LRH: What happened?

Here is some data on Case Level V especially addressed here to that case, and given to the auditor for his own evaluation and use, but also as the step for Case V. This is the step for Case V. In your mimeographed sheet, you will find this as the step for Case V.

PC: I just get a general sense of — of positioning.

There could be many ways to solve Case V, but to some degree we have to evaluate all of these techniques against the patience of the auditor and the possible sanity or insanity of the preclear. And let me assure you that a Case V, (most cases will not) but some Case V's and some Case IV's, unless they are adroitly handled, will, bluntly, spin.

LRH: General sense of position? Well, move the stern of the battleship under you.

Now, spinning is not desirable in a preclear. Every auditor discourages this and therefore we should give considerable thought to how we audit any case, just any case. We should keep in mind, for instance, that we are dealing with the woof and warp of not only the mind, but the beingness of the individual — his soul, if you please.

PC: Mm-hm.

And in dealing with this, you are dealing as well with the material which composes insanity; therefore, you must take very good care, when you are auditing, not to do anything outside the Auditor's Code, not to get too adventurous, because you cannot be sure that your case has not finished, for instance, a bad quarrel at home, that he has not been just fired, or that something painful has occurred to him before the session.

LRH: Move a destroyer under you.

And maybe you've had this person for five sessions, and he has run very evenly and smoothly and nothing has occurred. He's in pretty good shape. You've had him five sessions; he's a Step IV. You're bringing him up toward an Operating Thetan; all seems to be going well.

PC: Yep.

You get in this next session, and you don't look at him closely; you don't pay much attention to him. You just start in where you left off before. You look at what little case book you're keeping, (you should always keep a case book on a case and just note down what you did, and make a little case report; and send them to me, if you would). And put the — you look into the book, you know, you say, "Well, we were doing so-and-so and so-and-so, and in doing so-and-so and so-and-so, we got ourselves a good release on this subject and so we'll just keep on from there."

LRH: Move Portsmouth under you.

And you start in with a rather difficult technique, let's say Admiration Processing — you're doing a lot with admiration — and the first thing you know, your preclear looks a little bit ill, and he looks a little bit worse and he looks a little bit worse and he looks a little bit worse. And maybe you say, "Well, we shouldn't do much more processing, then, today. Well, you're probably tired or something." Let's let him have a good sleep, and we'll hit a crack at it next Tuesday. And you'll find out that two days before he was due for a session, he was in very bad shape after that session with you.

PC:Yes. I got the harbor.

Well, what happened? What happened was he received some kind of a shock. It had (quote) "dried up," you might say, some communication lines, and what little processing you gave him opened the wrong lines. Now, that's very important, you see?

LRH: Move a church under you, right there in Portsmouth. Go ahead and move a church under you.

That tells you two things. That the fellow actually wouldn't spin and go to a sanitarium. It would take the crudest kind of auditing to do that to an individual. You'd almost have to blackjack him and give him an implant to do that to him. Or, all of a sudden turn your back on him when he was in the middle of a grief charge, or something of the sort, and say, "Ah, that's not important, skip it," or get mad at him or something like that and stick him on the track. You have to do something outrageous! And it would have to be as outrageous as a blackjack and drugs to make nearly any preclear you have spin.

PC: I think these are facsimiles because I can — things I can recognize I can do, but things I can't, I can't.

But remember, there's always that one who is a sleeper. He's just a sleeper, and you won't spin him so badly that you can't dig him out of it. But it will probably — sooner or later, you'll get hold of a preclear that is going to give you a bad few days. And he looked perfectly all right, you did perfectly all right, but, ha-ha, it wasn't perfectly all right. You get the idea? You gave him just a little bit too much beef, just a little bit too heavy, you fed it to him too fast, and .. .

LRH: Well, yeah. All right. Now move London under you.

What's the source of all this, by the way? Well, what — we take up two things right now, just very briefly. What's insanity? That's one of them. And the other one, how do you keep from having things like this happen? I, honestly, I couldn't say this to an auditor enough times, if we've got a big sign over the door there: "Communicate with your preclear," so that you could see it every day (it would probably become meaningless to you in a short time).

PC: Mm-hm.

You have to be willing to be the preclear. Isn't that horrible? You'd have to be willing, then, to be almost anybody to be a good auditor. Many auditors will audit themselves tired; they'll audit themselves dry; they'll audit themselves stale. And they'll get to a point where they no longer want to be the preclear.

LRH: Got that?

They'll audit the preclear all by himself; they won't pay any attention to this injunction about "have somebody else present, have another body present." If you can't have another body, for God's sakes, at least have another dummy present, something there that will take up the double terminal effect, some-thing like that. He'll — won't pay attention to that injunction. He'll get stale, in other words, he'll get the idea he doesn't want to be this aberrated person. And he stops communicating with him because beingness and communication, as we know, are pretty well the same thing.

PC: Mm-hm.

All right, you get — he doesn't want to be this person anymore, so he doesn't communicate with him, and what do you know, every confounded error I have ever found in auditing had its inception in this little summation: The auditor did not communicate with the preclear.

LRH: All right, move the Thames_ under you.

The auditor went outgoing to the preclear, and never incoming. The pre-clear said something; the auditor was over Mars or back of beyond somewhere and was just going to sit there and give those routine commands, and the auditor didn't hear it. And what do you know, what went by in that instant? The signal that he was just about to hit an apathy charge which would practically spin him unless handled very well. There was the signal of why he was so upset; there was the signal that an engram had just shown up, the like of which nobody had ever heard of, and if it wasn't handled in just that moment, all hell would break loose and so the auditor just drifted off.

PC: Mm-hm.

Now, the auditor doesn't have to sit there on the edge of his chair. The auditor just has to remember this: he's got to be willing to be that preclear. And he'll stay in communication with him. So he'll hear what the preclear is doing. He wants to know what the preclear is doing. A good auditor never lets that preclear sit there for five minutes silent — never.

LRH: Move London Bridge under you.

"What are you doing?" He says, "All right, now," he says, "I want you to get this whole bunch of mock-ups and just keep putting a double terminal there of yourself facing yourself, admiring yourself, and being happy. Okay? So you just put — keep putting that there."

PC:Well, I've got a bridge, but not London Bridge — don't know the difference.

Well, you know, actually the preclear could sit there and do that for two or three hours. Is this any signal, then, for the auditor to go off someplace or get a drink of water or something like that? No, sir.

LRH: All right, move Tower Bridge under you.

This guy is putting — anybody the auditor would ask to do that, by the way, has got to be watched, so he'd put them there, you know, and he'd put them there and put them there.

PC: Mm-hm.

After he's obviously put not more than six or eight there — pang! pang! pang! pang! pang! — as an auditor I would say to him, "All right, how's it going?" Or "What are they doing?" Let him put another dozen passes with these double terminals. "Now, how's it going?"

LRH: Got it?

You're practically sitting there with a shotgun in your hands. Why? Because a IV, not a V or a VI or much less a VII, but a IV will all of a sudden start evaluating. He'll all of a sudden start figuring. You could say, "What's wrong with this preclear?" Well, I'll tell you what's wrong with the preclear: he thinks. That's the trouble with him.

PC: Mm-hm.

You know, we have a maxim. We say, "The trouble with this guy is he doesn't think." Well, unfortunately, that's no trouble. If you've got a guy who doesn't think, he's either a complete moron or a Clear.

LRH: Have you got a facsimile of Tower Bridge?

Now, the naval services are always saying — somebody's storming down the deck and saying, "Well, now, now, don't think!" Anybody who is unfortunate enough to say, "I think, Mr. Dumb John, that . . ." — why, always the inevitable reply is, "Don't think, I'll do the thinking around here." Well, that's a circuit, you see?

PC: It's black on one side and white on the other.

So the guy that's "I'll do the thinking around here," inevitably is in the bind — the same ratio that beingness is to thinkingness. And the circuits will all of a sudden say, "And well, what do you know? This fellow's kind of distracted here at the moment. He isn't paying this — the thetan isn't paying attention to this guy that runs us. He isn't paying attention here. Ahem. We'll just slide him in one."

LRH: What, the facsimile or Tower Bridge?

And he'll suddenly — circuit will suddenly say, "Ah, this is getting noplace."

PC:Well, beneath me .. .

The fellow will say, "You know, I wonder why, I'm — it's not — getting noplace. I wonder why — I don't know what that is. Let's see, I don't want that, hm-hm, ta-da-da-da. Hum. Hm. Let's see, I'm double-terminaling my father, and my father probably always said that." (Unfortunately, this fellow might have read Book One, you know?) And he says, "My father always used to say that, and I suppose by now I've run into my father," and so on. "And possibly if I let these things shift over to being my father, why, then I would get some more of these computations. And maybe if I double-terminal a double terminal or something else, something else will happen. Now, let me see, let me figure, figure-figure-figure-figure-figure-figure-figure-figure-figure."

LRH: Is it a distorted view or.. .

What do you want this guy to do? Do you want him to think? No, you don't want him to think. Never! Never let a preclear think. Make him act. Act, that's all you want. So you take your finger off of him; you don't ask him what he's doing. He's — there he is thinking. The heck with thinking!

PC: Is it what?

When you say Case Level V you are saying emphatically, "figure-figure-figure!" (exclamation point) That's the trouble with Case Level V: They figure.

LRH: Is it a distorted view?

Now, why do they figure? What is this thing called figure, figure, figure? You'll find the first thing that you'll learn about this case is that he has to figure it all out in advance so he can predict it. And every datum he receives anywhere around is a datum he is going to use to predict future behavior. In other words, he's so busy predicting future behavior, he never has any chance to be.

PC: It's ornamental and real.

Now, why can't this fellow be around in the society, and be here and be there and be in other places like a Step I? Step I can't think, they're — tend to be moronic. They — all right.

LRH: Mm-hm. All right. Let's take that view and let's turn it around, look at the back side of it.

Now, why is this fellow — why is this fellow, this — he's smart! Well, there's no doubt about that. You'll find nearly every good engineer that you run into is a Case Level V. Unfortunate, but true. Now, why is this fellow doing this — doing this figure, figure, figure? What's the reason?

PC: I can't get over on the other side. I'm on the starboard quarter.

