Approved For Release 2000/08/07^CI/^RD
-v./ 1 %
flflflp60001-5
don't know why,
but that's all.
And there's a... there':
a... there's
a field there or something,
next to the building
with some kind of suspended cables and pulleys and thine
that's kind
of unique,
and might be easy to identify
t\
building with.
What's the function of these cables and pulleys?
#01:
I don't know they're hanging
in the air,
and there's this
like loops of cables and pulleys.
I
don't know what it's
for.
Maybe not used anymore but still hanging there.
That's all
I've got,
I'm... kind of
losing
it.
#66:
Okay,
let's draw those things that you have had,
then.
Okay,
we're ready
to draw here.
#01:
Well,
let's see.
I
had
a feeling
like this,
uh...this
building,
I
think
I
said it was like
30 by 40 feet,
it was
probably more like
25 to 40,
it looked just like
a shoebox,
it really did.
It even looked like
it had
a roof
on
it,
like
a shoebox top.
Looking at it from the top,
I had like
a
heavy wooden double doors.
. .at the entrance,
and,
uh,
these
were really clear,
they were like two dark brown wooden
squares,
and they were real heavy wood,
they were plain as
could
be,
and there was just hinges visible and they were
shut.
And right inside there was a small room,
the back
of
which had another wooden
door,
but this was like an older
fashioned door of slatted wood of
some kind,
vertical stripe
wood,
you
know,
like great big chunks of wood put together.
B
.-was—two--guards, which
I'll indicate with
e.
And there*Tc^a like one or two tables,
ate with "T's", \Put
a little legend down
table,
"G"
equals guacd-f^'^nd chairs,
rs,
you know .
i iu st"’foal simple wooden table
is
ropm.-^g^-FSrsome reason
I
didn't
see
T
The walls were stucco over stone,
and the stucco was like
a yellow,
this is both rooms,
stucco was like
a yellow,
uh,
very,
very,
light okra type color.
And then inside this other
room,
at one corner, was like
a walk-in type fireplace and
cooking area.
Something you could actually walk up under,
but
it didn't go outside the building,
it was just right
there
in the corner.
And there was a big old rug,
covered
the stone floor,
and it's like an earthenware stone floor,
like acJ^y-^ttinfe
_
'T5T TTome kijjiLlKn d there was
like,
uh,
these
fj^er^Srsix hostages sitting-I^nTTrot^ure
about; the number,
"ffelt
like there was more than five,
bu^npt'- you know,
like six or something.
"H"
i s
tiosLaae-f^T^nd they were just
"siTt intflfT "aTc ir cl e on TFus
rug,
and they all
had,
uh,
like
laying next to them or over on the side,
these pillowcases
or something,
some kind of cloth bags with their clothing
and stuff stuffed in
'em.
All sitting around and they were
Approved For Release 2000/08fWW
0060001-5
iTlulilfllTUtfi:L001-5
Approved For Release 2000/08/07
'-s wi u:.
i
#01:
really
in fairly good spirits,
and they were talkin’
to
one another,
and,
like,
don't know what they were talkin'
about,
but
it was like we’re not really hostages,
we're
here havin'
a good time talkin'
to one another.
And the
guards
in the front didn't appear to be concerned about watch-
ing the hostages inside,
it was like,
well, we've got this good
old boy agreement,
and they're not gonna
try anything,
so
we're not worried about them,
but we're more concerned about
watching the outside.
And then there was
a,
uh,
some kind of
a
low wall compound
that went like this.
. .that' s like the compound area.
And
I'm not sure
if this garden was
in the compound front,
or
if
it was
in the rear.
But there was
a,
I
think
it
rnighta
been to the rear,
uh...some garden to the rear,
and there
was
a road here,
that went down
the side
of
the building,
and there was
a road out here.
#66:
Okay,
you
can
draw those
in from a higher altitude perspective.
