Approved For Release 2000/08/ =-RDf4 =aR002100330001-3 6. [-,f-,v - Co E. w I GRILL FLAME PROGRAM SESSION REPORT CLASSIFIED BY:MSGvDAMI-ISH DATED:051630ZJUL76 REVIEW ON. NOT laillINALS Approved For Release 2000/08/08 -'%Lja%"17%*W011 00330001-3 -0-CON 100 Approved For Release 2000/08/08 vae 51.4,11MARY ANALYSIS REMOTE VIEWING (RV) SESSION 1. (S/NOFORN) TVis report dOOLIMents P, remotl-e viewing session condur.J.'.ed ~n compliance with a request from SOD, J3~ 0JC5, Pentagon, Washingtan~ Dc. The purpose of the ses5ian was to provide information rej,,:~vant to the hastage f~ituaticn in Iran. 2. (S/ND,1--0RN) Ihe remote viewer's impressions of the 11.,.arget are provided as raw intelligence data, ands as siuch,, have not been subjected 'to any .in termed j, ate analysis, evaluation or collation. Interpretation and use of the informat-Jon provided is the reaptxisibility of the requestor. 3. (S/NCIFORN) The protlxol used for this scssion is detailed in the document Grill Flanx-1- Protocolo APISAA Applied Remote Viewing Prcitoool (S), undstc',d. 4. (S/NOFORN) Falluwing is a trwiscript of the viewer's i!iipressicno durirg the i-zmote viewing ses~~-7iion. At TAB A arr. dravings made, by the remcte violier ref~,.,~rence his impressions of thio target site. At TAG B is target cuing infoxm~,-itj.un prnvidad the remoLe viewer. 5. (SMOFORN) The remote vicwer was asked to Charles Jones and ciescribe his suiroundlngs,. He described Jones as being iin a room with ancither hostage, T~ latc,r ident.ified from photogi-aphs a.--,L Joseph Sublic. cie viewer fc,11 i'l-jil.311-00IT11- s in ci building located i; a Wa -i a large ciLy. Ile Iso felt there uere o tic hostage.s (number and ident.ity unknown) in -1-1he building. The viekyer felt ther Idere three guards, ane- roving, associated with this a r ca, .Th-cl viouler 'C"It this area familiar to him I)CC8Use he had "seen" iL in a previous rcmflote Iviewing session (see CD-11). I Approved For Release 2000/CW)68~-Le~NB"iVtRVW1003JM'4~.3 URCON Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100330001-3 TRANSCRIPT REMOTE VEIWING (RV'/ SES,510,N CD-91 TIME #66- This will, be a remiote ki-Jewing session for 09100 hours, Is July 1980, PAUSE #66- Relax nou and concenLrate. 'Relax 8F)d fOCUS YCLJr attention on Cl-~-~rles Jones, whose picture I have shi-.)wn you. M,-Jv(.-, your awarenoss now Lo be uith Charlea Jones. ftvo yotir awareness to ("harles .]ones at Uip, prf,,sonL time. Locate Jones and descri-be his location to me. PAUSE -4-06 #24.5; Feels like I'm on. I'm hanging on. a wall. Ors the viall by them. window. open. . sand3txn-,,~ I'm looking through this window. I'fft hariging. . . tl,vio or -1-1hree stories a'Dove. grc..)und. . . Inside is,, (m.umble) . . ..-till asleep. cubiol.e. (mulmble). the guy is sleeping. . . lying in a bunk. . in a upper law bunk, wrapped in sheets . . . thp bunk is positioned . in front of a window on the other oide of the room. . It's a familiar buildirig, I've been here L)efore. #66; Tell me what makes you say thiE- 4-10 #24.5: Configuration. . . the color, the size and that stick out. . ~ I just feel like I've But I'm in a different part, savic gerteral #66: 1,s Jones alone in this room? #24.5: No, hes got a parLner here. 1166: Tell me about his partner. PAUSE the wings. becen here before. area, but may be. #24.5: 1 don't get any of this feeling of a. bloric-1--hairedt youthful, guy, who's only in his early twantiens- He's a so.ldier. . , PAUSE #24.5. Jhf~;,re~ in the. . . about ane f loor down of F, thf.., ro uf . or) the first wing on the lefL side . . . had a pic;ture c~f the guy that,.the y(-A.ing guy th,,at -looks like a guy .1 k.