He has to know before he is. And you can put that over his tombstone: He had to know before he was. And so he never became, of course, because he had to know before he was. And you can't know before you was, because you never was then, you see? Very simple, it's very direct.

LRH: Okay, the dickens with that facsimile. Let's move the street corner out here under you. Just move it under you.

But he has to find out if it's all right to be there, before he is there, so he needs data about there before he can approach there! So does he approach there? No. He gets the data about there. And this tells him that it's unwise to be there, so he doesn't move.

PC: A very high view of it.

And you tell a V to get out of his body, and you say, "Now, let's be over on top of that flowerpot over there."

LRH: A very high view of it, huh? All right, move it closer below you. Move it up to you.

And the V says, "Let me see, flowerpot. Flowerpots break out of windows, they fall down on pavement, they hit people in the heads. Flowerpots are dangerous. And besides, there are sometimes bees around flowers, and if I went over there, I'd get stung by a bee." I mean, that — a thetan getting stung by a bee hasn't happened yet, but he might think this.

PC:I haven't got this corner here.

See, all these circuits suddenly cut in, and they all cut in on the subject of flowerpots, so he — figure-figure-figure-figure-figure-figure-figures. And does he get over there, is over fl — nuh-uh, uh-uh. No, he's still in his head.

LRH: Hm?

So you say, "All right, now move from the flower."

PC:I haven't got this corner here.

"Well, I'm not at the flowerpot."

LRH: Oh, you've got another corner. Well, what corner did you have?

Now sometimes, by the way, if you make him mock up a few flowerpots, then say, "Get over the flowerpot," he'll be over the flowerpot. But don't ask him to be over the next flowerpot; he hasn't examined that one yet.

PC:It's .. .

Now, do you get what's wrong, then, with a circuit and what's wrong with a Case Level V and what a circuit is? And actually what all thinking is? It's to predict the future without being anything connected with the future. So you take the data of the past and you could predict security for the future.

LRH: Oh, it doesn't matter.

Now you see, you have to do that if you can't be things at will. If you can't be things at will, and if you're not — if you're not capable of expanding largely and being very self-confident, and so forth.

PC:Growing a statue in the center of it, and that seems to dominate everything.

And, by the way, the self-confident fellow never has to do much figuring about the future. See, he's got self-confidence, he's capable of being some-thing; he's in good shape, and so on. The money takes care of itself; so does the food, the clothing, the shelter. These things come in. A man almost indexes against his ability to be, on income. All right.

LRH: Well, let's not worry about which corner you've got. Now, let's move Buckingham Palace under you.

So these circuits cut in, and as he begins more and more cautious, more and more cautious, he figure-figure-figure-figure, more and more and more and more and more and more and more and more, and he — what do you know, he sets up automatic machinery to do the figuring for him. It's not enough, you see, that he just thinks about it and figures it out on known data, he sets up machinery.

PC: Mm-hm.

Now, this is mechanistic. He sets up a better computer to do this than the ENIAC or the UNIVAC, big electronic brains that the geniuses at MIT invent. These big electronic computers are actually playthings compared to the amount of factors that can be handled by one of these silly circuits. And you get a thetan rummaging around in his cranium sometime, or around in his masses of energy, and he'll say, "Well, there's a — there's this little box here."

LRH: Let's move one of the guards under you. PC: Mm-hm.

"What's that little box?"

LRH: All right, let's move his head immediately in front of yours.

"Well, that's a circuit."

PC: A big black busby there.

"Well, what circuit is that?"

LRH: Yes. Are you allergic to them?

"That's the one that tells me when to eat." Fascinating. All right.

PC:I don't think so.

If — and of course, he has all of these computers set up. There are tremendous batteries of computers, and each one is set up on a postulate, but each one is on, based solidly on an experience which contained pain and unconsciousness, which means hidden data. So all of your circuits are based on hidden data. And you can say that a circuit — the base of a circuit is hid-den data. The base of every computation is a hidden datum.

LRH: All right. Now let's buzz him in the ear. You buzz him in the ear?

What do you want to know in arithmetic? You want to know the answer. Why do you want to know the answer? Because you don't know the answer, that's why you want to know the answer, you see? That's a good reason, too. You want to know how many apples there are in that barrel. The reason you want to know how many apples in the barrel is you don't trust the grocer. The reason you have to buy them is you can't be the grocer and give them to you. Well, anyway.

PC:Yeah, I lose every sense of reality of that.

So here we have — here we have the hidden datum as the bottom of a circuit. Now, why is it the hidden datum? Well, a fellow — here's the way a V degenerates. He's circulating around in the society and he's having a good time in the environment. He's going around and he's doing this, he's being that; he's just enjoying himself hugely, and all is going well. And one day — one day he finds out that if he had sent something to somebody yesterday, why, he would have saved them an awful lot of trouble, and he didn't know it was that important; in other words, a hidden datum. But on the other hand, maybe it wouldn't have made any difference if he'd sent it yesterday. But of course, it would have made some difference; but on the other hand it wouldn't have made any difference, and so you get the first maybe. That's a weak little maybe.

LRH: Well, you did that? Privacy. Not to invade these other bodies. That's right.

Let's take a much better one. He's walking down the road, he's got this body. This body's in pretty good shape. It's feeling very frisky and he steps on the grass. He slips. He goes into a rock — crash! — and bungs his shin all up and spills some blood, leaves a scar on that lovely shin and by golly, there was a hidden datum. What was the hidden datum? The rock and the grass. Furthermore, grass is slippery; he didn't know that before. You could put shoe leather on a grass, and apply some pressure wrongly, and slide and fall if the grass is wet. And so it was a hidden thing in his environment which presented him with some treachery.

PC: Hm?

Now, understand the only reason it could present him with some treachery is he was very anxious to hold on to what he was holding on to. And second reason is he didn't have enough horsepower when he felt that foot slip, just to reach over and pick up the body by the collar and set it back on the road. So it was an error to set up the circuit. It really was an error to set up the circuit to get around that.

LRH: Okay, okay. Move Hyde Park under you.

He should have looked himself over, having done this trick, and wondered, what on earth had contracted — see, the other thing — had contracted his beingness at that moment. And he would find inevitably he had selected out something for randomity in that environment so as to make him interested in life.

PC:Got it now.

He'd said after this — he says, "You know," he says, "I'm not going to be — I'm not going to be the scenery on a road, so I will be able to walk down roads and enjoy it. I'm not going to look around curves before I get to them so they'll always surprise me." That's the first thing a fellow starts setting up. He starts setting out blank areas so he'll be surprised by what's in them. And after a while, boy, is he surprised! He's shut down his beingness.

LRH: Move, move Madame Tussaud's under you.

Well, he do — he remedies this, then, with a circuit. So your circuit computes on past data for future warnings and how to get around them. Data, data, data, data, data, data, data.

PC: Yep.

Now, it isn't that the data is unnecessary, very far from it. But there is most of the data, which one accumulates, isn't worth having. For instance, you could study for an awful long time — you could have studied how to make a pilot have a faster reaction time for twelve years, up to a couple of years ago, and you wouldn't have given him a second's worth of faster reaction time. I mean, there's a tremendous body of knowledge there which wasn't delivering the stuff. And you'll find this is the case with most circuits; they don't deliver the material.

LRH: Now move the Hall of Fame around you.

Now, that is the test, then, of whether or not one's computer is working or whether one is thinking analytically: Is it delivering the answer? That's the — that's the test of any computer: Is it delivering the answer, or does it just keep on saying there's an answer without ever delivering the answer?

PC: Which Hall of Fame?

So that's a test of a circuit, isn't it? Because when we're dealing with a Case Level V, we're dealing with a circuit case. And everything said about, circuits in Book One, everything said about circuits in Science of Survival, this all applies, but here we know more about circuits than we did before.

LRH: The Hall of Fame, just the main hall at Madame Tussaud's .. .

Now, there are several tests of a circuit; that's the first one. This fellow have circuits? How do we find out if he has circuits? Is he worried about hid-den data? Is this hidden data worrying him?

PC: Main hall.

Does he worry — somebody says, "You got a letter yesterday."

LRH: Main hall. Move it around you.

And the fellow said, "Where was it? What — where is this letter?" "Well, I don't know. It was mislaid. It's around here someplace." And he starts looking for the letter.

PC: Mm-hm.

Well look, I mean letters aren't that important. And well, he looks for the letter, and he doesn't find the letter, and he gets kind of upset about this letter, and he says to the other fellow, "Well, what was — who was it from? I mean what did it have up on the corner of it? What did it have on the back of it? Did you notice what handwriting it was in?" Rrrrr!

LRH: Now move one of the wax figures close to you.

That's a circuit, that's a circuit.

PC:It's kind of hard to get.

See, he's worried about a hidden communication. And now you build this up and you'll find out that the V is so worried about hidden communications that it's all dark, and everything out there is dark, and everything that there — where there's darkness there's a hidden communication in it.

LRH: Hm? What happened?

So what do you do? One of the ways to resolve this is a very amusing way to resolve this (you can put this down). You can just have him mock up — and you understand a V can't mock up a thing; that's his test. All right, now, he can't mock up, but you have him mock up, out beyond that darkness and so forth, beings in the darkness who suddenly discover that this person they're near is Joe — whatever the preclear's name is, see — they suddenly discover that's Joe, and they get real scared and run away. Two beings facing each other, they — out there in the hidden darkness.

PC:Well, I got Churchill's face, but as soon as I start getting onto one, they just recede .. .

And then you have two more horrible beings being all set, crouching in wait behind a couple of rocks (this is all by concept, you understand) and have these two beings all of a sudden find out it's Joe! And then be very pleased and happy and step out into the clear, say, "Well, it's Joe." You'll be surprised what this does. What you're doing is double-terminaling out fear of hidden influences.

LRH: Oh, oh — oh, concentration. Okay, that's all right. Now, let's get Churchill's face and move it up in front of yours in the Hall of Fame there, I mean at Madame Tussaud's. He's just wax, you know, just wax.

The most flagrant hidden influence, of course, is a snake. You walk along and there's Mr. Snake, and he's in the grass and there you step and there you go!

PC: Mm-hm.