Before we leave drawing #1,
though,
I'd like to ask you
something
now,
and
I don't want
to lead you into response,
but
I want to notice something that during the course of
the session,
at no time did you mention any sleeping apparatus
or bathroom apparatus, or anything
like that.
#01:
No.
And
I,
like
I
said,
I was
looking for detail
in this
room,
you
know,
like beds,
lamps,
pictures
on the wall,
that
sort
of thing,
and there was nothin'
there,
it's just like
’ this big rug
in this big open,
earthen,
clay tile floor,
with a big upright fireplace that you can walk
into
in the
corner.
And
I
didn't see anything else.
#66:
Now,
one time you did have
a feeling,
uh,
that there was
a
vehicle that had arrived and there was something,
some con-
cept or thoughts that you perceived,
something about moving
from this location.
#01 :
V eah ,
and ,
uh ...
#66:
And in your
later,
in
later looking at this location in
a
future time you felt that there was
food, there was food
there,
or...
#01;
Yeah,
they were,
they were delivering food.
#66:
Somebody was delivering food here,
okay.
#01:
It's being delivered, but
it was being delivered locally,
I mean
it was like coming from across the road and down
a
block kind of thing.
#66:
Okay.
Approved For Release 2000/08/0^^l^29€-00^8R|£l000060001-5
Approved For Release 2000/08/07
:
-5
L„*
| \ ^
|
#01:
And,
uh...I
saw a landrover type
truck,
in the
24 hour period
prior.
. .whoever came
in the truck
is the one that made
'em
put all their stuff
in the bags,
so
I don't know
if,
well,
I'd just be guessing if
I
said anything else.
I
don't know
why there's no... you
know,
no detail facility there
or any-
thing.
.
.
#66:
Okay,
that's fine,
I,
I wanted to talk to you about that now
that the session
is over
just noticing that you didn't talk
about bedding
or anything
like that.
#01:
Clearly there wasn't anything there.
#66:
Okay.
#01:
Uh... There's uh.
. .1 wanna give you a picture from the front
of this building.
#66:
Okay,
and
I want a picture from a higher altitude,
too.
#01:
Yeah.
The front of the building struck me as really unique,
it just really-
#66:
This
is the shoebox building?
#01:
Yeah,
it's the first thing
I
saw,
and
it,
you
know,
it just
like... it was just
like looking at
a shoebox.
I
don't...
It was like
a framework of stone
that went around the door,
double doors
in the front like this.
And there was just
these two big heavy doors.
And it was all earth colored and
brown,
and that was
it,
and that really struck me as odd,
just-
#66:
Drawing #2
is your very first concept.
#01:
Front.
Very first.
#66:
Of the front of the building where you feel German
is located.
#01:
Right.
I didn't see it in the front view,
but
I
felt like-
page 3- along the,
where the roof came,
and the wall
of the
building,
felt like there was some kind of slots or some-
thing... in the walls.
Right up
on the roofline,
and
I don't
know why,
I
just,
you
know,
I was-
#66:
Is this from the outside
orj the outside
or the inside?
#01:
Yeah.
I was just picturing these slots up there,
I don't...
Maybe some form of ventilation,
or something...
#66:
Now how about
a high altitude picture of the,
uh,
situation.
This will be on page
4 then for the higher altitude picture.
Approved For Release 2000/08/0?: cWrDP96^0o788R001 000060001-5
Approved For Release 2000/08/07
:
^W|^^W0001 “5
#01:
Building.
. .and there was,
uh...some kind
of
a garden
behind
it.
And there was
a road,
about
like this
There was like
a row of buildings here... and,
building here...
And,
uh,
the compound went
like this... by compound
I
mean an
open area with this low wall around
it.
It might belong to
that particular building,
or
it may be something that some-
body decided to put
a low wall around.
I
don't
know,
you
know,
it 's iusf^T°~I“
i°TtoTrrt want
to
insinotrbe-4Jiat
it
1 s some
encompassed area.
