Approved For Release 2000/08ft M-O-MCAM7138RO02100120001-6 A WmkWA W[ I NOT RELEASABLE TO FOREIGN NATIONALS ORCON GRILL FL411 PROGRAM SESSION REPORT CLASSIFIED BY: MSG, DAMI-ISH 051630ZIJUL 78 REVIEW ON: zT I, L AME Approved For Release 2000/6ii0~-P'W-R)3Md-00788ROO2100120001-6 Approved For Release 2000/081,08 ~,-:,C,~A.;qR~59&r788ROO2100120001-6 SUMMARY ANIALYSIS REMOTE VIEWING (RV) SESSIONCD-11. 1 (5) This report documents a remote viewing oession conducLed in comp,liance with a request from SOD, J3, MICS, Pentagnn, t~,Iashington, DC. Ilhe. purpose of the session was to pixsvide information relevant to the hostage situat-Jon in the U.S. LiOUSSY COMPOLIMJ in Teheran, Iran. 2. (S) The romote viewer's impressionn of t 'he tai'IeL are prov.ided as rakti int-,elligence data and as such N-ive riot bcen Subjected' to any intermedi, te analysis, evaluation or collation. Interpretation and use of the information provided is the responsibility of. the requestor. 3. (5) "11-M PrOtOCOI Used for this session is detailed in the document~f Grill Flame Protocol, AMSAA Applied Rouiote Viewing Protocol (S)., undaited. 4. (S) Following is a transcript of the vimyerls in,,pressions dulring the remote viewing sesgion. At TAB A are drawings made by the reraote viewer reference his impress ions of' tho target site. At TA13 B is target.. cuing information providcd the remote viewer. 5. (S) The remote viewer was asked to locate Gruce Gerrflawl and describe his surroundings. The viiewer described German as being held in a multi-story building with columned arches and a cobblestone rourtyard. He fa).t that there was another individual with German in a small cell-I 'ike room. The remote viewer stated, at the end of this session, that the word TABRIZ wag very strong in his mind. Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100120001-6 Approved For Release 2000/0,. 0788ROO210012000 1-6 TRANSCRIPT REMOTE VIEWING (RV) SESSION CD-11 TIME #14: This will be a remote viewing.session for 15 May 1960. Mission time is 1400 hours. PAUSE All right #24.5 the time is now 1,400 hDUrS, Your mission for 'today is to find Bruce German. I luant you to identify his locations identify any other hostages at this location and describe their W,iysical and mental conditions. I want you now to relax, focus your attention oil Bruce German. PAUSE +03 #24.5. 1 just saw a narrow ... a bUnCh (If EIrChWaYS With iFIE.",etS.. carved out arches in a wall ... 3eemed to be a row of pillars and I was between the wall and the pillars.-Jeeling of sunshine, antural light, but I had the feoling I Was Und4ar- cover. Then I had another shot. I think at the same, place. It was a narrow alleyway, Just wide ent:;ugh for a vehicle to slip down, and I was looking at the mouth... like what WOUld be the faces of buildings out from the alleyway, .4-05 but a jeep pulled in and drove down -this alleyway. Lbdeed like ail American jeep-type feeling. Maybe 2 or.3 people in it...cab down .... no cover on it like I think.....and the feeling is that I'm in betweeri Lwo buildings here. Out front was... like I'm seeing a grassy, pa ornamental ombankment with a retaining wall along o e si e. Like it's carved into the ground. All I'm seeing tS ough Ike s. carve,, in the, allL is one right si in the alle, Ic It 8_1.c onor o like ... almost an inner c! o of' ..eeling. I can see sunshine coming in, and I can see shadow-, ploying against a wall with high.arches. The Court. appears like cobblestone, and looki,ng arch is front right .... left ... is front left... is in shadow ... appears ... blank, wall other side of' a building, but th8t building is, -;hiarter than the one on the right. I i -i Fa ct, may be only MCI StW.~Y, but the one, on the right is ...... several stories ..... but I don't see....definitely (~obblestc)i-ie.....de-rini.te."Iy sunny side of building ..... Cool morning feeling early mornJi.ng sun... .... type of thing. Approved For Release 2000/08,11;;~~ f"'AIMC 788ROO2100120001-6 ;i V T'_n.V Approved For Release 2ooom"'M -,t~fA-P,-00'~6'-00788ROO2100120001-6 #24 5 And, I'm it) this learLIS (phonetic) this:court,,,.yard.... Let me Clear for a moment and try some more. PAUSE +lo I don't know wtlera--I-ain 1Q)jaLupon the face of bViTililg looking down there is pulled ~~Ourt-side an entrance ... the entrance is like scW- , -k o"C""'a, L L p -o"', in under some arches. . . . . the same Facade arches a ,n nd er u f as before.,....I Call SeE~ the darkness of a curved 1. orc, - be mra 6 bu t u 11, And, under them feeling of' some, sort of a fwo:i 9 lem nd ndf- oun _I ~- V e I~-e ground level secondary LYpe vehicle gr d (Q~C, r .1 g ull right lip, and 1 :5P i.,oming out have ull 11 t -1 le- a strip MT-~- 6ich ujould even suggest a straight a r, s t . p lto tho side of the structure. Like a sidewalk walk it k, going up to t.he front door or to the door. T h is is a very large building -that I am next to. On this side it has at laaot one 30 (-.ir 20 or 30 foot wingg which it butts.out on one end of this court. It is maybe ...... 