That's why a person, almost any preclear that you get when you first get hold of him, will have a blank area behind his back. That's because an enemy can step behind his back, so it's the dangerous area. How do you solve that? You just have two enemies step up behind the back, raise a spiked club, get ready to hit him on the head and say, "Oh, why wait a minute, wait a minute, that's — that's Bill! If we hit him, h000! What he'll do!" And have them run away.

LRH: Let's move his face up in front of you there.

And if he can't do that, you have a couple of enemies gathered together out there in the dark, and they've done something to Bill, the preclear, and found out afterwards it was him and they didn't understand that it was him, and they get very sad about it and kill themselves. Do that mock-up a few times and his fear of hidden influences starts going.

PC:I can't get very close.

But what else starts going if you keep up that little drill? The circuits, because what are the circuits sitting on? Although pain and unconsciousness is necessary to knock them in, it's the hidden datum that's there. What's the hidden influence? The hidden influence! You could say about this universe particularly, "This is the universe of the hidden influence." The hidden influence in this universe is a communication line which is not visible. And that's a — that is the hidden influence of this universe.

LRH: Well, that's all right. Now let's take another figure there and move it in front of you.

So we get the hidden influence lying at the bottom of every thinking machine. If you wanted to build a wonderful thinking machine, you would have to build into it a hidden influence. That's right, if it were really going to perform automatically forevermore, you'd have to have it react when con-fronted with a certain kind of maybe. You know, any kind of a maybe is based on a hidden influence. "Was it there? Wasn't it there?"

PC:I'm getting it over there. I can't get it in front.

You — there is a way to shoot computations on a case. By the way, this is the hottest way to shoot computations on a case I know. Is just ask them the last time they really weren't sure about a communication, or really sure about who it was, and they'll tell you.

LRH: All right, all right. Got this other figure?

Well, they weren't sure whether or not they had received a phone call. You say, "Fine, let's get the earlier time."

PC: Mm-hm.

"Oh, earlier? Yes, yes."

LRH: All right, move another figure.

"Well, let's get an earlier time than that, when you weren't sure whether you had or had not received a communication," and so on.

PC: I've got one there, but I don't know who it is.

By the way, you can shoot them right on back down the track on this. Why? Oh, you pick up those hidden things one right after the other. You'd say, "Well the — gee, these maybes are quite interesting, and why is it that we suddenly pick this up clear on back to about three years of age?" Well, that's because you're going down the basic run of the middle of the circuit, see?

LRH: Well, that's okay. Look at the placard

The unanswered question, that's what makes a bullpen, you know? Everything related to this unanswered question ever afterwards gets unanswered. For instance, if somebody told somebody a joke when he was five years of age and it went into one of these bullpens — maybe, maybe it was funny, or why was it funny, or maybe it wasn't funny; he doesn't know why — and you'll find that joke will actually flash to the surface during your auditing. Told to him when he was five; he's now forty.

.PC: Look at the what?

That's been parked in what you could call a bullpen. That, by the way, is technical nomenclature used in these big electronic brains. They have standard banks and bullpens. And the bullpen is where the data waits to be answered. And so these bullpens, however, are all based on this (in the human mind) on this hidden datum. There must be a hidden datum there of some sort. If a fellow could find the data, he'd be all right. So after this, he — this keeps going on this subject.

LRH: Look at the placard. Oh, that's right, they just have numbers on them. She's cheap, she makes you buy a book. All right. Now let's move the cashier's wicket downstairs in front of you.

So when is the last time he wasn't sure he received a co — whether he did not — whether there was or wasn't a communication? That's the best way to state that. When was the last time he wasn't sure whether there was or was not a communication? In other words, a hidden communication line.

PC: Mm-hm.

The next thing is, is all right, you're still worried about that. Now what are you unwilling to be? See, communication — be — I mean it's the same — same breed of cat. What were you — it must be that if you are worried about a hidden communication in that bracket, then you must be unwilling to be something. Now, what are you unwilling to be?

LRH: Take a look at the cashier.

This, by the way, is how you would shoot a V's computations. You'd just shoot them out through the roof with a shotgun this way. "What were you unwilling to be at this point?" "Oh, I don't — I don't know, I don't know. Well you see, the data concerned my job. And — and — and I didn't ever know whether the boss did say that to Miss Finks or not. Maybe she did say it to him and maybe she didn't, or maybe it wasn't said to Mr. Finks. But Miss Finks thought it . . . I don't know, to tell you the truth! It is just a funny thing. It was all that morning there was this cold atmosphere around the office and somebody must have said something because a little later on some-body referred to the correspondence in a way that I knew somebody had said something."

PC: Mm-hm.

Here we go on to a real full-blown Case V; see, this is wonderful. This is beautiful! This is actually about around Case VI en route to becoming Case VII.

LRH: How's she look? What happened to her?

Here's a beautiful, "Did somebody tell a story about him or didn't they?" He doesn't know; he'll never know. What's he unwilling to be? That's the point. That's the sudden question you ask him. He was unaware — he couldn't figure out about the communication, so he was unwilling to be something. Well, he thinks this over for a long time, and he tells you he was unwilling to be fired. So you have him be a fired person. Just mock up a fired person facing a fired person and have him be this mock-up for a while and be pleased about being fired and what do you know, the bank blows on the subject of that type of data.

PC:I got the brass grill but no cashier.

Shoot the circuit. What's he unwilling to be? And you'll find that there are two basic things he's unwilling to be: One is a ridiculed person and the other is a betrayed person — to have his anchor points pulled out and held, which is ridiculed, and pushed in and held, which is betrayed. Those are the two kinds of people that are undesirable, and all other categories really fall into those categories. Whatever pattern the anchor points make, that makes the kind of person. But it's betrayed and ridiculed are the basics on these circuits.

LRH: Ah-ha, ah-ha, ah-ha, ah-ha. All right.

So the hidden datum, the hidden communication that he doesn't know about and he can't be sure about combines with these other two things, which is to say, the ridiculed person or the betrayed person. He's unwilling to be something. All right, that's the story. That's the basis of all these circuits and all these computations.

Now, move the street corner out here below you.

You find a circuit case going around; you can shoot them out with a phrase sometimes, but you'll shoot out every case in the bank if you want to fool around with this. Now, it's not necessary that you fool around with this, it's necessary that you understand that a V shouldn't be sitting there figuring. That V should be being. A V should be being, not figuring.

PC: Mm-hm.

And you let a preclear run himself, and he'll figure, figure, figure on every data that he runs across; every datum he encounters, he'll figure. What's happening in that case? He's running on a self-auditing circuit which is self-auditing some other auditing circuits, and he has a royal time. He gets a long ways, he does.

LRH: Okay, move a battleship under you.

E-Therapy, for instance, was a circuit auditing a flock of circuits. I under-stand there's somebody in Poughkeepsie, or something like that — Pesthouse, I think his name is — he has a technique which reverses E-Therapy. It puts the circuit — it puts the pc outside the pc as a circuit, auditing all the circuits of the pc, and getting them all to run automatically. This is very good, very good; it'll pr — a lot of business for the insane asylums. But we don't happen to want any business in the insane asylums; we're trying to close them up. I have to write him a letter and make him understand this more clearly. He evidently hasn't gotten the point. Maybe he has an uncle that's in charge for him, but I don't know. Anyway .. .

PC: Yeah.

There you see the idiocy of most self-auditing, because it's a circuit which is based on a hidden datum trying to find a hidden datum. And brother, more hidden data will come up.

LRH: All right, move the stern under you.

The problem of research was made peculiarly difficult because every time one turned around, he would find himself having to figure something which was just set up to figure in case there was something there. I mean, you'll find yourself going down more blind alleys, and winding up in more nowheres and wondering, "Now, why do I keep thinking about this?" Well, the reason you kept thinking about that, you run into a circuit. All right.

PC: Yeah.

The hidden datum; looking for the hidden datum. There must be a mysterious, hidden datum which would simply blow everything up. Yes, there was a hidden datum. What is the answer to this? That there is a hidden datum. Now, there's a lot of this data isn't circuit data. But we get this coincidence of that. And you must remember this when you're auditing a V, and I'm only wasting this much time to impress upon you the fact that you have to stay in communication with him, because every time you take your finger off of him, he'll figure, figure, figure, figure, figure, figure, figure, figure, figure.

LRH: Move the bow under you.

He'll come back to the next session — if you haven't done anything right with him, or something of the sort, if you haven't really got him crushed, by the time he comes back for the second session, what's he going to do? He'll have eighteen sheets of typewritten paper, all single-spaced on both sides and it will be the computations on his case.

PC: Yep.

And he's figured out "It's this. And it's his father's — his — no, it's his — well, it really is because it's school. I mean no, the head — no. That didn't have anything to ... Well, he's — he's got — and there was this aunt and he knows he's doing a life continuum on his dog. And his dog — and — and but just a — but of course, that couldn't have been it. And — and couldn't it be true that God and forgiveness really was at the bottom of all this anyhow? And — and ..." You know.

LRH: All right, move the Indian Ocean under you.

That's a circuit, that's a circuit: "Got to find the datum; got to find the datum; got to find it, got to find it, got to — pant." Well, it ought to be there, I mean, "dumm-dumm."

PC:Well, I've got an ocean.

Well, all right. Let's punctuate that right afterwards. What's insanity? Well, it's the same thing that starts these circuits. Have you ever seen a hid-den datum? The person is too often ridiculed and too often betrayed, and lying below the too often ridiculed and too often betrayed is the hidden datum type of thing in the MEST universe. And that is to say, the guy is going at sixty miles an hour and he turns the curve and he hits a log right across the road — crash! There's no log belongs there. That's a hidden datum, see? And after he gets knocked out, he comes to and he can't remember if the log was across the road or not. But he knows something happened, and then he wonders what he did.

LRH: All right, now move it right up close to you.

For instance, I audited a pilot one day who had bailed out over Kiel, Germany. I got this kid out of his airplane and solved his case. He had for many years been trying to get out of an airplane. And every time you audited him, he'd sit there with his face all screwed up and he's pressed back by the wind. And he sat there for a little while, and I ran, oh, overt acts on a couple things and loosened him up, and all of a sudden said, "Were you ever in a crash?" Just routine, see, I knew something about his record. "Yeah, I was in a German prison camp for eight months, and so on." He'd bailed out. He never knew how he got out of the plane. So he spent all the time in this prison camp, figure, figure, figure, figure, figure, figure, figure. "How'd I get hit and how'd I get out of the plane?"

