SUMMARY REMOTE VIEWING SESSION CCC21

• Document Type: CREST
• Collection: STARGATE
• Document Number (FOIA) /ESDN (CREST): CIA-RDP96-00788R000800790001-8
• Release Decision: RIPPUB
• Original Classification: S
• Document Page Count: 20
• Document Creation Date: November 4, 2016
• Document Release Date: June 17, 1998
• Sequence Number: 1
• Publication Date: March 12, 1980
• Content Type: REPORT

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ORCON/NOT RELEASABLE TO FOREIGN NATIONALS
SESSION REPORT
CLASSIFIES/ ': DIRECTOR, DIA
REVIEW ON: March 2000
EXTENDED BY: DIRECTOR, DIA
REASON: 2-301c (3 & 6)
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REMOTE VIEWING (RV) SESSION CCC21
1. (S) This report documents a Remote Viewing (RV) 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 the US Embassy compound in Teheran, Iran.
2. (S) The remote viewer's impressions of the target are provided
as raw intelligence data and 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) The protocol used for this session is detailed in the document,
Grill Flame Protocol, AMSAA Applied Remote Viewing Protocol (S),
undated.
4. (S) 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) The remote viewer was asked to locate and describe the
surroundings of Kathryn Koob. The viewer felt that there was another
female hostage and two female guard-type personnel at this location.
He was shown overhead imagery of the US Embassy compound in Teheran
during the debriefing and was asked to locate the area he was viewing.
The viewer identified buildings "D" and "E", with building "D" being
his first choice.
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#14: This will be a remote viewing session for 12 March
1980. The on-target time is 0900 hours.
REMO1E VIEWING (IV) SESSION CCC21
All right, #31, the time is now 0900 hours.
Your mission today is to locate Kathryn Koob.
Locate and describe her surroundings. Identify her
location. Relax and concentrate. Project yourself
to Koob.
PAUSE
+07 #31: I got a . . . .
PAUSE
feeling of a . . . .
PAUSE
a someplace. . . . It is a hallway feeling. But
not a hallway.
PAUSE
On the right. . . .
PAUSE
+10 I get this feeling of accordian . . . . walls.
Open space farther down. I can't explain it. Its
The more I look, the more it becomes familiar. . .
layout.
PAUSE
Behind me is a real hall.
PAUSE
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+15 #31: This central place is . . is a business type office.
I'm seeing familiar things. Layouts. Windows.
Low windows now. Across of the small central room
behind these open . No, I'm looking the other way.
PAUSE
There are
PAUSE
I think . . . .
PAUSE
Somewhere over one of the
PAUSE
little buildings. . . . little houses.
I can't see her. Yet.
Feel . . . she and others . . . are here.
somewhere.
#31: Its no use #14.
#14: Noise again?
#31: Yeah.
#14: This session is prematurely aborted due to noise and
disturbances outside the room.
Session end.
We are now ready for debrief.
PAUSE
#31: Right Of the ver)routset of this session, I had the
feeling that I was someplace familair. The floor
plan was very, very familiar. I know I wasn't saying
too much. The reason I wasn't saying too much is
because I was having hard enough time keeping my
focus so I . . . was . . was remote viewing but not
talking. The reason is cause I was afraid the talking
would be the final snap.
#14: Right.
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#31: But, I had the feeling that I was in a central
part of a structure. IL was a small structure.
It was similar and yet different from a place that
I've been before. And I didn't know where it was
until later on in the session. I went up above it.
Okay.
#14: Um hm.
#31: But, I had the feeling that here on the right was a
linear pattern that sort of went around a 90 degree
curve. Okay. Like this. And that this thing was
wafflely and went on like that. Like a curtain hanging.
Or, I called it an accordian. It had the very similar
feeling to this accordian. Again, one time way back,
I had a feeling like . . . these accordian sliding
partitions. You know. Okay. Only it makes a 90 degree
curve.
And, I had the feeling - I'll draw in a different
sketch - there is something behind this funny thing
that seemed to me to be an accordian partition. It
looked almost like a permanent fixture in the back
behind it. But, I don't know. Anyway. Okay.
On the other side or on the far side of this accordian
thing is - let me see, the roof line would come like
that, okay, and the floor line would go like that.
is a feeling that there's an open space. Okay. And
then there's a wall on the other side of the open space.
And this wall goes on down forming a hall.
Okay, like that. Then that on the other side - a hallway
type of thing. And, okay, then on the other side then
the hallway is a classic type. You know, horizon. Okay.
This hallway comes back like that. . . on the other
side.
As you can see what I was trying to say is that I'm in
a room but I'm not. I mean I'm in a hallway but I'm
not really in a hallway. You know.
