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SUMMARY ANALYSIS
REMOTE VIEWING
(RV)
SESSION
1.
(S/NOFORN)
This
report documents
a
remote viewing session conducted
in
compliance with
a request
from SOD,
J3,
OJCS,
Pentagon,
Washington,
DC.
-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,
and,
as such,
have not been subjected
to any
in ermediate analysis,
evaluation
or collation.
Interpretation and use
of
the information provided is
the responsibility
of the requestor.
The protTCol 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’s impressions during
h— 109 session *
AL
fAB A
a re drawings made
by
the remote viewer
reference his impressions of
the
target
site.
At
TAB B
is target cuinq
information provided the remote viewer.
^
|5.
(S/N0F0RN)
.
The remote viewer was asked to access target area
"Victoria
fand determine if any U.S.
hostage personnel were at this location.
The
: viewer described three
U.S.
hostages;
two women and
a man with
a very
pro-j
nunant
jaw.
He mentioned that there may have been another hostage,
but
ip°U
T'
,. not
be sure ‘
lhe viewer also gave
a physical description of
the
Kbuilding and security
at this location.
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TRANSCRIPT
REMOTE VIEWING
(RV)
SESSION D-21
TIME
#14:
This will be
a remote viewing
session for
3 September
1980,
mission time is 0830 hours.
All right,
#31,
the time is now 8:30.
You have been shown
photos of
a building in northern Teheran.
This building
is
suspected to be one of the places where U.S.
hostages are
now being held.
Your mission for today
is to go to this
building and tell me
if
there are any U.S.
hostage personnel
there.
Relax.
Relax,
now and concentrate.
Focus.
Project
yourself to the building.
PAUSE
+03
#31:
+05
In a.... place
outside corner .. .wall on my left.,..
several layers of windows... to my front.
In the corner is
a
...regular pattern like a... exposed staircase.
. .solid wall,
about 6-8 inches thick,
the staircase goes up and onto...
onto a roof.
This thing is only two levels high,
but... the
wall on my left
is three levels high.
And under this place,
it's funny
like... it's an open,
but covered cutaway...
first
floor and under the stairs.
It's very difficult
structure.
.
.
#14:
I want you now to go inside this building,
and
I want you
to feel free to explore this building,
and
I want you
to
tell me
if you find any U.S.
personnel
in this building.
PAUSE
+10
#31 :
I'm getting signals ,
.
. of presence here .
.
.....
I believe„my "Signal is that
it's... the top
fIoT0ry~«±o the
left, of 'the staircase,
which
I believe
is exterior7\
.
staircase.
. .and this staircase goes over this cut out garage
/type area,
patio....
Now
I
know where
I
want to go.... they
fare.
. .they
' re in the... what
I
think is
the' three story side
\here's
a. ..... .getting window,
but '"no door... and
a little
patxg^walk around.
. ..some sort
of little ledge.
I'm tryin'
to get Th/ WSiT a minute.
PAUSE
Not many here,
I... the hallway .. .about three rooms,
maybe
four,
two on each side of the hallway... to the right of an
interior stairwell. .individual rooms... I'm sort of looking
at this structure
in
a cutaway.
.
.
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#14:
All
right,
I want you now to describe these U.S.
personnel
to me.
#31:
Keep getting the feeling of
the.. .woman with the short black
hair.
. .round face.
PAUSE
#31:
Yes,
the woman
is
in
the... room on the
left,
in the end,
by
the outside wall. .. I
see her looking down to the roof... see
her there.
.
#14:
Who
is
in the next room?
#31:
A man who has a.
. .long
jaw.
His
jaw,
something
is.
. .his
jaw is funny.
. .like it
' s deformed,
like he has an overbite
,
or his jaw looks very.
. .thick,
and underslung.
It's not
an
injury,
it's
a facial feature.
I
think it's the guy that
looks like Lincoln.
I think that's why he wears
a beard,
I
don't know.
I
keep seeing
her,,
though.
She keeps coming back to me.
She's
in the corner
of my mind all the time.