-low. ==r..30001-3 Approved For Release 2000/08/08 : 1. -0 C7 L. WTV ~' Approved For Release 2000/08/08 Cl A,~-P6.DoznA-nrQP0330001-3 #24 , 5 it I s this i-Gonlie. . . a morine first, but - I (Jot thin, Uh, rc, -r ,, - befoj-,-e of this k,.,;-d 11as phDto I've seen in uniforio. +16 #66 - Okay, I 1 1.1 ask you to Wentify him later. I would like. you to tell me abot~it the, greater bUildirig now in Uthich this is located. MOVe YOUr p(-!rGpeC'~tiV(` snd tell. rne, about the gre,.-iLer bUl'.1ding iri which this roorn is locate,~(L #24. 5. I'd say, uh. . . a buildinq that has a~ Uh, sorne roundness on the top at one end like a capitol of some kin,(] . . . But in froht it's on a stlreet. . . has a v_i.de . . . Wide, step- way, you know, like a governmental building -,rid it has a. - - big darkriess in the front like. . . a large ornainental arch- way. . On the left side there are two bunips Lhat project out of the side of't~ie building. . t-l')ey are, square. . ~ where I am is, tni, . in tie first bump going around tiho cor- ner, about third floor level, maybe four-ffi floor level. . . . building is, uh, . on another side, now. :, appears to be cut out in the back of the. . . Yes, its there, it's, uh, cut ou t. in the back side and has a lor~ger bui:qj Oil tho insider of it . . . b~_tildirig is growing biggar arid bigger as. as thougti the building, is. . . I tuas only looiking at one end, one wing, of a "!J" shape, which spra.,-.ids it, out, an inner court. #66: Move now above the building, and tall mc, about the shape of the buil,ding arid the 9~urroundirjg area. PALIS[~' #24.5: Across the, kiii . . . I tried capitol and. . . arts. I I ve go'k, a feeling, I'm jockinq as I'm coming across frow th,,,,, horiz,.on, like a road, and a. . . it comes to the i~,.xad in front . . . c o m e, tip to it, but there's sonic angles in there, as thot.qh there are Lwo angle roads Lhat go off, forming an arTow. . . arrow- head away from this place . . . That. area is like a. . . not populated, Ws like a . . . an open p,:irk a-r(-.,,a vvith Lhe roads that c o through it. j #66, Do you recognize this, are.a? #24.5- No. Do not recognize it. . . Wherc, I am, though . . . N ow I have the feeling that nrc)UMCI qrld behiCid MC' thrF.-e SMB'S. is the cAher buil.r.3ings and . . . but, thics building i~n, the bl'~_)-_ gest in the area . . . L.o%.lier, tia and niaybe three StOl'y bUirldirICS. Some small buildingE,,, like 1 gaL the definite feeling that one As . . . it"s forwa.rd ~31de is definitely or, a unoccupied area and more residential and busiriess area sprawls Out b6hirld, and,, . . to the right ;~-,nd left. #66; Okay. Lpt mc see if' I understand u?hat youre, sayings That if, ;one;s seems to one side of the building in which you perceive .I to be more of ,nn open typo area, no bu.,11dings. But to the other side. ther_- seems to be MOre bUiJdlingS, perhaps residential *%W p-erhaps buginess like buildings to one; aided.. So there~'s a distirict differerice on Lhe sides of the bit.) il (Jing. Do I under- stand you correctly? -3 Approved For Release 2000/08/08 00330001 Approved For Release 2000/08/08 : CIA 01-3 #24. 5 - Across the street isc the open area. #66, Okay. #24. 