30 feet down'. I now have my back to the structure. It in 30 feet down to my left, but that is where the alley was. I am in a court. To my right another 30 or 40 feet down is anoLher abutment in the building structUre. But. the bUilding is much larger Lhan the on(,, across tl-ie court; I can almost see that one..,Lhe. roof, but mine goes much higher; up over my head. Possibly 4 or 5 stories. +15 1 know You Want him. Let me cloar and try again. PAUSE #24.5. 1 ... uh... it's really wild, I know you really went him, But, now I I m like looking down on a square below, but 1. am several floors up above this square, and th.-re, is a wall aroi-ind the opening to this square. Like a hall. ,around it. The, hall on one side,.pillars going up, several stories, several f.loors up. There is a.. think Ilnri inside now ... possibly 3 stories, c.le~ar fall to the floor. Uh...like I am at the far end of a big foyer .1-23 that was right inside this door I talked of earlier. I'm in the back, right corner of it. I can look down on a white polished stone....1abby ... but, I'm on tl-ie second or third floor, and turning to my right is lahere I'm slowly going; which is the hallway which goe~s on farther back PAU13E I moved down the hall-seem to be outside a door +25 ..... on the left sidc of' the hall. Have to say it.'s more lik'a a..,..Iieavy....u~)..,,.viciocion door w.ith a 2 0 Approved For Release 2000/08~~ 788R002100120001-6 %.e , '00. 1 116 Approved For Release 2000/08/--,. 101 A M R-Q0788ROO2100120001-6 window on the upper part. The window is almost. a, black hole. ...square ... but things that go Lip an(J down it ... this is classically like .... God, it's like a Mank cell .... a claistered thing. For same reason, on the right ... looking at Lhe, door an the r~ight, I want to say that I ain getting light through. Like Vin seeing another wing of a building that equivalent, with me on this level that is coming-this visible through a hole in the wall, and there's a light ... 7i,S re:;f],~CC~tifjg i,S attracting mo thore,. I can see it ..... PAUSE +30 #24.5- Huh, now Im back outside again. Up above the square the plaza.-the courtyard looking at a point in under the roof' of a tall Wilding, of a big building like.... a story or two down from the roof' line that 1. can see like an inner crotch to the. building ... like this wing .....like, I want to go in this wing, but up on the several three orfloorstory level...,up like on t-he three or f'our story level. ,..I want to go, in. PAUSE Shld.. is (PhOlletiC) Wavy ... Uh ... cloister like override.. 1, see iny man. Feeling of hitti standing in his shorts at. the far corner oF a long, narrow room, but it's different than vfhat I've been in before. It has two windows. Windows on the left arid windouts on tfif,', end. 'They I re small uindows. They're almost waist high. They arc.,,, deep-cut. Like they're in heavy foasonry wa-11s. They are-uh... left.-tho windovi-I think, the way I came in hao a rough hewn double, bunk arrangement. Noll nearly anything like. anything I've seen. JLJsL like raised pallets on le~gs, It's different, it's different s6mchow.._like a cold, concrete type floor.. barren, nothinq in the,, wall,sq 110thing Orl thO Walls,, ..Uh. -theT-e is soffirething in thp.,i corner. You come into this p~lnceq the door opens .1eft, in, to the left, swinging to the left, and in, and thero's, something in, behind the dc:ior ... uh ... like a box or SOMething. It'S n5r'.VOWt UnCOMfOrtably narrow, hut noL. ittipassably narrow,, just closed in narrow, and you inove a short way and the edge of the thinc.1 on .the left and then there's bunks on the lefts two oil them, But, +35 I'm really struck by this cold damp concrete feeling. Very bare and rooky. Rocky in... like poured concrote rock or bricks. When I caiiie in L-,he guy was kn',)ving his arips around arid flexing his musciles and like swing-jing W s arms ... and tie's standing barefooted in the far left ,corner. I think iLls him. .1 think, I final.ly got to him. "t"A Approved For Release 2000/fIfling".