Because I'm in, actually my perspective is from some
place, big open place. . that's got a hallway there
on the other side of it. And then this comes back
like this. And there is these low, the idea of low
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windows in here. Like that. Okay.
Then in 2, all right, I had the feeling that there
was a room down here. I had the feeling that there
was a room down here. There was something here in this
end on the right'but that I couldn't see a . . I
couldn't see a door there. But that there should have
been a door or something, some sort of a passageway
there.
But I didn't see one. But this feeling here in the
foreground right is that is is one of these temporary
type things that you slide them together stuff. Didn't
feel permanent to me. It didn't look or feel it was
permanent. And it appeared gray. As opposed to what -
partitioning. I mean, paneling would appear - some sort
of a wood color. This, I felt was high school auditorium
gray. Okay.
A gray accordian. . . moveable. . I didn't see it move
but I just had the feeling. I'll put it in quotations
'moveable type' partition.
All right. Two is the other view. From 180 degrees
out from one, . . I'll draw that. Two is that way.
Two is the feeling that, again, its almost geometric
opposite. . . except that at the two position, the
nearby hallway is much closer. Its as though I was
standing right on the entrance to a hall. Instead of
standing across the room from a hall.
PAUSE
Whoops! I screwed up my line there.
PAUSE
Now, its a little off. . . feeling is its a little
offset like . . . Okay. And then here in the foreground,
if I was to turn around, then here would be . . . . .
these accordian things. So that these make a ninety
degree angle. Okay, those are the accordian. And,
this is maybe some little hallway you can walk down,
right here, but its. . . okay. That's the other
feeling.
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#31: I didn't get a feel for doors or anything in this
one. All right.
What else. I was having a hard time just staying
where the heck I was and I didn't want to turn it
automatically into the building that I thought it
might be. I didn't even want to think about that. So
I was forced to sort of stay with just raw imagery
and not try to look any further. But, I was sort of
surprised. . . . because when I went up in the air,
I was saying, where is this, you know, where is this,
and I said, you know, to myself, I've got to get an
aerial imagery. I had the feeling of having been over
. . . . . or being over . . . . this building with the
X in it. A regular pattern. Okay. And then I felt
that I had been . . I have never been in that building.
I don't believe if you go back and check, I think you'll
find out that I worked what I think is end and this end
and have never gotten in the other two. Way early in
this game, back in December. But I felt I was over the
second one from this end down here.
#14: Um hm. Where the X is.
#31: Right. Now. Somebody will have to take that and try
to go like that. But I had the feeling I was over
a series of four L shape buildings and that I was
over the second one from the right end looking down.
All right. And, the only thing I could add is that
there's some linear feature here. And that its open
around them. It gave me a very quick flavor of that
section of the compound. And this is openness all in
through here. All around these structures here. Okay.
So, let me see. Then I went back in . . . . and I only
got feelings. I'll write them on four because there's
no sketching.Throughout the whole thing I never saw
Kathryn. I never saw her but I felt that I was in the
jright place. And that. . . I felt that she and another
woman and several female guards were dormed here. Okay.
Several female type other people. But that she, another
friendly, and possibly two female, maybe student guards)
or whatever, okay, were in this building.
So, its . . And I felt . . . and I didn't know if they
were sleeping or where they were sleeping or anything
like that. I really couldn't find them. I had . . the
only feeling I had . . when I got those feelings, is
when I had a return and I proceeded down the hallway
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in Number 1, down to the other end of the building
or whatever. How far that is. Saying, . . . trying
not to say, there has to be a bedroom here. You know,
that type of thing. But the feeling was that if they
were anywhere, they were down where the X is on Sketch
#1. Okay. Down at that end.
On that end of the building. Nobody on the other
end of the building. Nothing happening up there.
So, I'll just write out: Target - feelings only.
Target - one other friendly . . . . One other
friendly woman plus possible two other female guards.
Watchers is a better thing - watchers. Watchers in
the building. Or are all that's in the building.
Possibility, feeling that two friendlies are at X
Sketch U. No feeling of activity. No feeling of
harassment. No feeling of imprisonment. You know,
its really funny. Its the sort of a feeling of how,
you know how you can take . . you can take four totally
strange women together and put them in rather weird
circumstances of dominance and no dominance and they'll
actually establish some sort of a relationship.
Where the good guys don't screw up so the bad guys
don't beat up on them. And its just a very . . . with
men you have to worry about it. The men always have
to watch the other guys to make sure nobody . . . But
it was sort of like . . . The feeling I had was like
the first day in a woman's dormitory, where they're
all four stranges. Nobody knows what the other guy
is going to say but they're working on this very
neutral ground. No hostility, but no . . . . you kn
its like, okay, you know, I'll let you go to the bat
room any time you need to as long as you promise that
ou're not going to run away. You know, a woman will
arrive at that type of agreement. A man would never
do that. You know. Or men would never do that.