5 - Looking at that from up above, to mykighlL, to my left, and to -ny re -h~ ctn a e the bui ding is sur- ,ar is t e oc pied area. C us i rounded by occupied ar(-,..,z except on one whi&) I perceive to be the front. #66: 1 understand. Let's focus now back dnwn on Jones, and or) the room in which he's located, ,--ind go now to a seaTch modc Cor guards. Describe for (,w any GOCL.IrJity type PAUSE 124.5 alker, who is on Lhe. floor ewen with. . . on the Have a u main stem of the building. I have thi.a. looked like ;,a bunch of arches, a,-)CI T'g, walking along under tham~ o'n like a balcony that's covered. 'This is on the level of the. . . He walks like a sent.,ry . . . #66 - Anything on hiffi? #24.5: . I he has Ft pafttern~ and he moves From one end to the other. #66. Okays #24.5. That's all I can see on this level. . . ly uh. . ..No~ wait. I'here's a, I'm somewhere down tho coj:ridar oi~i Lhat little. . . appears to be a small room back in the ssame part of 'C,he bu-ild- ing of f. . . off the corridor, uhich js 11`~ke a gU,-.-,rd room, ~Oiich has three people in it. It's like a, Uh, 2 watCh r0otfl, on the corridor, near what II thought was the front part of the building. . . From thist room the people go aut and walk down the corridor, chocking rooms on the right, which is the main stem or the bUilding, and p~,_iriodically chec.~kitng the r0oms orl the which are the two.protrusions that jut out from their wings, but they're one room wings. They're only big enOL10,11 for one room apiece. The guy that leaves that place d(.-)ec, not-, have to go all the way doki,,n to the othur end, to the distant end of this corridor. #66: Okay. I'd like you to focus for a riiinuto on thiis guard room where. you say thes~e, other peoplc-., are locat 'ed, the other guard types are located. Focus on that ,,"or a wz)ment, juat looking at it and obsel-ving it while I turn the tape over. Okay, tellL Me G 111-:-tle about this rocmi that you said is a guard room. #24. 5: Has a very. sifflilarly. gnt the, idea of bare sandstone. type. No windrou,~3 becausp it's on the inside stems . W5 in the mtiin part of the building, the interior. I t has several knock-down tables in it, and there's debris and stuf f , equipment and. . . looks like maybe, sleeping rolls scatte-red around the inside wnli. The table's bi.).ck on something in the Approved For Release 2000/08/08 : C ^=0001-3 3 Approved For Release 2000/08/08 -W-UUPW-~(N4d90lP2100330001-3 #24. 5: Toiddle of' the ~vhicj-) is large and squars,. go From floor to ceiling. It is a lincor vertical patterl, 1i.kr.-1, almost like ~jall lockerr~ vicre stacked in the m-iddl,,,I, of the room. The room is deeper than 1 first expected, but. , .1 got a feel that on the sides and the back are, several single beds for sleeping and they appear to be. . rneta-l frF.-Ame, about four in here. One &,,Iong the left wall in the back to the tree along the back wall. #66. Those were the cots you're.. talking 3bo,,.).t? #24.5-. Yeah. . . ~#66 - Noui, You had mentioned that when the guard gaes on patrol to ao what you refer to as: a levol, thaL he lr.)oks in rooms on both sides of Lhe hall. Do you perceive that there is more hostages than Just Jones and his partner her.o,? #24.5. Yes. About four or five rooms, other tlha~n thIs one, that are all. located on the right side of the hall. And the first room is the guard room, and the rest of them doan there fl,,~),ve, the people in them that are checked. #66: Okay. Let's move back outside, now, to a point of perspective where twe might be, able to locate tihis building an("I it"s neighborhood villhin a largeT peysp~?ctive- Let's see if we can't deterf,iine the location of this area. #24. 