- 0120001-6 Approved For Release 2000/08/QAm~PIA-RD~96-PO788ROO2100120001-6 PAUSE 11,24.5. All I have is him walking around. Maybe a slight limp. Sort of reading and waving his arms around. I feel there's anothr--.~r guy in here with him who is on the bottom bunk. He is walkinig around reading a newspaper or a magazine or something like that-pulled it back blong its binding ... (JOUble back. And, the other guy bottom bunk ...... let me go down there and look at. him ...... PAUSC .... (Mumbling)one of the more swarthy guy,,~,,,...one of th(,;, more swarthy (mumbling) w.1th a sort, of dtark, wavy black hair. I got a good s-,,hot of him. Surf., of lethargic, killing time, reading alot,, sort, of used to the place they are... +38 sort of used to the place they are, yeah-sattled in type of a feeling. NOBODY AROUND. I don't have anybody nearby. Like they arc, all a"lone in this wing. I mean not....no guards, is what I mean. I dont 'have ,any feeling ...I think they're just stuck in there, and the keys locked, and then gone. Th(-..~ylre no... they're gone, there's nobody rDUnd standing around waiting watching, or anything like . n +40 that. It's more ......... more ....... . what oo I want to say. A permanent Jocked tip type situationt. .-more, solid.... and more secure .... everybody's separated ..... these two guys in the room, like I said there's nobody, no guards around. Sorry about breaking Out Of that, but I just had samething shoot about 40 bolts down my leg. #14 - All right. Ule'll -take a pause now #24.5- Are we ready 'to go? #14% We're ready to debrief. §24.5: 0 ay. What war:, my first one. First one was that I was . , . f Irst one was that I was looking at same sort of , , . . . some sort of arches ..... it was really sort of a complex type of image that was scL back and these were very, very complex like arches. Like Lhis with pillars. Rillars that came down like that. I was behind this wall peeking past the edge of' Lhe wall. Like it was some other facet of' this structure that I was in, ,,,ind that there was something over here on my left, and Lhis was just ...... oomething on the IefL that blocked my view type thing. IL was like T was peeking down a crack, pe~eking around a crack. Okay. Obstruction. And, this thing went off a little IdayS, bUtp I couldn't really gC-t MUCh more; butp I had the idea of sandstone, gold, you know..... sandstone yellows, gaRfi,4, and oranges, you know .......... Approved For Release 2000108/nR', 788ROO2100120001-6 Approved For Release 2000/08/08 "~"G ng-YARR002100120001-6 Sort of an ornato facing here, and ti-as is the seL-in back walL This is the walk, and this is the set-in wall. Ands this is a wall corner in foreground and this is a passageway type Feeling of' some kind. Okay. You see what the jist is there.? Outsido...-and then with shadows here. -Like the shadout an this kijal] over here. #24.5: Shadow on th(-,., wall. 111.1 talk about that when I come t-0 it in the sessiont okay.. I just wroLe~ it down tfiere, sa I wouldn't forget it. All right. So, then it was like I shifted to my ..-Shadow on the wall, I I I t al k about that when it comes to it in a sef-,,,,J.on. Okay. I just wrote it down there so I wouldn't forget, it. Uh... all right. So then it. was like I ohif ted to my ri 'ght, and I put my back to this wall ... corner in the foreground, and I looked the other way do~,iin thil"i passageway, and I had the feeling that I was in some place like this; okay, arid this is thits narrout passageviay. And, as I was sitting there looking at this shaded, here again is this shadow feeling, here, and as I ~,t?a-s looking there a jeep zipp'ed in. You know, just a classic GI jeep type siLuation, and it came around this way. This is maybe taller here. Okay. LJ.ke thaL. I had the feeling that that was a structu re. tyj")e situation, and this is ~,-Jl dark in here., 3,11 shadowy, all right. hat I S 2. And I went down to where 111-1 draw the 3, and it had 2 to 3 people, and this is outside, out here, you know. This J'A horizons situation, like that. So I wend down to whore, 3 is. The view from 3 was the -feeling thiat I was standing -in some sort of a forecourt (phonetic). How do I draw this now. It vias thirS shaped. This came,~,; up into tho foreground. Th.'s, I had the feeling, comes up and like a little h-11-1 here. And, this is a cacved out, t1his is what I was talking about.. the wall carved out-bordoring this hill-this is grass type feeling. Like CUltivated grass lawn and that here, was some kind of a road, or pavement. Here is this building in the fore- grOUnd like that. I betterlabeJthis th.