PC: It's dark when you get down there.

And I put him through it several times, and all of a sudden he said, "You know, there it is. Yes!" And bing! all of his worries went up in smoke.

LRH: Hm?

He found out how he had reached forward and grabbed what lever to pull what canopy off. And found out how he had gotten his ripcord out. Whew!

PC: Dark when you get down there.

What's insanity? Well, that took a hidden datum — not know — plus what, plus what? Pain! Betrayal or ridicule plus pain. You'll find that a fellow who has fallen a considerable distance and has stopped suddenly without even completing the fall believes himself to have been ridiculed. He didn't fall to the ground, you understand. He hung by his suspenders from the tree branch or something of the sort. You see, right away that's funny. That's ridicule. That means an anchor point held out that he can't get back. All right, that's ridicule and the other is betrayal.

LRH: Mm. All right, move the Pacific under you.

So what do we have as the basic on this, then? We've got just that point, just that one point we're looking at there — pain, hidden datum. Pain and the hidden datum.

PC:The tendency is to move me in front of the thing.

Did you ever see somebody smash his finger? Did he dance around? When you ran him back through that incident, you found him pretty con-trolled all the way through it. Well, what happened to all his frenzy? He buried it. He buried that, and he buried it quick because that's insanity. He didn't know how he came to hit his finger. As a matter of fact, the moment he was dancing around, he hadn't really realized that he'd hit his finger. His mind had gone out on him with pain, shock, see — pang! And for an instant, he all of a sudden shakes his hand frenziedly, you see?

LRH: Oh, yeah? All right, move the Cape of Good Hope under you.

That frenzy or the control and suppression of so much frenzy that one is completely just frozen in place is insanity. The frenzy itself or the aspects of that frenzy which go down, of course, to apathy, which is itself, you might say, sort of a motionless frenzy; it feels awful bad, apathy does.

PC: Uh-huh.

Real apathy is kind of sticky, you know. It feels bad. You don't — don't monkey around if a preclear tells you he's running apathy; you just keep on running the apathy, and you get it on out because it really is bad. He could go way down. And if you suddenly betray him while he is feeling that apathetic by suddenly pushing in his anchor points or talking to him wrong or not being sympathetic or something of the sort, he can spin practically. But what is all that? That's just a mixture of pain, that's all. So you get pain plus a hidden datum, you've got insanity.

LRH: Move the government building in Capetown under you.

Every psycho you've got down here, then, has simply lost control during a moment of pain and is over a hidden datum. Then we look along — we look along his track and we find out people were mean to him and people betrayed him. Years and years later he spins on this; he goes insane.

PC:Trying to recognize it.

And we look for his wife's departure from him to have been the course and saw — cause of his insanity. Well, as a matter of fact, you audit his wife's departure or the departure of women in terms of mock-ups, or make him be a departing woman or something of the sort a few times, and he'll snap out of it. That isn't because you've hit the base on it.

LRH: Hm?

And what do you know, the — this eating on sex. This, you know, this eating people, it's fascinating to bring that up. It sounds so non sequitur here. I've mentioned it to you before. Before they got the symbolized eating called sex, why, they ate bodies. A big punch in death — there's a tremendous outburst in death. It's quite interesting. Degradation, by the way, is having gone through the process, having been eaten.

PC:I'm trying to recognize it. I'm losing at it.

Well, anyway that's — there's pain there; there's agony! And when you get this thing mixed up with sexual activity, it makes a very interesting case. No wonder Freud was so death on sex. Well, let's just — let's just not much worry about that. We find out that there was a lot of agony in this. We're not interested too much in that — his being eaten, even, because what do we find is the base of it?

LRH: Just pick one out and say, "That's the government building."

We find the MEST universe is the base of it. We find the sixth dynamic is all we're interested in with this character; that's all we're interested in — the sixth dynamic, we're not interested in the second.

PC: Mm-hm.

We go back to this and we find out that he was in an automobile accident when he was ten, and he's still sitting in the automobile accident worrying about his mother. He's half-unconscious; he hears his mother speak out. He thinks he caused the accident, because his mother said, "You caused the accident." She said it to the other guy in the other car, see?

LRH: Now look around and find a flag and move it in front of you.

And she's — or he said something quite rationally; he was actually making some noise in the backseat about a half an hour before, and while they were on this trip, and his father said, "If you don't stop making that noise, you're making me so nervous, we'll have an accident." And they have an accident, and he says it's his fault, see?

PC: Mm-hm. I've got a flag in front of me.

It's blame, his fault! He has to deny and thereafter distrust himself on such a deal, and that's an interesting computation, by the way. Denial of self; that is the most dangerous crime there is. You say, "I didn't do it" when you did, and you're done for.

LRH: Okay. Is it in motion?

Now — or denial of your right to lie is also interesting. You'd think that it would be the other way around, but no, it happens to be that if you — if you preserve your right to lie at will, you're all right. But if you have to protest too honestly all the time, so on, you've agreed with the MEST universe, and that's all wrong. I'm not then advising lying as a matter of course, but you shouldn't be stuck with lying to a point where you deny that you have ever lied.

PC: Yes. Mm-hm.

You start saying to yourself, "I am an honest man. I have never told a lie." Boy, that's the biggest lie of all, and that's an agreement with the MEST universe, so it's quite aberrative. All right.

LRH: Good.

Now, we'll go into this — go into this V, then, with our eyes, you might say, wide-open, where the V's are closed tight. What's the — what can you count he's sitting on? He's sitting on pain. He's got the lines shut to it. He is successfully dealing with it by cutting communication with his pain. There is a frenzy in this case, and he will descend rather rapidly down to Level VI if you do what? Run too much Admiration Processing on him. He'll go down to VI, then you process him on VI and he can handle it successfully and come back up to V.

PC: Looked at the flag.

But theoretically, you could just run admiration, being pleased with things, and so forth, often enough where you would make this boy feel he was spinning. By the way, this V probably never will spin. But he'll start feeling like he is spinning if you open up too many lines indiscriminately on him.

LRH: Okay, now let's move Portsmouth under you.

So we rather walk lightly on techniques which have to do with admiration and that sort of thing. I can give you some of the techniques to supplant this.

PC:I bet you know I don't like that joint.

But let's ask, "Why is he a V, and what is he doing?" He is a V because his anchor points work in reverse. He doesn't know this and he isn't aware of it yet. He'll find it out in the course of auditing that when he sends his anchor points out, they come in, and when he sends his — pulls his anchor points in, they go out.

LRH: Mm-hm. All right, move Woolwich Arsenal under you.

How do you get this man to operate his anchor points, then? You tell him to pull in his anchor points, and sure enough, they'll go out. He'll all of a sudden will get a lighted area around him. Will it stay lighted very long? No! Because he's suffering from light starvation. That is just as good as food starvation. The body is suffering from light starvation.

PC: Mm-hm.

This person has led the kind of a life which has caused him to be inside when he wanted to be outside and has starved him for light. And as a consequence, he has followed the horrible cycle of the MEST universe.

LRH: Okay, move the Shetland Isles under you.

Now, let me give you this cycle in just a breath. The cycle is the thetan makes it — that's first — the thetan is capable of making it and makes it. And then he gets into associations with other thetans who also make it, and he interchanges whatever it is (light, in this case) with other thetans. He's down to 50 percent there, you see? Then he may get around to a thetan who makes most of it, and then he becomes dependent on that light.

Now move them up close to you.

Or he gets into the MEST universe and starts to depend on the MEST universe for light, and then the MEST universe always follows this cycle: desires it, enforces it, inhibits it — DEI is the cycle of action. That goes along with start, change and stop. At 40.0, you have, you have desire, and then you have below that enforcement, and below that you have inhibit.

Now, move them up real close and sit down.

So the fellow starts out by desiring, then has to have light, and then can't get light. Now, if you run GITA on somebody, Give and Take, you will find this: That on a lot of the quantities you present them with — if they're fairly low on this scale — a lot of the quantity you present them with, they will have to waste before they can consume them. They'll have to be sure that they are wasting them before they can consume them.

PC: Uh-huh.

This tells you about welfare states, for instance. They're no responsibility and so forth; why materials get wasted in them.

LRH: Okay. Now move 163 under you.

Indigent people who know they can't have something, also know it doesn't exist. And you could present them with gallons and gallons of milk, and they would actually have to empty it into the gutter — gallons and gallons of it — before they'd become satisfied that that was milk and drink it.

PC:Difficult. I can get small parts, but not the entire .. .

Now, you start doing GITA with milk on people who have bad teeth, and the first thing you're going to find out is, is you're going to have to have them pouring this milk down the sink and throwing it away, and doing all sorts of things with this milk except drink it. And then the next thing you know, why, they get to a point where they could give it to a starving baby in the house if there were ten gallons of it. They can get a mock-up, then, of the baby drinking this thimbleful of milk. All right. And you solve that scarcity and all of a sudden, we find what? We find that the preclear can take a gallon of milk when it's the last gallon in the world and there are eight babies starving for milk in the house, and have him mock himself up drinking it. He wouldn't do that, but he's capable of making the mock-up by now. All right, so we have scarcity, and there is the cycle of scarcity, and everything is scarce for a V, mainly light.

LRH: Mm-hm. All right, move this chair and your body under you and sit down.

So, he will have to waste light before he will accept light. So every time he puts out his anchor points, he's so light-starved that they disappear on him. Of course they disappear, he's light-starved. His engram bank, his lines, everything else just go shlurp! and they soak up all that light, and do it so fast that you're not going to be able to turn light on around him enough, and you'll just open up these lines to undesirable things. So you just ask him to start wasting light. Just don't bother to tell him to start taking it in, just tell him to start wasting it.

PC: Uh-huh.

He'll find out he can waste it after you push him a little bit. Yeah, he can get the idea of leaving the lights on in the house; leaving the lights on in London with nobody in London during daylight hours, and he can waste light.

LRH: Okay, now what are your general reactions here? What have you been doing, I mean?

You'll find something interesting will turn up. You'll find out that he's been abused by the sun. He's been in the tropics; he's been sunburned; he's had sunstroke; he's had heat stroke; something on that order so that he has had to fall away from light.