1 am over Iran. . . over the Persian Gkilf', my att-enl:ion is. . . imagining ihe outline of Iran. . . My attention is drawn to a dot in the Upper eri(,-,' of the Persian Gulf, just to the right, and inland. . . ~i;lhcrever Mat is. . . #66- Okay, rernamber thiS flap that you I-lave in YOUr mind So you may draw it for me. I have no further question3. #24.5!, I~A) 1-CALICing ttle scale. #66: All right, continue. PAUSE #24. 5. -- To -the, Uh. . . I feel. that there is a~ . .large, uh, airport on the very horizon. . . away as far a.,-s i know is 3.0 miles, B-10 miles. . . direction it would be off my . . . Lack, quad-- rant as I'm lookirig at this op(m).area. my bRck WGUld r actually be the airDOrt. The interesting thing about it is that . . . the m3-in line of the airpcn:,t, Ivi locking Fit, it them runway corrites, points L]ight at the city, Lyjil~skirts and everythirig. . . -it damn near points ,,-.ight. at the bUilding. I feel there are, other outlying small.011, !'Unlvlays-~aa~-ings, y . 3 J0T . Aft thO Min, real big main wide ceriter co, 111,11'Na i t aboult-1 an a direct pointing toward where 1,is building is.- And that's, it. #66. Okay, let'B prepare to draki; then., Approved For Release 2000/08/08._%M-M1rAW-VNM151'- ,,,nn330001-3 4 C% 1~ Approved For Release 2000/08/08 : .7e-w 130001-3 . jjt i%oC=j.. i uu, #24.5- Okay, the first thing was this, W-) . . . The, predominant Lheme Jin this is a, b~jilding that haFi~ iiAngsq shrjr~, stutIL'I wings -that stick Out (If it . . . PAUSE like this, in sketch one. And 'the feeling was that I was about ti-iree floors LIP. Okay? I'll draw you a sketch of the thing, Lhe ~,ihaln, side, Gocause it's right near Lhe front, that's vhat I was talkin' abOLJt. I'll draui more,, of this later. And that goes across thero, and thexe's sorle sort of capitol. . . there. That's how it pieces together. The place that I had my first image, this later developed~ okays the rest of' the building grew, but uif-,ore I thought I was to begin with was right up in about this level, where the squGre CUtOUt iS, which is the, window. Okay ~ And, you knoi,~,!, I didn' t detect any windows. . . It's a funny layout. This forward right part or the building I don't' see the humpLy- humps along it. But on the inte-rior side, like past this first wing where the guy is, there's this type of thinq~ as though there's -an expwed balcoily along the autsiJfe of L)-'Ie building, like, that. Okay? I didn't- feel that that was repetative all. the wiay down the wal). an the inside things but I know thut it's not out here. 11 sand, tone block Out (N-) thr righl: side 0 Gketrh one. LalCjNp '381T ~tl 1 ~1(19 type structure. But in here the L)aiu~~~U and covered balcony is ii-i there. The reason I got the idea that these. wings were only one room thick was because when I penetrLatL~d t~j~', Window right on the other side of the room, which is, only 15 or 20 feet video which would imply to me that the wing is only 15 or 20 Feet vide, were the burks, which Ill draw in sl,:etch two, wid the buriks were in front of another exterior ~,ijindou and they utere on the other side of thp room. Okay, So for sketch two, I had our guy an the -to[.) bunk. . . That's really way tip too high, but anyway. . . And there's a window right therc,, and the bunk lays right in front of the windou~ on the other side, that's the thing that gave me the feeling, you know, that I'd gune to the other side of the room,, The roora's not very big. Very plain insidp. And our (JUY VIZAG Lip here. 1,A i a L ' s his name? Jones. #66: Jones. #24.5: Jone8 was sleeping U-tere. And the guy . . . I uvorked on the guy in the bottom of the bunk, and I had a definit feeling of a younger guy, a dt,:~rinilb feellirg or a white guy with sandy blond hair comic th--rough, first, end then I vas, and the military Veelirg came through first. And I figured, well, he jUSt. WOrit into the M-ar..ines. BuL LLhen the fr-~.ejing Uiat I had, the image Lhat &ee")AkU to Pie, the picti-i-re 'I saw uas, I saw a picture that we hFivr-,. that. I've seen berore c-oming through trying to identify p~eople. And it's the yo til-Mul Spec 4 or E-5, we,.