#14: If I brought in some aerial imagery, do you feel that
you could identify the approximate location of the area
that you were looking at?
#31: Yes. I think I could because it looked familiar from
earlier sessions, targetings that I've done.
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#14: I'm going to get and get some imagery and we'll
put that on the tape.
#31: The last thing, while you were out #14, I realized
that I had said I wanted to . . . had a feeling of
something permanent behind this accordian type
feeling. So, I'm drawing that now in Sketch 5.
And, its hard to explain. It could be . . could be
very possibly just be straight overlay.
But I . . . For a fleeting moment, I caught myself
thinking . . . I'll stay with my first imagery and
that. . . my main imagery and that is that this is
an accordian type thing here, moveable wall. But for
a fleeting moment, I thought I could look through
the moveable wall and I saw what I thought were
permanent kitchen fixtures in there. So, for the
sake of accuracy, I have to do that. Now what I'm
doing is I'll draw this feeling of kitchen fixture
and then I'm going to dot line around it the accordian
feeling is the feeling that I was looking through.
Squares that, would . . of the size. . squares and
boxes of the size that are human sized. You know,
they're not little stacks of stuff. They're human
size squares that had the flavor to me of permanance.
You know, permanently fixed. Which is unusual as hell
that you'd find something like that tucked behind a
moveable wall. But anyway, I've got to do it. So,
dotted line wise. . . . . . and like I said, at this
time I thought I was . . . you can see here how it
comes down at an angle, you know, from the perspective
that I have to draw. And then it gets to the corner
and then it bends around - that 90 degree corner that
I drew in the other sketch and goes back up forming
some sort of a little sub hall I guess or whatever
you want to call it. Like that. Like that. Feeling
of quick. . . feeling. Feeling of kitchen, kitchenette
type area behind the accordian wall. Okay.
#14: Okay.
#31: Dum De Dum. . . To bring that into perspective. . .
then. This is sort of an aerial view. Its hard to
draw but then like here would be the corner. This
is Sketch 2. To the Sketch 2 view. All right. Right
there. Its as though I was standing here but floating
at the ceiling, looking down for Sketch 5. Okay.
You under . . . You follow.
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#31: All right.
#14: Okay, I have here some overhead imagery. . . of
the US Compound in Teheran, Iran. I would like
you to look over the imagery and see if you find
any area that you can identify that you have a
feeling of being in.
#31: Well, here. The . . . without a doubt the area I'm
talking about is this one here. I don't know what
you're number for that is.
#14: Okay.
#31: With the four . . four. . appear to be single story,
almost private dwellings type, suburban dwellings.
Okay.
#14: Uh huh. Okay, now do you have a feeling, somehow,
for which dwelling you were looking at. Now don't
forget sometimes we can get mirror images.
#31: Yes. Ha! Its sort of hard one way or the other.
Thinking about the way I drew this sketch.
The way I drew this sketch it would be this one so
I have to trust the sketch feeling.
#14: Okay.
#31: Wait a minute. Let me get the sketch out.
Oh do you . . where is the sketch? Oh, here it is.
We layed it down on top of it. There, okay, if we
go with the sketch, sketch proportions! the way the
L shapes are on the sketch, it w bi this one
here.
#14: Okay. Pointing now to Building 'D". elta.
#31: Okay.
#14: But in either case, even if it is in reverse imagery,
it would be . . .
#31: Right.
#14: . . either DelL' o ' Lcho.
#31: Echo would be the o r way if its . . . Delta accord-
ing to the ske ch p oportions.
#14: Is the first cho' e.
#31: Is the first choice, but if . . really my feeling, the
way I have . . see the way I have this openness here,
8
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#14: Right.
#31: The openness corresponds to a reversal of this
sketch.
#14: Right.
#31: Which would put the openness this way. Which
would make it then the second one from the other
end which is - what is it Echo?
#14: Echo.
#31: Echo.
#14: All right. Very good. I have no further questions.
Is there anything that you can add?
#14: End of session.
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REMOTE VIEWING (RV) SESSION CCC21
1. (5) The viewer has been exposed to open source news media
information as well as classified overhead imagery. He knew he
would be working against the hostage situation in Iran.
2. (S) At the time of the session, the viewer was told that he was
to locate Kathryn Koob. The viewer was shown the attached photograph
and asked to lcoate and describe the surroundings of the individual
in the photo.
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