I don't know
why
I
can't get rid of her...
This underbite feeling,
or
underslungness of the jaw is
a
very strong feature here,
I
don't know.
. .dark hair,
and sort of flyaway
top,
but
I don't
know if that
' s overlay.
The,
uh,
I
don't know,
across from
Mary is... I
think the other woman
These rooms are nicely.
. .more civily furnished.
I... feeling
that
I am in
a academic offices or something,
rather than
a
dorm.
Some sort of non-private organization within the offices
which are in this area,
maybe for visiting,
visitors.
.
like
a dorm setup... but a dorm setup you would see associated
with like ARAMC0 as opposed to
a university
or something.
.
There's
a wall around this place,
I
can see
it on three sides.
And inside the yard.
#14:
Tell me about the security at this location.
#31:
I
have.
. .standing in this yard maybe,
a 10-15 foot wall on
my
left,
and there's some turkey walking in the yard,
but
I
have the feeling I'm at the back of the building.
This
thing all goes round and... this overhang thing goes past
that part of the building.
That wire
on
top.
. .it
is.
. .it
is
like,
uh,
like.
. .anti-burglar as opposed
to tactical wire.
Something
on top of the wall that.
. .when they built the com-
pound for whoever like the Americans,
or.
. .they put that
in
there to keep
the Iranians out.
But
it'
s
not an embassy
type compound,
it's a company compound.
. .old company compound
of some kind.
It reminds me strongly of
a
v illa
i n Nam,
it's
_
a villa type atmosphere', "OTTTee'S‘Trfd ' si eep ing quarters 'ail™
mixed together.
And one guy walking
in
the.
. .the back,
and
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#31:
going to the other corner.
Let me focus for
a minute...
Turn this corner the building makes
a jog closer
to the wall and then has another
jog in
it.
Like it's got
a swollen corner....
There is something that. .......
I would say that the
how the hell do they get through
the wall?
There is some sort
of
a weirdness here,
the wall
comes around the corner and goes
a good ways down the build-
ing,
and then
it just sort of cuts right into the building.
+30
In other words the main entrance here
is isolated from the
surrounding yard... by wall.
The wall closes off the door
so you can't- but there's some sort of little wire gate
on
the right side,
where somebody could walk around the grass
inside the compound,
and then could walk up towards
the door
and then could step through using the little iron gate,
out
onto the
front porch,
or into
the cubicle or foyer maybe.
But the wall comes all the way up to the doors.
. .block roof
overhang,
something very blocking and flat and this whole
thing protrudes from the front of this structure,
which is
accessible on the street... the sidewalk...
There's
a feeling the guards will walk around this structure
...infrequently here,
they're not too concerned.
They're
concerned more about the main entrance here on the street,
and because of that they keep at
least one guy inside ob-
serving the street through double wooded doors with glass
panels that
swing.
They're like swinging doors.
I'm backing up down the main front
hall now.
It's dark,
and I'm having
a mellow warm feeling of
a finely decorated
interior.
I am moving
in backwards,
looking at the door as
I
leave
it.
. .tapestry on the floor... and the narrow,
20 foot
wide and longer foyer with something that's
on.. .zigzags up
+35
my right wall
like
a.
. .double.
. .double backed wood bannister.
PAUSE
I
gotta.
. .focus for
a few minutes
PAUSE
#14;
I
have no further questions.
We'll take
a pause here for
debriefing.
We're now ready for debrief.
#31:
All
right.
I need my microphone.
#14:
You've got one right in front of
you.
#31:
Oh,
okay.
Where the heck
did
I
start?
Okay,
I
started by
the cor- an int- what
I would call an interior corner of
a
building,
okay?
Of the building,
which is... and
I was
in
what
I would call also... I,
uh...
Okay,
I
got this here...
And this comes out
like that.
This
is what
I would refer to
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#31:
as
a structural anomaly
that might be verifiable by looking
at
it from the outside.
This place that
I'm drawing on the
right of sketch one... is to the right
of what
I would call
the stairwell,
or the staircase.