--irs gJassc;,-,, and he has darker 1iyht haiz,,, and he's Approved For Release 2000/08/08: QTA-Mia faft 1 n0330001-3 If"% 1~0 r. M r- _r Approved For Release 200o/o8m: aA-RDPV6-qQ7quNL1Lz It jss0001 -3 #24. 5: dressed .1n greenst okay, and I cat-, Jdentiry the- V).i.CtUre that &c4uAywAto me there. Anyway the ot-her guy here Was there, okay, and it was just a p1,,:J just a plain sandstone in, again, 1%W room. Maybe 25 Foot that way and maybe. 1.5-20 fec~t that. uay. Okay? And -this is like peering through the windo%lf from this V:L(11W in sketch two. Didn't even see ony access door or anything like that, CaLISC~ I had my back, I was, perceiving only from this d` recition, I didn't.. re-,~.My see ~--)ny door. I pro,,- SLImed that tl--)e door was at this end, t,-ause of my perspecti ve. #66: Okay. Why elon't we go now to a9 E'Lke 3n uvervie~11, a Floor- plan of the parts of the hoilding you pe-i:,ceived. #24.5: Yeah. It's sort of complex, is why it's gonno. be dil 'If icultl. The room was familiar, I mean the bUilding was familiar rom the last. session that I did sorije, months ago, a imonth or tuo ago.. You want jUSt a.f10QrPL_An, theln? #66. Yeah. #24.5. Okay. #66,. 1fr .the best. of ycur recollection, don't. add anything tl-t~aL you didn't actunlly feel, was there. #24~5: Dotted lines are becauE~e I had this overpoweririg type feeling that this thing was actually "L)" shaped. . i, Oh, I Just re- membered, I left .-,omething out that I saw before. . . Here on this side, was, something else that sticks into Lht:,. . . but it's a different si7c th-an the exterior. Okay. "V marks the spot. There is same sort of a ccspi~~-.ol dome type thing here. #66- Okay. Label that doma.. #24.5-. Okay. TVie Cloor plan is this. Along, batiwee.,n these two ex- .terior - oh, and Lhere's FA street here, and theres, I'll draw a front, okay, later. This is the expose(l area with the humps on it. Okay. And insidle that, there's a hallwqy. T h (_-~ hallway goes someutiere around the cornor, I don't know ,Uhc..,-e, around the corner. Up here, one, two, three, four, five, are five rooms. '011. label Mom H, H, li, 1-11 H. These ore rooms that guards checked. Okay? I did not go in those roca~s. All I knou is I labeled theii 11 becaus;e the guardc,, checked them. PreGLIMing hostages. The 11G11 room on ;.,,he end is Lhe guard room. Okay? Tho guard activity that I saw, -and this was some sort of' a court, grass COLIrL With Sidr:M~AlkS in it., But I couldn't detect any pattern, like a geameLric patt erri in there, anything like ~_jard he would, the gUard w~~s nf_-#r-_(_,_,ncerned with .inythit~~-<4.~it was around the o n towords, the dor,k,~a. 'The g`ua-rd only 1~oing V-;Lilfway down tf- )e s:lde of buildingN I dont know there's another guard that. the other)end or any- th" thing lik"', that.~ The guar&~ p~atrol ~uould (:,.heck doors a1Qaq---- t ~` i 1 31 VOW n these, rooriis, andi would continue dolin ul ard thun Vic I d tur - a c g o L)ack. Approved For Release 2000/08/08 u2_100330001-3 77 77 k, Approved For Release 2000/08/08 No Q . %~I .1 U:VTVC -3 #66- Okay. so rojjit~ out, held go dawn- no, he's #24 ~ 5 Ok'I actua'' y? Ily r dovn inner hallway there. Halve to, romember goingthe I'm up the thirdfloor, or sume-thitng like-- about on Unat high. #66: Nov, uards did you actually se,o? , how many g #24. 