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#31:
Okay...
yf^remember
the angle parking.
. ."SBut not too
many cars
there ,
feSut cars could park
there,
like
it
u/as,
again
it was like
this
idea
of Brandenburger-Tor.
This big collage of effort and
facade m^ilt
in,
when in reality nobody would ever walk through
it.
OkayV'-Sama wav here
j—this big,
wide,
festive,
massive
boulevard,
and there aren't any cars
to drive down
it.
Okay.
And all
these parking areas along
the
side,
like
it
looks really
affluent.
But every
time
you look
at
it,
there's only
four
cars parked
out here,
in this big huge area.
Okay,
And then
over here...
some sort
of
low trees and maybe
a low bush
or
so,
but this
is essentially and open grass.
. .area.
Okay.
Alright.
Now for
just
a quick overview
of
the building,
then
I'll go into
the room.
I'll draw
it from the other perspective,
so that
I
can show where
I
thought
this place was
Very .. .well ,
in
my description
I
called
it Greek.
Okay...
Almost like classic
Greek architecture.
Ostentatious.
Oops...
It's elevated up
from the bull- from the base of
the building,
is what
I'm try in'
to get across here...
You can see your
up,
above here.
#66:
You have
to go up
the steps to get to that level?
#31:
Yeah.
You can't
just,
well,
I didn't have
the feeling that you
could just walk
in across
the grass,
you'd be faced with about
a
five foot wall,
if you
just walk across
the grass and try
to
get
in
the building
Okay.
Maybe one,
two,
three,
maybe
four
in
a basement.
Okay,
and where you asked me
to focus on
her-
oh,
let me put
the rest of this stuff
in .
.
.
I caught
it
essentially standing by
itself,
but
there are other buildings
around
it,
but their not jam packed,
like
inner city building?,
they're spread further apart.
This
is
the boulevard,...
Actually
that should go that way.
Okay.
It was almost as
if
this boulevard dead ended
just past
it.
Okay...
Because
of
this
lack
of
traffic,
it's
like you couldn't drive,
really
drive
through
it.
And here's
open... area
over here.
And
"X" marks
the spot
of about
a second
or
third.
. .second
or third floor.
a room.
But inside the building.
Not,
not
a,
cause once
I was
in
the room
I
didn't see any windows.
I didn't have
a real
strong impression
of windows,
I
like,
said,
oh gee
is there
a
window around there,
and
I
sort
of saw
a window and then
it dis-
appeared,
which to me means
I made
the window and
it didn't
fit,
so
it
poof!
faded out
of
the net.
So it's somewhere
inside the
building,
and interior room
is what
I'm saying.
Okay.
#66:
Okay.
#31:
Okay,
so
it probably was an interior
room,
just in case that was
missed.
On sketch
three.
. .have
,
urn...
I
' 11 draw
it from
tier
perspective ,
is probably
the best way
to do
it.
.
.
Or
is
it?
#66:
From the
top looking down,
if you can draw
it,
#31 :
Yeah,
that
' s probably
the quickest and dirtiest way
to
do the
thing
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#31:
Telephone
instrument
is here where
the arrow
is.
This
is like...
the professor...
#66:
That was the gentleman you saw?
#31:
That's
the gentleman sitting
there,
he was sitting facing that
way,
Mary was standing at
this podium
over
in
the corner,
facing
that way...
And these people who were her
age,
I
didn't get
the
idea
that this was
a bunch of elementary school kids...
Okay,
were paying rapt attention,
I
mean,
they were all sitting
there,
and there was like
there were two at
a table...
#66:
And,
uh,
you mentioned something about what
the,
you thought
the
lecture was about,
or what she was talking about?
#31:
Well,
I
had this feeling
of art and music,
okay,
when
I was,
when
I was
there.
But because of this,
because
of this looseness
of trying
to find out what she was doing
there,
it doesn't fit
with arts and music.
There
is this big contradiction there.
This whole situation
is
a large contradiction.
Logic contradiction
to me.
Because she's here,
walks
in
off
the street,
oh,
hi,
how
ya doin'? why don't you talk.
She's not worried about
a grade,
she's not giving
a formal presentation,
she's standing up talking,
no notes.
The feeling of arts an music came through,
liberal
arts,
music,
came through,
but it's
just another
one
this dis-
jointed feelings.
I
think
that
the
area.,
or
the class
rnaybe
a
arts
or music calss that she may have been a member
of
.
#66:
Okay.
#31:
Or knows
the professor,
because she's
one
of his grad students,
but,
or something,
an old student,
but she's here talking about
something else,
just off the
top of her head,
and it's
just
one
of these,
it's
just cloudy,
just like
the whole,
that's part
of
this cloudy flavor
to the whole episode.
And,
uh,
okay
Interesting situation,
here.
I never would have believed
it
unless
I actually saw
one,
but there's
a Persian rug on the
floor,
but
it doesn't go the whole size
of
the
room.
#66:
Okay,
so you've drawn dotted lines-
#31:
The dotted lines
is like where
the rug
is....
Bare floor all
around.
There's this little telephone sitting there
on
this
other
table right inside
the
door.
And Mary
on the
left.
These
are all bookshelves
Okay?