It's,
of course,
not as
steep as this looks in the sketch,
you
know,
but now remem-
ber this is the outside
of the building.
I
think that this
place
is two stories
on the right side here.
And the bottom
story,
if
I
had my druthers,
I would say the bottom story
was open.
That's what
I was trying to say,
like
a porch.
And
it had repetitive type thing on
it.
Like,
you know,
pillars,
and it was dark.
And
I
felt it might be something
like a... elevated second floor.
I
don't recall being able to
see through it
like
it was
a drive-through or anything,
or
anything like
that.
And this floor had- was regular- and had like windows
in
it.
And
I'll write
in here open but shaded,
because
I think it's
open.
And what
it
is
I
don't know,
I
did not perceive that
there was like any blacktop or anything out here in the fore-
ground,
which would imply that
this was like
a parking gar-
age or anything like that.
You
know,
I
just don't know what
it was,
but it felt very open there.
And like
I
found myself
in under
it
a couple times,
like sitting there with this edge
by my elbow saying,
hey,
that's neat,
you
know,
the building
is
up here,
but what's all this stuff down here and under
me,
you
know.
It was
just this big openness.
Okay.
And then back here is a third story
on the left side,
or
it
is a story higher,
I'll say
that,
I
can say that...
Okay,
and this had... I had the feeling that
I was dealing
with three stories and two stories.
. .okay?.
.
.
I'll write
this two story section with open round floor,
and this
is
a solid... and there's more,
you
know,
it's so complex....
And this top,
the
top
of the second story,
was like people
would
go up
there and would stand up there,
okay?
It's like
it's.
, .almost
like,
like
a sunroof or
a patio type of
a
feeling.
I
don't know...
Sunroof or patio.
Okay.
The peculiar thing about
it
is when
I
got to the
top
of the
stairs
I
did
a quick aerial which told me where- you know
you asked me to determine
if there were any hostages there,
and
I was getting this aerial
"X",
you know,
an
"X"
on the
top of the building portion that was sending me down
in
there.
Location of.....
All right,
and this whole area's
got
a yard around
it,
I mean
a wall,
enclosing some sort
of
a yard.
Okay,
two
Okay .
Then when
I got to the head
of
the stairs
I was sort
of being,
just letting myself drift
in the direction
of the target,
and
I,
from the way
I was
feeling,
I
felt
like
I
had to go up the stairs,
so
I
drifted
up to the top of the staircase.
And
I
had
a,
like
a close-
up view of this roofline.
. .going like this,
and
there being
....okay,
that being the staircase down.
I'm looking at
it-
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#31:
this
is like the sun- open sunroof...
And the funny thing
being that right on this line
is
a ledge,
I
drew
it
so
it
goes the other way.
Sorry.
That's what
I want
it to look
like,
like that.
Okay.
Ledge.
And then there being windows
along here.
What
I
did was
I
got to
the top of the stairs
and
I
looked around and said,
well,
okay,
that
"X"
is draw-
ing me to the spot,
you
know,
over on the other side of this
wall here,
so there must
be
a
door.
So
I
got up here to the
top of
the stairwell and
I
looked to the left,
and
I
said
okay,
well there should be
a door here,
because.
I
know that
these rooms are off
a hall right inside.
I
just sort of
knew that.
And there wasn't any damn door on the outside of
the building.
Up here there's some sort of
a
ledge,
but that ledge
is not
necessarily
a walking ledge.
Shit,
I
don't know how big
it
is.
It may just separate two floors and be ornamental,
but
it may be
a walkable ledge.
But all
I
felt was that there
was
a flat area around
it.
Okay,
anyway
All right, now where am
I?
#14:
Okay,
then you
went,
on to the rooms,
two on each side of
the hallway.
#31:
Yeah.
#14:
To the right
of interior stairwell.
#31:
Then
I went- yeah,
that' s right.
Then
I went
to sort of-
I
couldn't get-
I think
I passed through the wall .
And then
I was standing around trying
to get the feel for what the
hell was happening.