5. - I a feeling11--hat three people wf:ire thc-.ce, had I (,)nly !i;,aw one, and thatas the, guy that was moving. Okay. w But -,ahen I into room, I just had this sponL:3,neDUS got the feEllii)~) Of i well,-three ple, hunked herp. peo #66: okays #24.5 Okay. Maybe ran rotating shifts or something like that. #66: okay" #24.5: All right? #66 : That's fine. The room with ("fie "V in it then or thc~- #24.5- Is Uthere Jones is. 6, 6 --where Jones. . . Do you have any feeling for number of occupants of the "H" rooms? #24.5,, No. #66: 1 know that you didn't explore them, but. you did feel the gUard was checkin.g? -i those on the righ, t guard was concerned i~vitl #24.5 Yeo, I felt ffir as uiell as (in the left as hr m aved down fl-it, hall. #66- Okay. 7412 4. 5: Um. . . #60": URI, I #24. 5;. 1 don't knouf how many are if) each room or anything like Lhat. #66: Okay, I.- our concern with draving a differei-it sc,~If-~, now, and moving up and away from that and [:,utting this in a neighborhood and into a city. #24.5,~ Okay. All right, for four. This is my arrcAtihead. Talked about an airowhead. #66 Which you think is a street pattern? #24.5- Which I think is a street paLtern -in a, in e38entially a open, more open park area. 0 k,-:i y .Extendinq for some half mile, or somet-.hing, a good ,,,iized open area, whIch is different Lhan Approved For Release 2000/08/08: QM-=GN=0330001-3 Approved For Release 2000/08/08: C-IAZDU*u ,j MIZZ I uva30001-3 #24.5: Lile whole cl,:her area surrounding this p1ra,"e. There's a. . . Okay. Uh . . . The hash marka, ie just this diffei'otlt area, #66- An open area of same kind, akay. . . #24. 5 Wellp when I say open, I dorit mear) apen bare. I mean it's open from habitation. It doesn't have houses in it. I ',' ' s -- it has tror,,s, it has streets to no through the trees, boule\/ards, it has people, but it doesn't have, heusc-3 and buildings. #66: Okay. PAUSE #24.,5: Street pattern, okay, and that continues on and up. . . Okay. Along the right, what I was trying to say during the session io that as I loaked at. this arrowhead a~!,My from the front of the, building, on the left, (-.in the rigt-iL, and behind, rile VIOS all City, StrUCture, huirfible-jumble. Two and, three story buildings, max. Wdn't see any Skyscrapers or anything like that. Uh, small little houses. mud hovels,, mixed in with, you know, L~1,io sLory cement brick buildings, you know, Ws sort of a humble-jumble of city. #66: Okay, why don't you hash mark that arca :_:jnd label that appropriatoly. PAUSE #66: Is this scale inapprorinte to indicaLe your alrfi.eld? It 24. 5: Yeah, it is. 1'13 lndicate~ Lhe direction. Uh. . . PAUSE #24.,5.- The city al-no sort. of sprawls across into the atea surround- ing this open park. I'm not going t) ,ay that the city is linear like; this. Once you're out of this open area maybe- If irlile this is a half mile -about a ha ,~ I'll Say. #66: Is thei.-e city b~eyond the bounds of t~-,e upen park?, #24~5: Y es. Yes. Half mile, and this is half mile. And once yo~_i get a half mile down the read from the target building, then the,~ city comes around the corner and sprawls out, PAUSE #24.5: Go to higher scale? #66.- Okay. PAUSE #24.5: 1 was looking at the dafrin thing From a low, ve-ly low Oblique- QQ Q r-z Approved For Release 2000/08/W%i .