-ing, while I'm thinking abolut. Andp it's, on the foreground, rights and this is like a grass lawn, and out here is the horizon. YOU know like a littler hillock .. small, teensyq tiny. Liked You know how.. .... what do you call it ............ 5 F~ Approved For Release 2000/08 PP96-091788RO02100120001-6 06.00~ Approved For Release 2000108/08 QA-607MR002100120001-6 Almost the feeling of a ..... what are the arLif icial bumps you put in you,r lawn? Terrac.e!.i. Almost Lerrace like. Grassy terrace like here, and this is a wall$ and this is some sort of paved .... lower, not. MUrh lower, you know. Like there might. even just be stairs on the other sido of this thing to go down. It's not like it's 8 feet deep. It may only be, an ornamental wall (if 18 inches or 2 feet, you know. As a i1aatter of factq I did have the feeling that there ivere stairs that came down f rom that. . . . . and this is a paved area.. Another court like area, and, I had the feeling th,'~4t, Out heLre utas a road, and traffics you know. Arid thi!~,, Is unknown. Unknown horizon, okay. And the jeer.) came this way. Then, where did I go? Then I was ..... Then, the next thing I had, I think..... #14 You mc,,ntioned a feeling of ..... okay ..... you mentioned the inner courtyard. #24.5: Okay. All right. That's the Feeling I had. I uoent back to the other end csf Uiis little teensy passagewny. So~ from 3 we'll turn around 180 degrees, and go to the other end which is almost where I starLed. On e repeat of view of number 1, but, 'I'm a little, bit closer in, and had the feeling of' a_..Wherels my point of perspective here? Ahhh_ ........... 4....... 4 ...... Passageway went out the other way. *cut here~, Okay. This is what I .veferred to as the courtyard type of a I-Aiing. Better number this too. I'm forgetting my numbers here. Like that_...is the genera]. impression. An arrarigement like this. Againp this narros passageway. This ~ . . . . lower structure on the left or wall, maybc~,,,, Still at this point, it could just, it's just a walls not a StrUCtUre. Th5at probably Ought 'to COMe Up like t-hat. All. right. Arid, then wi th it ... exit Out like that....covered overness. This saRle feelirlg Of multiciPticitY Of rh7thm and pattern here on 'this Uiiriq. Standing up higher, okay, and' these ore a little bit thicker than that sitting on some sort of' pedestal, you know. 'rhat type of arrangement. Pill ri(Jht. Ilion, you know, I'm sitti 'ng7 okay, what do you do now. I still haven't found the guy. Here's this cour, rd. I've seen a courtyard J ((pe6ple xercising in it, and 0.1. the' rest of that st,uf_ s no "nob. iere 6 T)TV -len 14 k ,55 am. to idi'% wzis definitce. y very strongly tiat t, was a cobblestone yard, porch. 6 Approved For Release 2000/08 0788ROO2100120001-6 Approved For Release 2000/08/08 : CIA-,RDP96-00.78.,$RO.02100120001-6 All right. Arid, this is still the yellows~ yellows-~ oranges, okay. Arid this is titill feeling of shadouf casting.... And, the big shadow t:,,sme, -along hare. Lik~:,~ this. Shadow, okay. 1hat's 4~ 5. Found myself floating ink up where I th L wl I was is up here. I'll put a little 5 up here or) 4. 1 think the next thing I was doing was this. I.was up near the wall. 1,1aybe second floor level. I was looking douin at jeep. Right-,. Jeep type, thing-donw at jeep. Okays That jeep was parked. I was getting this weird oblique, okay, as though theM WaS SOMO sort of' a sidewalk right near WI-,,ere this thing was, Sidewalk protrudirig uut ....... Okay, arw] back in here, I could just see the beginning of' some sort oF a... I had this, I had this impression of this round hole., carved in the 3iCIE), OF t-ho building, you know, t1hat 1,ypp of a thing. Okay. So, I'll dot that in. Some sort of a round entrance, okay. And, you have to remember now, I'm looking down from number 5. Like that, okays Some sort of' a sidevialk~ and thisii3the court. Jeep parked. Had