All
I
mean
by comp?Tcmdis
a
low
built around an area that's cleared of anything's
And
then right here was an area of
uh,
cables... and pulleys.
I
wanna,
I don't know
if
I can draw
a picture of that or not,
.they were- suspended in the air , - you k«uurf like
I was gettin'
this,
uh- maybe
I better-
I was getting this
gestaltic impression
of cables suspended in the air.
They
were
like,
uh.
, .this kind of an effect.
. .just cables...
pulleys.
It might help find the building,
I don't know...
pr
fall
#66:
Now,
uh,
you had from
a larger perspective some feeling about,
uh,
this was located near Teheran but not
in the city
of
Teheran or something.
#01:
Oh,
if you followed this road...
now.
For some reason
I
drew this upside down,
I
think
this
upside down.
Urn,
I'm not sure
if
I'm upside-down
or what.
If you went this way it's like
15 kilometers. y. to,
uh,
Teheran,
_know how to spell Teheran.
#66
:
T-E-H-E-R-A-N.
#01:
Okay,
but as
I
look
at this picture
for
some reason,
okay,
over here I'm putting the asterisk,
I
get the feeling that
that might be the road to Teheran.
Which means my norths
might be screwed up.
#66:
Okay,
so what you're saying
is now that
you have drawn the
picture
on the page you know that one
of these roads would
lead to Teheran but you're not too sure which one it
is?
#01:
I don't know if north is straight up and down the page
or
if north
is south on the page,
as
I'm looking at it now.
#66:
Okay.
#01:
You
know,
it,
in my mind
I was firmly fixed that as
I
have
drawn this compound and everything,
north
is to the top of
the page,
but now ,
reasonp^h^n
I
see it drawn on
the paper,
I ^Fee^^ike north
is south
ot) the page.
And
I
don't know what wnar causes
that,
bur mat's what
I'm
feeling,
so
it could be either to top
or the bottom of the
page.
,
,
Approved For Release 2000/08/07
: CIA-RDP96--0©?88R001 000060001 -5
Approved For Release 2OOO/Oy^Q^£^g||QjgggfilUAA0O6OO0 1-5
#66 :
#01
#66
#01
#66
#01
about your directiona^byj^-yCtT do feel
So you're no
that it's ^Sout
15 miles
Right.
15 kilometers
to. . .Teheran.
Okay.
And that's about
it
I
guess.
Okay,
anything else you feel like you want to^d?
No,
just
the,
I
saw one other hostage
th
r was clearly
identifiable and that was Kennedy.
#66 :
Okay.
That'll do
it.
Approved For Release 2000/08/07
: CIA-RDP96-00788R001 000060001 -5
Approved For Release 2000/08/07 : CIA-RDP96-00788R001000060001-5 7 ~ ¢ : -00788R001 1-5 “Diol Approved For Release 2000/0 : ~~
Approved For Release 2000/08/07
: CIA-RDP96-00788R001 000060001 -5
Approved For Release 2000/08/07
: CIA-RDP96-00788R001 000060001 -5
OjZ
.
Approved For Release 2000/08/07 : CIA-RDP96-00788R001000060001-5 — ] “2 “yd V8 So ) wi —_ — Approved For Release 2000/08/07 : CIA-RDP96-00788R001000060001-5
Approved For Release 2000/08/07
: CIA-RDP96-00788R001 000060001 -5
TARGET CLUNG
INFORMATION
REMOTE VIEWING
(RV) SESSION D-5
1.
(S/NOFQRN)
This remote viewer
has worked
on the
Iran hostage situation
for
a number
of months and has been exposed
to
a myriad
of information both
classified and open source.
2.
(S/NDFORN)
Immediately prior
to this session
the remote viewer was
shown the attached photograph and asked
to describe Bruce
W.
German's
surroundings.
NOT RELE^S^&Xq fOgfrlGN-, NATIONALS
QRCOIT'
-
Approved For Release 2000/08/07
: CIA-RDP96-00788R001 000060001 -5