been there, but they weren't. And, yet they physically should be there, wherein, around here...eI'll just put that whiteriess.....people should have been....-I don't know how to describe that. Do you get a feeling for...see- T don't know who they were. Oh. How about...I realize you have told me now you don't know where they were. Do have any kind of feeling about why they weren't there? Had they been gone a long time? It was just a feeling that...something that they were doing in connection with being held, but it wasn't a...you know... not a-bad feeling .that—they_were being used or abused OF.cess £ a temporary absence or*a permanent absence. was a temporary. Very te sence. The impression is that of a temporary absence rather... than a permanent absence. And, 1 had two more of those which I'll label with a circle and an X. And, I think there's somebody else here, but I'm not sure. That was very dim and very dark. I had these 3 white spaces which would indicate temporarys.e+crsse 8 Approved For Release zoosios/ob- dia-OPBR 7 EFR002100050001-4
Approved For Release 2003/08 FEE fR epreroez 00050001 #662 #08: #66: {08 : HOG: #08 : #66: #08: #663 #08: #663 #08: #663 #08 3 Am I correct in assuming this-is all on the upper floors? All the upper floor, The boqtom floor was all devoted to ..uh. caretaking andliving quarters for the four or five people that were responsible for that entire area. Did you see any of t foun ot fiveses a y y of the a Just an impression’ of 4 or 5 bodads. Responsible people. Yes, Uh.....dressed in revolutionary type gear. Khaki or....what do you call thoserrewwenot utility jackets, but... Fatigues! Fatigue jacket type thing. But, I didn't dwell on those guys ....found them where they were..eeeand kind of left ‘em alons. Ok. To go back to the bearded man down there, did you have a chance to look at him? I didn't dwell on him. I thought he might be one that Il worked on before...the 5 foot 7, 5 foot 8 that I described before with the beard and the glasses. But, I didn't dwell toa much on him. Uh....the inside of the room...1 described eeeeedo you want a sketch of that. I don't think the inside of the room is necessary. It's kind of a bare recom with fireplace. Yeah. But, the weird thing about this was that he was in a bigger room than any of these other guys, And, there WaSeeeel don't know if it was because of the location....- and there was a huge window to the rear which doesn't make sense either because it's a corner. But, there was alot of light coming over there...and that thing about the fireplace and stuff....I, I got the impression there should have been a long table....conference type table or huge dining room type thing..-..and his cot was on to the right of the window. And that's about it. Anything else you want to add? No. How do you feel about the session? Uh..-good, very good. Approved For Release 2000 OR Pe oto -4 we f Seal L?) a :
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Approved For Release © SECRLT |! TARGET CUING INFORMATION REMOTE VIEWING (RV) SESSION CCC-90 1. (S$) The remote viewer has been exposed to open source news media information as well as classified overhead imagery and photographs of many of the hostages. He was briefed on the current status of the hostage situation and told that the whereabouts of the hostages was not known. 2. (S$) At the time of the session the viewer was asked to locate Mr. Daugherty. The viewer was asked to describe Daugherty's location, and determine if there were other hostage personnel in the area. The viewer was shown the attached photo so that he might be able to "beacon" on Mr. Daugherty. SECRET Approved For Release 2003/09/09 : CIA-RDP96-00788R002100050001-4
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