And
I had like this overhead,
sort of
a half cut away
view,
like
I was looking in
a little model
,
with no roof.
Okay?
And,
uh.
. .the
feeling was
like
I
was
looking at
a model
like that type of
a
thing,
okay?
And here's what
I
call what, where the
door should have been ,
and
it wasn't
I'm doin
'
this
bass ackwards here.
Okay
I'm drawing this maze here,
but
that' s just what
it looked
like.
There.
Okay?
And then out here
I
had the feeling like this was the third
floor.
And then out here
I
had the feeling that this was
like the third floor,
and that out here in
a cutaway- that
the building was bigger,
there's garbage over here somewhere.
But that the stairwell.
. .went down here.
. .outside stairs,
and that the roof went on out like that
.
Okay.
Open sun-
roof area.
It may not be a sunroof,
but
it's just this open
flat roof that you can climb up the stairs and stand on.
Okay.
Now ,
"X" marks the spot
,
this was where
I believe the
woman was,
was
in that
room.
#14:
Okay
,
you mentioned during the session two women.
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#31:
Yeah.
#14:
Okay.
#31:
That's right.
Yeah.
This
is where this
"X" marks the spot,
"X"
two,
this
is
"X"
one,
is the woman.
"X"
two is the guy
with the funny jaw...
It's
like he had an underbite,
and
had
a really pronounced
jaw.
Okay.
And this is the woman
with the short- with short-
the one
I
can identify from the
pictures,
I
know...
And this
is
a other-
I
had the feeling
that the other woman was here and that
she was across the
hall from the... from the first woman.
But
I did not get any
imagery
of her,
I
just got the feeling that that may have
been overlay,
too,
that they keep the women together.
And
I
don't know what's
in the fourth room here that
I haven't
labeled.
Okay?
And
I'm not going to draw the rooms,
but the rooms had
a
feeling- individual rooms had the feeling of,
like
I described
a professional dormitory setup.
Like a... a villa... not
a
college dormitory,
nothing academic like that.
It was like
a company villa.
It had transient rooms
in it that were
nicely outfitted,
I mean they were- they weren't spartan and
they weren't plush,
they were sort
of mature and functional,
but not barracks type stuff,
you
know.
Then what did
I
do?
Then
I
cruised around the building.
#14:
Yeah.
I want
to know more about
the security.
You know,
physical security,
guards,
trip wires,
alarm devices,
anything
like that.
#31:
Now,
I believe this has got
the... I didn't really get
a good
close look
at
it,
but here's
a cutaway view.
Okay?
I
did not
get the idea- there was triple strand barbed wire type secur-
ity
on
top
of this wall,
10-15 foot wall.
And the same
thing along here.
And that was
it,
essentially.
This view is from sketch one looking
left.
Okay?
That's the
view of four.
Okay?
I
labeled that
on sketch #1.
Okay.
And then like here
is the building
Some sort
of
a
bump there
and there's our magical stairwell.
The
only thing that
I
saw while
in this area- this area,
by the
way,
is maybe.
. .30 feet from building to wall .
And the only
thing
I
saw was the old random guard.
. .walking past
me.
. .Okay?
#14:
It's gettin
'
hotter than
a son of
a bitch
in this
room.
#31:
Yeah.
. .Okay.
And of course there are windows
in here
All
right.
So that was that.
So
I
' 11 draw
a little
"X"
down here with
f ive
,
and draw another corner view.
For
five,
what we have
is again essentially the same
view.
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#31
:
°kay,
now.
It's funny here
Okay
.Okay,
there's
u/all
again from the view of the corner,
the other corner,
Here's
the building on the right side.
There's like
a wrought iron
picket gate.
And here
is
a protruding roof...
What
do you
call
it?
Porch roof.
So that
the guard walks around here,
and he goes
in and- in other words-
I
' 11 draw another quick
overhead of the front area here,
cause it's- and then
he
goes through that picket gate and he's standing
on the front
porch and he walks
in the building.
Okay?...
Really weird
and twisted.
Okay.