%~:~LilzrivxIE2!11UL-IU0330001-3 Q r= Q " Approved For Release 2000/08/08 : L;1Ak!-,PFUb-1~UV1i53MV uj,)uuuq -3 #24-.5. I'm trying' to remember what the hell that aj-vport pattf,~~rn was. PAUSE #24.5. T didn't really look at- it down from above, I was looking at it from the -side. There were -two subrunway3 on each side. And there's connections in there t0o, but I don't know, have no idea kuhat they are ~ ~ . The th.ing I remember recall;- Ing out of that whole importance of this area- the reason, I don't kriciu, why, you know, I was looking around, well, okay, whe.re in the city am I? The only thing I could think of or the only thing that came to mind was - Oh, over Lheira is them airport, and Oh2 look at that the main runway, just about points right at this building. Gkay? It's a awful Tittle bit, it's not a true azimuth. Its to the back of' it. Like -that. But. it's almost. PAUSE #66: And again, can you , estirmate the (J.Istavic.e? #24,5: Yeahq it's about-- it ulas way over there, you know. It was liked I WaS Ur) or) -top of thlis bYildillg, and I just maki out the rurtway on the hor-L7011. So I have, to say it wa~2 like 8-11) mileso looks like. #66- Okay. On top of a t%an or three story building, looking out-, just being able to mi~~.ke Out the TUnway to the horizon. #24.5: F~iglA, #66: There are people that know how to calculate how, far you Carl see from the top of the buildincl, so !-fiat might help. #24.5: Yeah, Wt. do they know hour to CSICUlate, how far YOU can Fee using remote viewing? 1166 1 have no idea. #24.5: It Could be 450 miles long. #66: Right. #24.5- Yeah, and the ftiajor urban sprawlq r~ajor (.ni.ty complex was here, okay. Call it Lhe main city spYe2d, and then out here was like beginning suburb. The characLer- of the, land, the character changed, iL vasn'L it) the coui-O:ry, bUt it was like out in what a deVel0J,)ii1g SUbUrb are;~l would look like. #66. Okay. 04 . 5 This isn't rightt I Ma(,,le it too big. PAUSE /0% 117111% - -r Approved For Release 2000/08/08 00330001-3 I- . Q QM Approved For Release 2000/08/08: ClAADP 0G7W?%'4'1M'330001-3 . #66 Okay, yo,,j can talk a little bit about six, now.- #24 ~ 5 Oh, you gr,-~t J.t going? Oh, all, right. Six is, uh~ I sall,d I had a real hic h o blique. I had sort of imagined this very general shape, supposed to be Iran, with the Persian Gulf on the left sid-- here. And just where my atte'rition was focused I didn't see the city, but using the sdbstitutE,~of a nia-I..) type of an idea, where my attentiu-) was fcx-used zind around which I huilt this map and everything is t' he dot locaLedl in the Lipper left hand carner Of tile r()Ugh oUtIll-ne (if the counl-,ry. #66. Okay. #24.5~ Okay. Arid I'll label it Location of city in which target is located. #66: Okay~ this is sorpelahat of' a technique which we don't usually use, Do you hciva any confidence levf~l in this cancq-.~t in S..,.x here? #24.5: Well, it 's esoentially the same ore that I Ussed when I doused before-., only when I dow~.,,ed the, map vue just, didn't, you know, YOU Lai.-Ild the rilap, and then theT:e's something that SOY3 UGLII-id this thing where ynu start is the thing that you want, and you build thc-., rest of it around it. 11,-.) I don't known I've had luck wl-i.th i.'k," before. #66 Okay. t4hat you7ve drawn here now gives a median idea or) how to locate this building within a cityp and then within the, bUilding ufhcre he is. Now, is there arlyfl-iing that you felt like you ought to add? #24. 5 - Yeah, I want to do- the only thing I want to add is a. sketch of the front of the bl-ri-M-1.1-1g. #66- Okay. #24. 