PC: Fighting against them.

Furthermore, he's had a profession which has kept him out of the light, and there's your V. He's got to waste light before he can get light. All right.

LRH: Huh?

He thinks himself incapable of manufacturing light, because every time he tries to throw light out he gets it in his — he gets the anchor points back in his face. Also, you see, this man has lost too much. But you say, "Lost too much? Lost too much what?"

PC:I think I've been fighting against it.

"Anchor points."

LRH: You've been fighting against it, huh?

"What are anchor points?"

PC:I think so.

"Particles of light." You see, he's lost too much.

LRH: All right, did you have any sensation of being anywhere at all; I mean, reality on that?

Now, when somebody tried to take something away from him, he thought that they stretched his anchor points out. They didn't. When he reached for the object which was leaving, he pulled his anchor points in. The anchor points are in reverse, and they blanketed him. Now, this makes him also feel he's protecting himself and using these anchor points for armor. He does — he's under the delusion also that he can't make anchor points. He has to depend on something to make anchor points. Well, all right.

PC: Mm-hm, yes.

How does this come about? How does this come about that the V gets light-starved, anyhow? I mean, how can a man be light-starved? How can a thetan be light-starved? It's a very funny thing. You'll find the body of a V is much more light-starved than the thetan. And you can actually process the individual with a process I'm going to give you without solving light starvation. But you must remember this in this particular case.

LRH: Is this better than you have had?

In all of these cases, we have two techniques which will sound to your ear to be the same technique, but they're two distinctly different techniques. One is Matching Terminals and one is Double Terminals.

PC: Yeah.

Matching Terminals would be putting a person facing a person; the same person facing the same person. And Double Terminals would be getting two communication lines parallel. Do you see that difference? You — takes four people to get two communication lines. So double terminals means you mock up four of the same person or two of one person, two of another person, in such a way as to give you — as to give you four terminals with an identical line.

LRH: All right, you did have some sensations. Now, what — what general fear was hitting you, or anything like that? I realize these things .. .

You mock up, for instance, four of the same woman facing — two pair facing two pair, or facing in from the corners. Or you mock up two wives, identical; two husbands, identical; facing the two wives. And what will appear? The communication line, the hidden lines, will appear because you've got a double terminal on a line. That's simple, isn't it?

PC: A loss of bearings. LRH: Ah. Ah, sure.

I mean a double terminal would simply give you — I mean a matching terminal — matched terminals would simply give you two terminals facing each other with one line, and that line is invisible. That line is the hidden influence in this universe. The line is invisible. You can't see sound. You can't see photons. You can't see air. The vital things are hidden. You can see a light source and you can see it hit, but you can't see it en route unless there's dust in the air, or something like that.

PC: I was looking for bearings, anchor points all the time.

And that is a line and this is a universe of lines and these lines are hidden. So we do a double terminal. Let's say we take four women, all the same woman. We mock her up four times and have a pair facing a pair. See, we have two women facing two women side by side, making a square there, and we get the line between the two facing each other, so we get two lines.

LRH: Sure, sure. You realize that it's difficult doing something like this with this many people looking at you and with the amount of traffic noise out here.

And this is the only way, you see, we'll get a double terminal on a communication line is to have four terminals. Therefore, when you are working with a V, particularly if you're going to ask him to do any operation with regard to terminals after he gets a little bit better on a mock-up so he can barely get one, you make him work not to get two mock-ups but to get four mock-ups. And the reason why you got to get him with four mock-ups is his trouble is no lines.

Actually, the technique is very successfully done if the auditor assigns small assignments, such as well, let's look at three places one after the other and move them up, and then come back here, you see? And then the fellow while he is there isn't being called back to the chair. Actually, you're cancelling the technique by continually referring to him in the chair. You see, you're making him use his body for communication whereas you can actually pull this technique yourself, and lying quietly in bed or something like that where you know you're not going to be even vaguely disturbed.

And you will just mock him up — get him to mock up, mock up, mock up, mock up, mock up and even though you ask him to put a line in there, his perceptics are going to get worse and worse and worse. Why are they going to get worse? Because perception depends upon a line. And you're not rehabilitating lines, you're rehabilitating terminals when you're just telling him to get matching terminals. To get two terminals, you're just rehabilitating terminals. Well, you can — you could rehabilitate terminals on a II, but don't try it on a V. He could more easily get two parallel lines, which are feeling good, than he could get two terminals, two people facing each other.

PC: Mm-hm.

And what his starvation is, as I said, his starvation is light. Now, how does it come about that he has light? Is this because people haven't communicated with him? That's one of the things, by the way. He's lived with — this person lived with somebody too long who has a long communication lag.

LRH: And you can go at it for hours, see. And you just suddenly say to yourself, "Gee, wait a minute, I've got a body back there; I'd better get back there."

He'd say, "How are you this morning, dear?"

PC: While you were running Frank, I got a good visio in Ireland; I just went across there with a wall this side, a sandy lane down — with a blond-headed kiddie running down there.

"Well ... I don't know."

LRH: Oh, yeah.

"Well, what's wrong, dear?"

PC: It was very clear. Three-dimensional, and very, very clear, and covered everything.

"My head aches."

LRH: Well, good.

See, it's ruined him, just like that.

PC: That's while I was waiting there, and you were running Frank and you were sending him over there .. .

Now, let me show you, that communication lag, you see, is a lack of flow. And he's gotten so he waits on flows and waits and waits, and all it does is key in. It isn't this person that's making him a V. It's what? It's the fact that this person keys in his communication lack earlier. Light is a primary communication medium — sound — and these are lines. And anything the V is blank on, anything he's black on, he hasn't got.

LRH: Uh-huh.

You'll say he can't feel a somatic? All right, there's an absence, a scarcity of pain in his case. You wouldn't think that was possible, do you? But remember that a thetan — remember that a thetan would rather be anything than be nothing. And he would rather feel anything than feel nothing. So that your anesthetized character inevitably has too little pain. He can't experience enough pain! There you get sadism, masochism. All right. Now, here's the pain figure.

PC:. . . on assignments.

Now, what about sound? This V goes around and he says, "Be quiet! You don't know what you're doing to me! You could tmm-mmm-umm!" You drop a pin a block away, you know, "Ohh, ohh!" Well, now, what's this V — what's this V really got? He's got a scarcity, a terrible scarcity of sound.

LRH: Well, you notice, your level of run there .. .

What's he want? You trace back in his life and you'll find out that there was a scarcity of sound: dishpans dropping, cars running into cars. You — just question him for a little while, and you'll find out that when he was a little kid he used to take playing cards and put them on the wheels of his bicycle so in order to make it go this way or that. And he had four horns on the head of the bicycle and he customarily tied two tin cans onto the back of the bicycle seat so they'd bang on the pavement as he rode along. Yes, sir. And then he had to be quiet and be quiet and be quiet, and he got starved for sound eventually.

PC: Mm-hm.

But you'll find much more pertinently that he's had to live by himself someplace and that way back on the track, he was in the great silence. He was out in space. That's why you get so many V's have a space-opera back-ground. Space, boy is it quiet! There's no air to carry sound. It's real quiet, real bad.

LRH: ... is actually, if anything, a little superior to having a lot of concentration on you.

Okay. The — we don't look to those things to solve this. We just mock up things going off. And we mock up things going off for — so other people can hear them. We're going to waste them, see. He isn't going to hear them. You're going to mock up beautiful sights for other people to see, not for him to look at. You're going to mock up all kinds of horrible agony for other people to experience, not for him to experience. And we'll just keep on doing this.

PC: Yes, mm-hm.

Does he see the mock-ups? No. Are they appearing? Well, what do you know, they must be because they'll eventually solve the scarcity. And then we mock up sound: dishpans and falling, and buildings falling, and so forth. And you're going to have a picnic on this because it's obvious to you, for instance, running anybody who's been through heavy bombings, that they're highly antipathetic to sound, you know. Sound is bad stuff.

LRH: Now, I picked you because of perceptic; I knew your perceptic had a little bit shut down and so forth, and I really wanted to see how it would work on you. Now, did you have a better sensation of getting somewhere or doing something than you have had?

It wasn't the sound, it was the silence. Those long silences. Have they gone? Have they gone? Well, I whzeewww! Boom! Oh, they didn't go yet. I mean, that's the idea, you see? It's the silences.

PC:Yes, definitely.

You'd be surprised — you'd be surprised what a relief it is to turn loose with a whole battery of guns after you've been floating around in the mid-night black. I've seen crews practically empty the ammo boxes. You say, "What the hell are they shooting at!" "I said 'cease fire' five times! Number one gun is still going! What's the matter?" Boom! Boom! Boom!

LRH: Definitely. Okay, thank you.

Two things: nice big, beautiful ribbons of light going out there and all that beautiful sound. And yet these guys — I suppose at home, baby drops a diaper on the floor or something, and they say, "Why don't you keep that kid quiet!" Now, that's interesting, isn't it? That's scarcity of sound.

Okay, how about you? Okay, do you remember something real?

He's got scarcity of everything. Has he got a — has he got a somatic in his knee? Well, it's because he's scarce on knees. Bad eyesight? Scarce on light and scarce on eyes. Scarce on sights? Has he got a bad teeth? Scarcity of teeth. Has he got false teeth? Well, that's because there's just no teeth at all. Scarcity of teeth? How do you solve his worries about this subject? He could probably — make him grow new teeth, really, if you wanted to put your mind to it. He's got a somatic in his mouth, nothing on earth can get rid of this somatic in his mouth. Oh no? There's a scarcity on mouths.

PC: Yes, I remember my breakfast this morning.

Now, you look any one of these things over, and it appears that it must be that there was — there's too much of this sort of thing, so he's shut it off, and therefore you are dealing, really, with an abundance. Oh, there isn't any such thing as an abundance with regard to a thetan. He just can't have too much of anything. He wants to be the mostest of anything he can, but after a while he'll get into despair about it, so he'll say — says it doesn't exist.

LRH: Oh, very good, very good. Now why don't you move your school under you?