a feeling of sonieone w-alking in. Some uniformed, uniformed walks in building, like that, okay. All right. And, this is the cobble courtyard. Arid, back here is to number 4 and number 2 and number 1. Okay. That's all, but 4 is here. Numbers I.through It are back here in this directiori. Ad infinitum along that wall they.,,e. These are the, al_-chems looking down again. Okay ~ All, this time I knew you wanted me to work on German. So~ Im sitting thercr-.,., Every opporLur)ity I have., after I gt-~t somethingy and describe it, well -then I'm trying to, his face again, and then 1,rying to relax, and let things happen the way they're supposed -to happen. So' I end Lip in soma pl,,7,ice that I think is inside the struCtUre,, I just had the feeling I was inside the structure. I was looking over a balcony. An interior balcony down a couple of floors, into this interior foyer. Uh '.. . When .1 down the far end of the foyer, I had the feeling What did. I have the feel.ing._ Here's door, door coming in. I'm looking over sonic sort of a banister. RUnS Up into a viall. Okay. And, that there's some sort of other psissageway here, and this is the level lhere, see. Getting a little, better at my aerial views, aren't I. Dzimn. And, that armind this thing wa,,., possibly severall layers, like that... Like looking down the roof of' a cathedral. You know how you would get these rows, and then these rows, and then Approved For Release 2000/08/ -40788R002100120001-6 Approved For Release 2000/08/08 : C-lAtRPPS6-90-7,89ROO2100120001-6 i you would be at the f'Jocr d(-~Ck, okay. And, these Eire set back in walkways, type siWations, okay. Like that. *MAP", There are pawageways around this thing. I-coking down from second or third floor, balcony, railing ....... at a large foyer, and I felt that this was the entranco from where I had come from. But, riot a main entrance. But a entrance. You know . A major one, but not the big ornamental celebrational type entrance. Okay. Like that. And, I remember this being white, white tile. Something reflective light. Like t1iles or marble or something like that. Railing floor, railing floor,. railing floor. Okay. And, I didn't want to put anyti-ting in thex~~,,, so I didn' t. Okay. From -Lhe view. Seven is that way. Seven is this type oF a lZ15h Lip. There~u -this railing. Some sort of" a, some sort of a weird jog type -feeling, and here's the other side of the building. Right, that's that, and that goes down like that, okay, Down this hallway. Right -at this pillar, at the other edge of the floor CORKIS Out like that, all right. I don t know if this is, a new place or not. I just could not tel I YOU. So Im paying attentiori to detail- And, this was a darkenad hall down hore, you know. Dark and I had the feeling our guy was down this dark hall. So I boogied down the dark hall. All right 8. I think that like two doors down, I did have, the feeling there were doors in thi,., thing, as vell,. ...okay. ..like 2 doors down I come. to this situation, and by this time, everything was beginning to be cloi-ster IJ.ke, you knolit. All right. So I had this wooden brown wooden door. 11 11 make that a little bigger, because it is. I had the real feeling of a classically barred window., and I had the Feeling I was in the hall. Seven its tbat way. Now, here waa an interesting thing, becaUSe as, I Was sitting there studying and examining-the door I had Uhe~ , just to my right, I coul.d feeling that for some reason. look out and I could see a. protruding wing of the struct ure .....again, glimmering in 'this SUnlight ..... like this really lout, morning type sunlight, very, very orange and gold and reflecting, YOU know. And, I was saying to myself, well Christ, that's impossible beCEILISe YOU're on the inside of the building, you know. You shouldn,rL be able to just. look OUt and see this thing, because you're inside . OMOLIF31y, you're a wayp, `U). I said what the he,119 I'll talk about it. So, I talked about, it. So, I had this feeling of maybes... ..I'll draw a dotted line. Approved For Release 2000/08/08 _~Rnpggjjhl- `~IR002100120001-6 Approved For Release 2000/08/08 : ClA_7RDP9,6-0078'40?11F-'Z0021 00120001 -6 -the feeling that out here I could see another wing of the building. See what, I mean? Like that. I honestly Can't tell You. I thought.,. that this was a wing here, that I was z.,ftepping Out on and that this was a paralle.1 wing that stepped.out. That's what. I thought. I t w as really convincing, ok. but I don't know it was a r r a n ga, d .I can't tell. You thElt ' this is the edge of the wing, and this door is just inside of the building, and this is the edge from here on ..... throuigh this, wall .... and the hallway there's nothing. 