And this
is some
sort,
of
a
cutout that
I
don't know what
it
is,
I couldn
' t see anything
in
that corner
of the room,
but
it was blocked from my,
you know,
from the room,
it was blocked
off,
like
a...
Okay,
and then
I had
the feeling that outside was some sort
of
a corridor, but
I
didn't go outside.
And that's
it.
#66:
Okay.
#31:
Now,
let me
see,
the little
"X's"
are,
let me describe
these
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#31:
litle
"X's".
They are,
how do you
say,
adult students,
they're
grown-up students,
they're not kids.
#66:
Are
thev.-hostaaes?
#31:
sto *
Absolutely
not.
No,
these were
alJ^Jerslans.
These were
f
all locals that were being
tal k
.ed tcr/rlow
do
I
describe this?
V
These
are,
uh,
ma ture. ^atudefrfsT.
.
Mature students,
i.e.
the
v''*—22s2fL_year eld
feaTTncy.
Urn,
mature students rapt attention...
sitting two to a desk.
Oh,
let
me,
telephone number,
what
did
I
say? 737?
I had the definite feeling
it was
like an extension
but
it wasn't,
you had to dial something else and go through
a
board and then you'd end up ringing
that phone.
Sitting two
to
a desk,
desks...
are light blond wood.
Okay?
And what do
I have
here?
I said something
like
ten
to fourteen?
No,
what
' d
I
say
eight
to-
#66:
You started
to say
10-20,
and then you said no-
#31:
I
reduced it because
it was
in the bracket of
ten,
it wasn't
from ten
on.
It was bracketing
ten.
So
I'll
say
ten
to four-
teen.
Small seminar type....
room.
Okay.
Possibly associated.
The class,
or class,
or room itself possibly associated with
arts.
. .liberal arts.
Strong music flavor,
feeling.
That's
it.
#66:
Okay.
So we have
a rather
ornate,
for
lack
of better word,
bal-
cony type thing with
a sculptured wall on the
left,
pillars on
the right,
in
a rather
large,
multi-story building,
and has
considerable parking area out front here.
A
d
inside
the building
we have what you perceive
to be,
uh-
#31:
Somewhere like second
or third floor.
. .area.
#66:
Okay.
And towards
the rear
of the building,
and interior room.
Uh.
. .not what we would call
a conventional classroom with many,
many desks
in
one,
uh,
teacher,
but
a,
more
of
a small grouping,
a smaller discuss ion-type
area.
Okay.
Any
other comments you
have?
#31:
Well,
I
did mention that the overall dominant feeling throughout
the whole building
in sketch
two was
the feeling about professorial
offices adjunt,
or next
to and connected with small little seminar
professorial discussion rooms.
Like
I've drawn.
With
one exception,
as
I was scanning
the building
to get
the overall flavor
of the
building,
I
had
the feeling
that
in
the
lower,
on sketch
two,
the
lower
left hand side,
in
like
a basement,
was some sort
of
technical area,
because
I,
like got a laboratory feeling with
beakers and glass and tubing and all that kind of stuff.
Right?
#66:
Okay.
it 31:
Feeling
in
the
left hand basement,
in
the view of sketch
two.
But that,
the,
that was
like
the odd bird,
like
they didn't have
room for all
that stuff over
in
the real technical building,
so
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#31:
some
of
it was shoved into
the basement
of
this building,
but
essentially this building was all liberal arts.
#66:
Okay.
And
one
other,
comment you made,
in reference drawing
two,
that there were other buildings,
but they weren't close
in and
crowded,
and you haven't drawn any
other buildings
in
two,
which
is fine,
but you did say
that,
like there were
other buildings
scattered around.
#31:
Yes,
associated.
I had the definite feeling that
1 was
on
a
university campus,
after
I
got out
of there,
and got through,
got
into the session,
and then went back outside and took another
look,
you know,
I hadn't...
#66:
Okay,
fine.
I have no further questions.
#31:
Not
a university campus.
Per
se,
but the attitude
of
a university
campus,
in other words,
the buildings being separated by open
space,
and being separate,
unique buildings,
as opposed to other
sessions we've run
in what may be downtown Teheran,
where it's
buildings
jammed
on buildings
jammed on buildings,
and...
stifling
pressure,
#66:
Okay,
Things seem to be more spread
out,
in the buildings and...
#31:
Spread
out.
Much more mellow attitude...
#66:
Okay.
#31:
Relaxed attitude.
#66:
Okay
fine.
— _ 0
rr p h*x
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SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION CD-96
1.
(S/NOFORN)
This report documents
a remote
vieu/ing session conducted in
compliance with
a request
From SOD,
J3,
OJCS,
Pentagon, Washington,
DC.
The purpose of the session was
to provide information relevant to the
hostage situation
in
Iran.
2.
(S/NOFORN)
The remote viewer's impressions of the target are provided
as raw intelligence data,
arid,
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/N0F0RN)
The protocol used for this session
is detailed
in the
document:
Grill Flame Protocol,
AMSAA Applied Remote Viewing Protocol
(S),
undated.
4.
(S/NOFORN)
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 cuing
information provided the remote viewer.
5.
(S/N0F0RN/. "The^remote viewer was asked to focus
on
known
as
''Mary^-'^Tle described Mary
as being in
a class-type room giving a lecture.
The
buiflding had an academic flavor.
F
Approved For Release
0RC0N