I'm going to draw you a picture — I'm going to draw you a picture here of the time mechanism that runs a body in this universe. This is the sun and this is the Earth and this is the moon. Now, if we were to mock up this with a V, we would probably think, "Well, we'll just match this terminal, and you know, put the V facing the V, and saying they're short on light." Oh, no. No, no. You're going to have to double-terminal this. And I draw you a picture of a double terminal. That's a double terminal, see? We've got four, essentially. But we've only got two moons, we've only got two Earths, and we've only got two suns. All right, now that's four of them; we've got two suns, two Earths and two moons.

PC: I suppose I can do that.

Now, we're going down here, and we're going to put this little figure here, and this is going to be our V. It's very interesting, he's just exactly in the same place; he's on top of Earth in each one. So here you have the two upper circles there, the sun; the two lower circles, Earth; and those two big circles, the moon; and with the V standing here on Earth — standing here on Earth in each case.

LRH: Move it under you.

Now, I'm going to draw in the communication lines. Communication lines are from here to there, the force is against him and a communication line is from here to there, with the force against him. And the communication line is from here to here with the force against him, and with the force against him here.

PC:Yes.

You think that was all the communication lines there were — weren't you? Huh? You — look at this, here's these communication lines of the Earth below the sun, and there's photons from the sun coming down hitting the V; and the moonlight from the moon hitting the V, here. You think that's all the communication lines.

LRH: Okay, now move it up close to you.

No, this chuckle-headed dope puts out beams. Actually, they're there, they show up in auditing. You don't have to worry about this but you'd won-der, "What are these things so solid for? What all — this guy — this is ..."

PC: Yes.

This guy has a somatic where he is pulling the sun. Now, why? I mean, well, it's just the fact that he actually has a loop up here around the sun. He's got a loop up here all the way around the sun, and he's got a loop over here all the way around the moon. And in here, he's got a loop here from himself clear around to Earth. And Earth's got a loop on him here, in each case.

LRH: Now move it some distance away from you.

Now look at that complex battery of lines. Look at those lines. There's the gravity of Earth. There is the sun. And what do you know, there's the gravity of the sun operating upon him. There's the moon — the gravity of the moon operating . . . You understand this moon and this sun working together raise tremendous tides. As a matter of fact, if rocks weren't so heavy they could be picked up by this thing, really. And don't think that a living being and that a plant and so forth follows that sun around. And nobody ever measured this before. I mean, we've had a lot of dopes in the field of biology, I'm sorry to say, or back — botany.

PC: Yes.

A lot — very, very dopey people. They must have been, or they would have discovered this with — before I had to dream up double-terminaling. This is fantastic that this — that everybody wonders, "What is this strange impulse in a little flower that makes it follow the sun around?" Well, it's sure a strange impulse! It's the gravity of the sun that pulls it around, of course. Isn't that simple? Honest, that's why a flower follows the sun.

LRH: Now move Buckingham Palace under you.

If you don't believe this, set up some preclear and have him double-terminal this way. And get him, particularly just as the sun disappears over the realm of the world for the night. Urn-hum. What's he do at that moment? He tries to pull the sun back, of course. You'll find in the accumulated centuries of the body's development that it has built in tremendous somatics, tremendous somatics, on the idea of gravity and pulling the sun and pulling the moon. And talk about hidden influences, you couldn't see any of these pulls at all, could you? And you talk about a real hidden influence, listen, when that moon went over the head in the dark of the moon, it exerted the force of gravity on the preclear but it didn't give him any admiration, and so it didn't run its own somatic out.

PC: Yes.

So you'd get the preclear mocking up the moon passing overhead in the dark of the moon. And he'll say, "You know, it pulls my face." He does; he's just getting — don't tell him what's going to happen, just have him mock these things up.

LRH: Now move that fairly close to you .. .

And you take a V, if you can get him to mock these things up, you're going to have a picnic, a real picnic, because it practically pulls him to pieces!

PC: Yes.

Now, how do you get this mock-up? You just mock up Earth. Mock up the sun and mock up these, and keep putting them back, putting them back, putting them back, putting them into place, putting them into place, putting them into place.

LRH: . . . and sit down on it.

But that isn't all there is to this Case V.

PC: Yes.

LRH: All right, now let's take an inventory of you as you're sitting on Buckingham Palace. What have you got with you?

PC: I've got a flagstaff behind me.

LRH: Mm-hm. What have you got of yours?

PC:Oh, I didn't have anything.

LRH: You haven't got anything?

PC: No.

LRH: What have you done? Left it all with the body?

PC: Yes.

LRH: All right, let's move back here.

PC:Yes.

LRH: Let's out here in front of you, have yourself mocked up as a thetan facing yourself mocked up as a thetan saying, "Well, it's too bad that we have to abandon forever the home universe."

PC:Yes.

LRH: Keep them getting that, saying that to each other. Now, get the feeling of pleasure at abandoning the home universe.

PC: Yep.

LRH: Get that easily?

PC:Yes.

LRH: You got them both there?

PC: Yes.

LRH: Good. Now get them saying to each other, "Isn't it wonderful that all of me belongs to the body."

PC:Yes.

LRH: Now get them — get good emotion going back and forth between them on this.

PC:Yes.

LRH: Okay. Did you get any change of mood or anything?

PC:No, I'm quite content.

LRH: You're quite content either way about it?

PC:Yes.

LRH: All right, move the Cape of Good Hope under you.

PC: Yes.

LRH: All right, now let's find a building down there and move that up close to you.

PC: Yes. I've got the impression I'm holding on to a flagstaff and I'm right on the knob of the flagstaff

LRH: Good. Now, let's take a look at you as the thetan and tell me what you've got with you.

PC:Oh, I can't see anything. I just see just this knob of the flagstaff

LRH: Uh-huh, I see. Well, now, let — let's just take a look at you and see what you've got there.

PC: I'm just conscious of the knob of the flagstaff

LRH: That's all, huh? Well, how about moving China under you?

PC: Yes.

LRH: Moving Russia under you.

PC: Yes.

LRH: The Kremlin.

PC: Yes.

LRH: Move the Kremlin right up close to you now.

PC: Yes, I've got the idea of the wall on the Red Square.

LRH: All right, now let's move up Lenin's tomb right up close to you.

PC:Yes, I've got that location too.

LRH: All right, let's move Lenin's face right up close to you.

PC: Yes.

LRH: Got it there? PC:Yes, face to face.

LRH: Good, good. Tell him hello for me and move New York under you.

PC:Yes.

LRH: All right, now let's move the moon close to you.

PC:Yes.

LRH: What's the matter?

PC: Nothing.

LRH: All right, let's move it real close to you.

PC: Yes. I seem to be down amongst the — of the Alps.

LRH: The Alps, huh?

PC: Yeah.

LRH: All right, let's — on the moon? PC: On the moon.

LRH: Uh-huh. All right, now let's find part of a plain there that has a lot of pumice, a perfect mound of pumice.

PC:Yes, I'm on the plain.

LRH: Good. Now let's just sit there and take a look around until you see a meteorite land or something like that, and the pumice go poof. Is this plain like that?

PC:Yes.

LRH: Did you do that?

PC:Yes, I see that.

LRH: Good. About thirty thousand of them a day land up there, so you can see them almost any time.

PC:It's just like showers landing on the sand and throwing up.

LRH: Mm-hm. How's it look?

PC:Oh, it looks pretty bare; it looks very bare.

LRH: Mm-hm.

PC: Impression of things falling on it and throwing it up in a form of dust.

LRH: Mm-hm.

PC:Throwing it up high just like a shell hitting it. Not an explosive shell but just a shell, a blown shell.

LRH: Mm-hm.

PC: Ora dud.

LRH: Going slow or fast?

PC: Pardon?

LRH: Is it going slow or fast?

PC: No, it's hitting jus — I can hardly see the shell, it just hits it hard .. .

LRH: Uh-huh.

PC:. . . and then goes into dust.

LRH: All right, now move the black-and-white border; that is to say, the place where the sun is hitting and isn't hitting .. .

PC: Oh, yes.

LRH: . . . directly under you.

PC: Yes.

LRH: Now, let's test the temperature on the sun side, and then move the dark side under you and test the temperature there.

PC:Oh, yes, I can get a draft of cold air .. .

LRH: Mm-hm.

PC:... if there is such a thing, but I can get the cold on the cold side.

LRH: Mm-hm. All right, now move the hot side under you.

PC:It's the right — the right-hand side of the body is cold and the left-hand side is warm.

LRH: Mm-hm. Of your theta body, or your body in the chair?

PC:The body in the chair.

LRH: Oh, it's reacting. Okay. Now let's move London under you.

PC: Yes.

LRH: Nelson's monument.

PC: Yes.

LRH: Let's take a facsimile and hang it on his hat.

PC:Well, the facsimile was his hat, so I haveto hang his hat on his hat there.

LRH: Okay. All right, now move that about a mile away from you.

PC: Yes.

LRH: Now, move St. Paul's under you.

PC: Yes.

LRH: Move Tower Bridge under you.

PC: Yes.

LRH: Move the Tower of London under you.

PC:Yes.

LRH: Okay, move Hyde Park under you.

PC:Yes.

LRH: Now, move the place where they generally give their speeches under you.

PC:Yes.

LRH: Anybody giving a speech?

PC: Well, no, nothing there; let me see. Yes. I see he must be giving a speech to about three people.

LRH: He is, huh?

PC: Yeah.

LRH: All right. Move him directly in front of you.

PC:Yes.

LRH: Okay, now let's reach out and touch his hair, stroke his hair very affectionately.

PC: Yes.

LRH: What happens?

PC:Oh, it's quite amusing. He's holding forth on some religious topic, and stroking his hair seems to be soothing him down a little.

LRH: Good, good; let's soothe him down further. Let's get him very beamish on the subject of capitalism, or something.

PC:Oh, yes, he is friendly on that.

LRH: Mm-hm. All right, stroke his hair even further. Make him very calm.

PC:Seems like long sticky hair; it's not very comfortable, you know?

LRH: Mm-hm. Okay.

PC: Yes.

LRH: Okay, now let's look at the people watching him there.

PC: Yes.

LRH: Let's move them in front of you.

PC: Yes.

LRH: Now, let's give them the idea they ought to leave, just by looking at them and sort of saying out loud, "Leave."

PC:Yes, they've gone.