1, carVt tell you that. I just don't know. All. I know is thiat I thought I could see; another wing at an angle from me. That might even be a different totally different building too. I had no real reason, I just Sort Of assumed it was the same building. That's what I fell-, right, to think that. Okay. Arid, this is the hallway. I'll call it the dark hallway. All right. That's B. N i n e, .Found myself outside the build.ing again. Here'E; the eaves of' the roof, arid I had the feeling I waS Lip above, again another enclosed type. court, or a closed-in court, and I was being drakyn up in here into what ..this was a wing of the building, and this was the maln sL-rt.Jctu-r4&- oF Lhe building, and I was like, being dramin into.the C Iry interior corner of that wing. Oh! God. This is all ivi'.~,,ry familiar now that I think abiout it.Ohv shoat. Okay. I I tn thinking or a past sessia~) I did. I gU0G8 it abOU bt ~DL I 3-weeks auo... I wandered around some funny building that H_~& a carvea out thing in it. Okay. Anyway, I was being drawn like here, or here where the 2 Xs were, okay. Okay. Windovis, windows, windows. There were no windows. There were no windows in the. damn building and I've drawn windows in there. All, I was looking at was like the sandstone vrall and then, maybe. I put the windows in to r(.-,~present floors or same thing. I remember Lhinking I was just staring at this b-Lank wall.. ...1 think that's what I said on the tape. Staxing, at this blank wall.. Anyway~ it was somewhere up here, and these are the eaves, and this is the roof , type of' a lash up2 Okay. Here's the roof, okay. Ton. At ten I finally found the guy.. Had a feeling of" a deep set thick window at the end, arid one ttiere. Our guy WaS... You know how you get up in the morning and you're sort of-rio reason to get dressed ... Saturday morning. Let's call it Saturday morning. You get kip 9 Approved For Release 2000/08/08 r_1 A r% -0-CUT-POSR,002100120001-6 Approved For Release 2000/08/08 CIA-RDM"MMR002100120001-6 Saturday morning. Therels, no resson to got dressed. You sort of vial,k around the house. You're. in your shorts, you know. You haven't shaved; YOU'Ve got YOUr T-shirt on, maybe. You're walking a round ir) YOUr drawers, and you might pick up something to read or YOU might wave. your arms around to sort of...iike this type of a situation..-ii,~i order to stretch your muscles out., You know. That type of a Uting. That I a what lie was doing. Boxer shorts, bare feet type situation. Draw just a little circl.e_ waving arms ... walking.... in shorts, waving arms stretching, rubbing his shOUldor, okay. Like that. And, it's a biare rock or cement wall cool to the touch, okay. I didn't really pick up on any items of furnitUrC3. or anything like that. Other tlian the bunks. ThE-,,,l.,L, may have, been srimething, I remember there being some clutter or something in this corner T)f* the room here, but it's a smaller type roor~i. So for 119 I'll draw you an overhead, and that'll. be the last of it. I remembf,,r thinking that it was aii/ful nexrow to get in to. Like this Passageway here tv*,ts just a little bit than the shoulders. The passageway from the door. There's something here; I don't know what it The door apens in this way, I remember thinking, boy! if anybody op.~Ded,_ U-iat-, door in there .... tie was standing behind the doox~_ tie I d get it on the nose. That type of thing. It via~_-i real close quarters type situation. There bti a bunk. Thexe be a window there. There he a windoti there. Window sort of off-set. like that, and here be t-win bunks. Twin bunks 3~ouqh cut. I mean, they're not junk, but I mean they're just very primitively made bunk beds. He was walking around here. I saw him walking around like this. Thene were two windows, and I'm sure that this window looked outside, arid I'm suro that that window looked WtSidO. I really shouldn't draw that line because I don't know where in the wilng ho is. If that window looks OUtSide that means tie's on thes end of the wing. If it. doesn't it means.it's not Lhere, and I'M Mclkiflg it LIP. I'll draw one more. That'll be back towards the k1cor. That's the door type feeling. I wanL to see,, if I can draw this thing in under there nout. That should go like this. This should go like that. I'vedrawn it too high, ... floor now. llaa ..... haa. This is the bUnk bed. You ' ro, trying to figure out what it is. I know. I cani tell by the puzzled iook on you're face. #14: No, no. I know what it, is. #24.5~- That's SUPposed to be the bunk bed. You see I've gol.