5 -. Which I had started on one but becaLlSe, Of Lhe perspective- #66: That would be outside of the dome area in the building. #24.5: Right, right. #66: 0 ka y . #24-5: There is a large, usf,-Iess, ornarriental arch. . . And vhat I wean by useless is it's not. . . tire doortuay is juiL a little. fracLion dwon in there, the arch :is all in the StrUCLUrc, It's all. built. in Lo rmake it look like a huge doorway. It's not. And the pillars that hold up the arCh are not pillars. Th~,-_-:y're carved in the ~~.-,Lde Of the buil .,ding. Okay? That type (--3f a thing is, ~,,jhat 'Im talking about. #66: Decorative a.~; oppc~~cd to fi,inctional."', #24.5- Yeah, decorative as opposed to Function,.-il. You got 11~ Approved For Release 2000/08/08 : CLA f~W-097Q4ROD-11=30001-3 Approved For Release 2000/08/08: CIA-R&W~"0998PNtaMM01-3 - qpitc)l an the, top of I-L, klu h n #24.5: Then therc!s cj hich as a fu riv tilijig ziticking up out of it. PAUSE #24. 5: It looks off center. It's not really off center, you know, it's very geornstric, it's centered on the side. This Crea. is all darl,,Jy stha-ded bec'EWBF,~ ik"s Lin under hang. . . Okay, nrid arCJLjnd there is to sketch une. 1) ka y ? #66: Okay. PAUSE #66 - I t-,ake it tlie. street would bp in the f oregruund the.n? #24 ~ 5.- Mm-hmm. #66: Anything else yuu want to add, tho.rk? 0~,ay,, that'll do it then,, `1= X Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100330001-3 Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100330001-3 I TAB I Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100330001-3 I,'.- Aw V410, Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100330001-3 ,,,Approved For Release 2000/08/0§ : CIA-RDP96-00788ROO2100330001-3 I I I "Clof VOW 8: CIA , I dtl CIA "I Approved Fbr Release 2000/08/08 CIA-RDP96-00788ROO2100330001-3 Approved For Release 2600/08/08 A-RDP96-00788ROO2100330001-3 (671 jw. Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100330001-3 o6l Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100330001-3 Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100330001-3 qu *4 Approved For Release 2000/08/08 CIA-RDP96-0078 I VW-1 v4wf Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100330001-3 S r 0 It to- I i c C ~, a a A Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100330001-3 ApprovedVlease 2000108108 CIA-RDP96-00788ROO2100330001-3 Approved For Release 2000/08/08 CIA-RDP96-00788ROO2100330001-3 Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100330001-3 - I 11 TAB Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100330001-3 Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100330001-3 TARGET CUING INFORMATION EMOTE VIEWING (RIJ) SESSION CD-91 1. (S/NO17 ORN) 1. he. remote vei-wer ha~:~, b~een expwsed 1%'-o oppr) source news media infor,mation ots well as classified overht,-~ad imagery and nurrnercxj~--, photogr".-lPhs of hor.1-age- pf---,~rsnnneh He knew he viould be vorking ogain.,3t the hostage sit- uation in Iran, 2., (S/NDFORN) At the time, of this session the remol 'e view6r was shown the attached phol--,ograph, and ulas a~iked to find Charles Jones. He ~,~jas asked t:,o iderAify Jones' location, identify any offier U.S. has.~Zage persurme~l, and to describe physical security at this location. NOT RELEASABLE TO FOREIGN NATIOINALS, Approved For Release 2000/08/08 : CIA-Rffk~'-00788ROO2100330001-3 SGFOIA3 Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100330001-3 Approved For Release 2000/08/08 : CIA-RDP96-00788ROO2100330001-3