LRH: All right, now move 163 under you.

PC: Ah, yes.

LRH: Move the chair under you .. .

PC:Yes.

LRH: . . . and sit down.

PC: Right.

LRH: Okay, what was your reaction on being out?

PC:Ah, fairly real .. .

LRH: Mm-hm.

PC:. . . most of the time.

LRH: Mm-hm. Of course, keeping a communication line here is probably .. .

PC:Yes.

LRH: . . . cuts it back a little bit. You've been out before, though, many times?

PC:No, it's — this is the second time.

LRH: The second time?

PC:Yes, yes.

LRH: Mm-hm. And you knew you were out, and so on.

PC: Oh, yes. I had that with Frank to my — satisfactory. Yeah.

LRH: Good, fine. What do you think of this as a technique?

PC: It seems to be quite wonderful.

LRH: Mm-hm. Good-oh.

All right, let's call another one. Now, let's see, shall I give you one more demonstration or are you tired?

Male voice: Yes, sure.

LRH: You want one? All right. Have you ever been out before?

PC:Well, not with certainty.

LRH: Huh? Not with certainty. Oh, well, we'll see if we can make it a little more certain. See, I don't promise this.

You understand that a demonstration of this character is always under stress, mostly for the auditor. Nobody cares about the preclear. Now I want to show you how I'm operating on this. Let me see, would you come up and sit in that chair?

That's right. Now, I've got a double terminal. As a matter of fact, I was starting to skid out of contact with this body. Like watching it through the camera.

Okay, why don't you be in this room and be in your body?

PC: Okay.

LRH: All right, you move your body around you?

PC: Yes, I can feel it around me.

LRH: Good. Were you there?

PC:Yes, in the center of the head.

LRH: Mm-hm. All right, now let's move Tower Bridge under you.

PC: Mm-hm.

LRH: Okay, let's move the tower closest to the Tower of London directly under you.

PC: Yes.

LRH: Now, is there anything moving on the river?

PC:Yes, there's a couple of barges.

LRH: All right, move one of those barges under you and move it up close to you.

PC: Mm-hm.

LRH: All right, is there something towing it?

PC:I think it's at the anchor.

LRH: Mm-hm. Well, is there another — is there any barge running — I mean, any tug or something?

PC: Yes, yes there is. One going under the bridge.

LRH: Well, move that under you.

PC: Mm-hm.

LRH: Move its engine room up alongside of you.

PC: Mm-hm.

LRH: Okay, move its pilothouse up alongside of you.

PC: Yes.

LRH: All right, now let's move Tower Bridge under you again.

PC: All right.

LRH: Move that moving barge under you again.

PC: Mm-hm.

LRH: Move Tower Bridge under you again.

PC: Yes.

LRH: Move the barge under you again.

PC: Mm-hm.

LRH: Move the engine room alongside of you again.

PC: Mm-hm.

LRH: All right, give some heat to the motors — whatever you've got there. Now move the pilothouse alongside of you.

PC: Mm-hm.

LRH: Okay, move the Tower of London under you.

PC: Mm-hm.

LRH: Now move that island that was recently flooded under you.

PC: Mm-hm.

LRH: Got that?

PC: Mm.

LRH: All right, move some of the damaged area under you.

PC: Yes.

LRH: Move the Kremlin under you.

PC: Mm-hm.

LRH: Move the Amazon jungle under you. The Amazon River.

PC: Mm-hm.

LRH: Move it right up close to you.

PC: I'm scared at the moment.

LRH: Hm?

PC: I get scared of that.

LRH: Mm-hm. I don't blame you. All right, move the Nile under you.

PC: Mm-hm.

LRH: Move the Nile up close to you.

PC:A lot of crocodiles.

LRH: Mm-hm. Okay, mock up and throw into the Nile three or four new crocodiles.

PC: Mm-hm.

LRH: Got that? Okay, move the Thames under you again.

PC: Mm-hm.

LRH: Move the Pyramids under you.

PC: Mm-hm.

LRH: Move the peak of one pyramid directly below you.

PC: Mm.

LRH: Move yourself very close to this. PC: Mm-hm.

LRH: All right, now move yourself around so that you're sitting on it.

PC: Mm-hm.

LRH: Got it?

PC: Mm-hm.

LRH: All right, let's get a tactile on the stone.

PC:I don't have quite the feel of it. Yes, I touched it.

LRH: Mm-hm. All right, now move a palm tree under you in Egypt.

PC: Mm-hm.

LRH: Move a camel under you.

PC: Mm-hm.

LRH: Move Rome under you.

PC: Mm-hm.

LRH: Move the Colosseum under you.

PC: Mm-hm.

LRH: Move the Colosseum all up around you so that you're standing in the center of the Colosseum.

What's the matter? What happened?

PC:I wanted to be let out of here, that's what it is.

LRH: Okay. All right, mock it up full of lions. Now, move one of the Alpine chateaux under you.

PC: Mm-hm.

LRH: Now move an Alpine peak — move the Matterhorn under you.

PC: Mm-hm. I like those peaks.

LRH: Mm. All right, let's move the Matterhorn right up close to you.

PC: Mm-hm.

LRH: All right. Now let's get a tactile on the peak there, the Matterhorn.

PC:Yes, it's really nice.

LRH: Okay, let's sit down on it. Take a look around. I'm not going to talk to you for three or four minutes here, why don't you take a breather; take a look around. Take a look from the top of Matterhorn and a few other things.

PC: Very pleasant up here.

LRH: Okay. Now let's move the chair under you and your body under you.

PC: Mm-hm.

LRH: Okay?

PC:Thank you. That's interesting.

LRH: Well, tell us what happened.

PC: Well, I liked those tops of the Pyramids, and the — the Matterhorn.

LRH: Mm-hm.

PC: I didn't like the water.

LRH: Mm-hm.

PC: I didn't like — I didn't like the Colosseum a bit.

LRH: Not a bit, huh?

PC: No.

LRH: Strange.

PC: Funny. When I was on the top of the Matterhorn I got out of the body again on the top of the Matterhorn. Sort of a double .. .

LRH: Sure. Well, the thetan has a body that is a mock-up of the body which he is running, of course. How otherwise would he control this body if he didn't have a mock-up of the body?

PC: I've never had that feeling before.

LRH: You never had that feeling.

PC: Being out and taking one.

LRH: Yeah, okay. Okay.

PC: Thank you.

You understand this technique?

All right, now, on those cases — on those cases there that you found that were not quite up to optimum, this is partially — partially audience consciousness. After all, that's a lot. So a being says it's liable to eat a guy up, you know. And it's quite remarkable on that.

In regard to, by the way, stage demonstrations, I possibly ought to say just a phrase or two here about it. It is not an optimum proceeding. It is not something, for instance, which you ought to attempt before a couple of hundred or thirty or three thousand people, unless, unless you use great caution in picking up your preclear.

And if you're going to demonstrate — if you're going to demonstrate before three thou-sand or thirty thousand people, you look around and find yourself a screamer. You find somebody who is completely mad, and you run them into an engram. And then you open them up to high C and blow the heads off of people in the back of the hall, and then they know that Dianetics or Scientology work. Then you have the screamer wheeled off the stage and audited so that they return to present time vaguely.

Otherwise, you give a perfectly good, smooth demonstration on a stage before a large number of people and they're utterly unimpressed, completely unimpressed. It just makes no difference to them at all.

I audited a girl one time who had been completely mute and dull in the hands of three of the leading psychiatrists — pardon me — four of the leading psychiatrists of Oak-land, California. And they were so convinced that all of this was charlatanism or something of the sort, that they gave me a ringer. They gave me this girl that they knew nobody could get a yeep out of. Well, this girl had never seen her father and mother, so I got her picked out of the crowd, threw her back into early childhood and turned her up to high C, and I swear they could hear it two blocks away from the Civic Auditorium, see? The hall was packed the next night; it was a series of lectures. But these people went away citizens. Actually, the auditing was not — was not bad, the auditing was just at a level to interest people.

Are they there to be instructed? No! They're there to see Christians eaten in the arena. And if you want to do that kind of auditing for lots of people, why, rig it up so that you have somebody who is very bombastic or something of the sort. Be very careful of picking somebody who — who wants to give a show. They just ruin your demonstration because they answer you with a lot of smart cracks or something of the sort. Wise guys or something like that; you be very careful on it.

Otherwise, otherwise don't give demonstrations. A party of people, for instance, gather around. They want to find out how this works and they want you to do this and they want you to do that. Well, you have techniques which are lead-pipe cinches. But don't pull such techniques as — that you've seen me demonstrating here today. If you want to demonstrate on a crowd of people, you get yourself the smart ones. That is to say, take the person who has been ridiculing you, you see, or something like that, who is really egging things on, and do something to him. With what? Well, anything as mild as ARC Straightwire. You can very easily and very quickly estimate a preclear and with some ARC Straightwire, right in present time, why, you can generally do some interesting things to people like this. But you don't want much of a show. Don't try to get very technical about this subject and really don't try to explain it to people.

Now that's a big problem. Talk about — talk about what it does very widely, or something of the sort or talk about what it does for children or talk about something interesting in connection with what could happen if the dictators of the world got audited or something of the sort. But just this business of trying to explain the whole subject to them in five minutes as a professional; nobody expects a doctor to tell them how to do a transorbital leukotomy (which I think all medicine knows how to do on this subject). Nobody expects a doctor to tell them how to do this in twelve easy lessons. But you can tell them how a doctor does this; you go and get the books on it and find out how you do a transorbital leukotomy and it makes very interesting material.

But people conversationally, generally want the spectacular and want blood. And as much as you think people want reason and people want to know, it's not true. If you go into the greatest philosophic tomes in the library and break them out, you will open them up and you will find there carefully marked where the philosopher has said what this person wanted him to say. These people wanted to be agreed with, and so the philosopher is picked on. So you see these heavy underscorings. And here's Hegel or somebody like that, you know, and he goes on sonorously and synonymously and erroneously in all directions for page after page, they're saying very, very wise things, and all that sort of thing. And when you finally come down to a simple phrase (I don't even think Hegel said this, but) "God is good." And we find somebody has taken a crayon, see, and they've underscored this and put big checks out here in the margin.