Here we have the front porch overhang.
Here we have... the
whole thing was very,
very reminiscent
of the old French type
villas
in Nam.
The whole atmosphere was like
it was
a self-
contained compound
comes out here at
the street,
sidewalk.
. »um.
. .had double doors there that were wood.......
glass..,,.
Okay,
and then here... be the picket gates... on
each side,
which would allow someone.
. .access.
This
is con-
nected somehow ,
there's
a post out here.
All right.
These are picket,
wrought
iron.
. .wrought iron gates.
. .access
building-what
I'll call
a building perimeter yard.
Okay?
And this is the building
face,
here.
Okay?
Like that.
And this is building face... three
floors
That's
it,
this is the front view....
I
didn't go on around the building
from this point
I
had
a very- inside,
I
had
a very
shadowy,
not really gloomy,
but very mellow and cool feeling
of.... these two swinging doors being viewed from the inside
n°i
actually,
it went something like
this,
and then we
come off at an angle like that.
Nice tapestry.
.
.
Guess
what?
It was
a Persian rug,
too.
#14:
That
' s interesting.
#31:
Okay?
And,
you know,
a couple chairs type situation,
like
this was
a,
maybe
a waiting room,
or some sort
of
a place
like that...
It's about
30 feet wide.
And there is some-
thing very funny
on the left wall.
And,
the only thing
I
can think of is that
it
is
a curved staircase bannister that's
made out of wood and it's light brown.
"Cause it's this...
just all
I
could get was
a glimpse of
it,
I couldn't
get
any depth perception
at all...
Okay?
Just some sort
of
a
feeling that there was
a staircase over
there,
and that
this had something
to do with
it.
Curved with- there was
some depth to the wall
like
a stairwell- stair-.
. .bannis-
how do you spell bannister?
B-A-N-N-I-S-T-E-R?
That's
light
tan wood polished.
Okay?
And
it goes this way
around,
it recedes,
and
cornes back up like
this.
All
right.
Mellow,
dark,
cool
lobby,
narrow lobby
type area.
My
last
sketch eight
I'll
do what
I
have
as overview and that'll
be
it. ................
.
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#31 s
Okay,
this is the two story... and this is the three story.
And this is essentially all
I
remember.
This
first came up
in the beginning of the session when you asked me
to find out
if there were any hostages there.
I
had this type
of
a feel-
ing,
that that's where
I wanted to
go.
Okay?
That's all
I
had,
and that'
what started me off on going up the stairs
and trying to get
in there
That's
it.
Any questions for
me or anything?
#14:
No,
nothing further.
Good job.
#31:
Thank you,
thank you.
#14:
End of session.
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: CIA-RDP96-00788R001 0001 50001 -5
Approved iia Release 2000/08/07 , CIA \ bess ( 3 ae: Approved For Release 2000/08/07 : CIA-RDP96-00788R001000150001-5 DRE OOTESROO 000150001-5
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Approved For Release 2000/08/07
: CIA-RDP96-00788R001 0001 50001 -5
Approved For Release 2000/08/07
: CIA-RDP96-00788R001 0001 50001 -5
Approved For Release 2000/08/07
: CIA-RDP96-00788R001 0001 50001 -5
TARGET CUING INFORMATION
REMOTE VOWING
(RV)
SESSION D-21
1.
(S/N0F0RN)
The viewer has been exposed to open source news media
information,
classified overhead imagery and photographs of many
of the
hostage personnel.
He knew he would be working against the hostage situation
in
Iran.
2.
(S/N0F0RN)
At the time of the session the remote viewer was^hownover-
head imagery
of target site
" VictjJjULBll^ The target location was’^ioTnTea
oifft-fesr ‘LI
i l,
v i eweT~'by "CFTe"’! n t e f'v i ewer
.
The remote viewer was then asked to
access the target and determine
if any U.S.
hostage personnel were being held
at this location.
The imagery
is not included herein due to its classification.
NOT REL
Approved For Release 2000/08/0
ATI0NALS
-00788R001 0001 50001 -5