- it, too far elx--~vaLed. You knnw what I mean. 11 should be lower to the floor bOCaLJee -it sets, on ....... Approved For Release 2000/08/08 : CIA-RDP96'007-RRP,002100120001-6 Approved For Release 2000/08/08 CIA-RDP96-OD788ROO2100120001-6 ;,11- 1. 4 Give J1 some longer legs. They will never know the difference. N%~ #24.5: Haaa,.. This is wood. I had my qUY. The other gUy was there. Like early morning, getting up, but ~, i, hr.isn't gotten aut of bed yet. Face prOpped UP 01) CJIDOw type situation. That's 12. The thing I want to get across is that these bunks sit on the Floor. They don't hang from the wall or anything. It looks sort. of woiTd in that sketch. #14: YOU promised to tell. me about the word that came to your mind. 11211'.5: Okay. Where I forgot about it, I apologize. 'The ulord whore I was, was when I was ouitside,, where, was 1, when I was at sketch 9.-I'll write it on this sketch, when I was at sketch 9, the wor 1, . X~i,ze, Tabriz came into my head. I wrotr it on skeLch-T-1-but oifly to remind Miyaelf. When I was outside here at sk(--.,A1-ch 9 .... that's al.l. #14. Okay. I have no further questions. End of session. Approved For Release 2000/08/08 P96- 0788R002100120001-6 Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100120001-6 I TAB Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100120001-6 P C.'A CIO V CIA-R'~P96-007~8ROO~10012 Approved For,.Release 2000/08/08 Qy) 1'6 Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100120001-6 Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100120001-6 N4 ~ NIA For Release 2000/08/08 \WOOF. 'flA-RDP96-00 88ROO2100120001-6 Approved For Release~20'4-/08/0 CIA-RDP96-00788ROO2100120001-6 T OPA or 2000/08/0a-: R002100120001-6 App 8: CIA-R Appr R002100120001-6 2100120001 Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100120001-6 "IN -1w Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100120001-6 Approved For Release 2000/08/08 CIA. P 00788 100120001-6 all *'72, Ap Ap p rove-d"FQr.Re I ease 29.0=8/08 CIA-RDP96-00788ROO2100120001-6 ~N,, -114'.,, Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100120001-6 Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100120001-6 Cl) 40 2008/OC:..'tlA-QP 8ROO21 0120001-6 Approv For Rele#e Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100120001-6 Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100120001-6 ~zlll) Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100120001-6 75 ~ V Approved For Release 20 110 V, V CIA-RDP96-00788ROO2100120001-6 Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100120001-6 ANY- Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100120001-6 Approved For Release 2000/08/08 CIA-RDP96 ,set" cllt- fed For Release 2000/08/08 CIA-RDP96-C 88R002100120001-6 01-6 OW my Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100120001-6 I . TAB -1 - Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100120001-6 Approved For Release 200"li~irxf~'~lgr%13~ga-00788ROO2100120001-6 TARGET CUL`qiC INFORMATION REMOTE VIEWING (RV) SESSION CD-1.1 (5) The remote viewer has beer) exposed to open source news media information as well as classified overhead imagery and numerous photographs of hostage personnel. fie knew he would be working against the hostage situation in Iran. 2. (5) At the -time of -this session the remote viewer was shown the attached photograph and wasasked to find bruce German. He was asked to identify German's location, describe his physical and mental condition, and to identify any other hostage personnel. at this same location. 3. (S) The remote viewer has been briefed on the current status (as of 30 April 1980) of the hostage situation and told that the whereabo,~uts of the hostages was not known. Approved For Release 2000(gol~~Es, 6-00788ROO2100120001-6 SGFOIA3 Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100120001-6 Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100120001-6