Or "Some men are wicked." You know, I mean, this is the kind of stuff. So it's the banality that goes over.

And you, knowing your subject, can so far overshoot an audience thatthey don't even see the airplane. They don't even hear the jet. And you sitthere, if you say, "Well, you know, it's a funny thing, but man is basicallygood. There are some men give something to charities." My, they think you'rewise. It's a wise, kindly observation. Or go in for blood. Tell them about transorbital leukotomies and that sort of thing; anything you want to talk about.And you can now get into a horrendous raving discussion on the subjectof religion. And you can get people talking about religion, you won't have to say a word the rest of the evening. I just — just throw something in like that, you see, just say, "Religion" and then just sit back. They say, "Why don't you explain Scientology? You've been studying this, I understand it's a new cult. Ha! I understand about this." And you say "Religion." The conversation goes on the rest of the evening.

And it's very fascinating, but it's quite, quite odd to demonstrate this material. You understand what's happening here, but the people — a guy who is watching something like this happen will say, "What the hell's coming off around here?" And you'd be surprised how many of those people there are always in your audience. They go away completely befuddled.

About your highest level of conversation on the thing is, "Do you know that the dynamic principle of existence is survive? Yeah, men are trying to survive." You can actually throw that in and it makes a full topic. It's just a full topic from there on. And it gets — somebody else can talk about this, too. They say, "Well, no, I believe in ethics and stuff like that. I know, I've been a pawnbroker all my life, and ethics are really what I go for. And I think there are higher things in life than survival, and so on. And I have often said to myself, 'Ethics, like the Ten Commandments, are ...' " See, these guys are really off the beam, see?

But trying to drive something across with a demonstration — the only thing I'm trying to put across to you here is practically — there's hardly a person here that won't be called upon to demonstrate this technique or these techniques. Well if you are, for gosh sakes, don't demonstrate something beyond the ability of the audience to follow — ARC Straightwire. Tell the per-son to mock up something, anything. Just the mildest to the simplest.

Now, they're going to say, "Theta Clear. Now why don't you — why don't you knock so-and-so's hat off?"

And you'd say, "Well, you made the suggestion; why don't you?" This is very, very fascinating.

Anyway just on the subject of this in technique, your preclear should be that aware, and he shouldn't have noises around him. If you are to choose an office, for heaven's sakes, get it a quiet office. You'll be surprised how many cases will not run, even be accessible enough to talk to, in the presence of a noisy office. An office that has a hall where doors are slammed may knock your preclear out of accessibility as far as you're concerned and may one day knock one into apathy and cause you many hours of unnecessary work. It can happen, can happen; you get a touchy case and get it to running.

Now, I want you to notice particularly about this technique, there's this little gimmick I was throwing in here about abandoning the home universe, you see? Very often if the fellow isn't seeing too well, if he doesn't see his body as a theta body, if he isn't aware of all this bric-a-brac and circuits and all of this sort of thing — his anatomy — why, he may be hiding even success-fully from himself the fact that he's packing a little capsule that has some of the most beautiful facsimiles in it he has. And when your preclear gets out, as a point, he is actually condescending to momentarily abandon that to the body. He thinks he is. The truth of the matter is he packs all this around with him. And preclears who get out, just as a point, and who have no further bric-a-brac around them are either church mice amongst preclears — and this is possible; I mean he could be a poor thetan, you know — dispossessed or he got money on an installment plan sometime or something of the sort. And it could be, only I've not run into one. They've always got bric-a-brac — always.

And the main trouble with the I, the reason he fools you so easily, is he can work well outside without taking any of his bric-a-brac with him. And you can work yourself ragged with this I. And he can actually go all over the place and get back again, but as a thetan, he's not going to reach Operating Thetan, that's all. Why? You're exteriorizing him and he is condescending to let the body take custody of his choicest and fondest possessions for a few minutes.

Now, this is very, very true of a preclear who can get out of his body but can't get out of his house. Or, he can get out of his body and go places as a thetan, get a few blocks, but can't take his body out of the house very far, or has claustrophobia, something of the sort. See, he's afraid to abandon these very, very choice possessions. And he thinks that when you ask him as a Theta Clear to — I mean to clear in theta — to just be outside and be here and be there, he thinks that you ask him to leave those things behind you. Because he's convinced that he does.

So you run this little Double Terminal — run Matching Terminals or Double Terminal on this, and as a matter of fact on this first case I was working here, that ought to be run by the hour! I mean, there ought to be a couple hours of that thrown in. Just because we got a flick of sadness, and then we got another flick, but there was no consequency in that. That tells you that there is a lot of stuff there, and we're doing a dodge, see? Dodge — a dodge on it.

All right, so we just let that slide at the moment. But you as an auditor would pick it up and work it right there. He isn't very — isn't very loose about being out. He gets — he has certainty about this and that, but he isn't as certain as you want him, as an auditor. He isn't as positive about this, so you realize that he must be letting the body continue in custody of some of his fondest and choicest, so you want to take care of that.

Another thing is your person will very often have this fantastic idea that a Theta Clear has no personality. The thetan doesn't have any personality. The body has all the feeling and all the sensation and all the personality; the body has all these things, and they get outside, and they're serene and . . . "I know when I'm outside, yes, I'm perfectly serene, and I'm calm and so forth, and I'm just sort of, you know, disembodied spirit sort of a thing, and I have my — I have my body and so forth, but I don't want to be like that outside, so of course I want to be back in the . . ." This guy is telling you phrase by phrase by phrase that he didn't take anything with him. He parked it all and he isn't very thoroughly exteriorized, and quite in addition to that, he hasn't any of the bric-a-brac of which he's so fond. He hasn't taken his personality along, in other words. He left that with the body. He's assigned everything to the body so heavily that the body's the only thing that can emote.

Well, if he gets out of himself with this technique of move this and that under you — move this and that under you, so forth, next thing you know, he'll become aware of something very funny. He'll say, "You know, I'm all rigged up. I have got — I've got a lot of lines and I've got a lot of stuff, and so forth. And I'm — I'm sitting here examining these grains of sand, what I'm doing, examining these grains of sand." You really got somebody out.

The thetan is a simple, naive, rather sweet character. He — they, you see, they immediately — I don't care if your preclear is sixty years old, he gets out-side and he kind of feels like he's oh, maybe, what's that terribly sincere age kids go through? Oh, about twelve, when they make good boy scouts and so forth, and yet they're very interested and they're very alert and very imaginative, quite practical and very naive and simple. Well, that's actually what the pervasive personality strips down to, and you'll recognize it when you see it. You process a person for a few hours, even at the level of V with this technique, and you'll see that showing up.

So don't be satisfied with a point exteriorization. This fellow is abandoning all. And don't be satisfied with these other partial ones.

Now, if you'll notice, I'm purposely — fixed up this first demonstration; it became the least successful of the demonstrations. I said, "Be here, be there, be someplace else." We had a vast trouble with beingness on this case. All right. Now we follow that up with "move" and so on, it isn't as successful. I did that for an excellent reason, not for a show, because I wanted to test it on a preclear. All right. Not for your benefit, for mine.

This tells you, then, that if you as an auditor take one look at this per-son, look him over and more or less spot him for a III, IV, V, something like that, I would say just start in with this technique. Ask him "Remember something real," if you haven't already taped his communication lags. If his communication lag is fairly good, just hit him with this technique — pam — don't run the risk of slowing him down. I slowed this preclear down by asking him to be for a while and then asking him to move for a while and we got a cross between the two. (Probably his case is ruined; he'll probably never be the same again.) But you get the general idea.

There is another little gimmick that — you don't know about it yet, it has to do with this strange thing: You ask some preclear, you say now, "Who was some woman you know who was very forceful?" Well, he'll think for a while and he'll think for a while and then he'll say, "You know, my first wife — a very forceful person."

"All right, now, what did she used to do?"

"Oh, she was very forceful, very energetic."

"Well, what'd she used to do?"

He thinks for a long time and he says, "Well, she — she — she sat around the house quite a bit."

"Well, how did she act in company?"

"She never said anything in company, come to remember."

"Well what did she — how did she used to act with regard to your affairs? She used to push those?"

"Well, come to think about it, she didn't care."

This preclear has just got through describing himself to you. He's sitting around; he's doing nothing; he doesn't care. Well, what's this interchange? This is actually an interchange of beingness has occurred here. He was very forceful; he was very forceful around his first wife and he was particularly forceful to her. So he keeps talking and acting forcefully to her and he's carrying this thing around, and now he's convinced she was a forceful woman because whenever she comes up or whenever forcefulness comes up, he gets a facsimile of her.

Now, if you will double-terminal or even just match terminals on her against her, you will recover to him his forcefulness because she was the girl who ran him into the ground. It's an interesting — an interesting way of going about it.

Or you say to this young girl — you get this girl as a preclear and she is very sneering about everything. "Well, did you ever know anybody that was sincere?"

She'll say, "Well, my father was a very sincere person, extremely sincere person. He believed everything, he was very enthusiastic, was very sincere. Yes, sir."

"Well, what was he particularly sincere about?"

"Well, well, come to think about it, when he used to talk to my mother, he used to sneer all the time about everything. Hmm."

"Well, what was he sincere about?"

"Well . . . Say, you know, come to think about it, nothing!" And it takes that mechanism.

You want to know where the preclear's enthusiasm went, you see, where their forcefulness went, where their sincerity went, and all these other various characteristics, just ask them if you — the track is, if you want to find out what happened and you want to do a fast restoration of his modus operandi, we simply will ask him, "Now, who is the loudest voiced, most firm-voiced person in your family, that you know?" See, we want to restore his voice.

All right, who is it?

Which person did you know in your youth that was a very forcefully spoken person? Who spoke extremely forcefully?

Male voice: I remember naval instructors.

Naval instructors?

Male voice: Mm-hm. Academy instructors.

How about your family?

Male voice: No, not the family; I left home when I was fifteen. Do you remember any of them as being forcefully spoken?

This actually will register on an E-Meter if you want to transfer it down. I mean if you — what was the job we were trying to do that night, remember?

Male voice: Mm-hm.

And we were trying to turn up there this and that, we were picking up a few things. We could have used this technique to a very great advantage. You see, I could have E-Metered and said, "Now, who is the most forcefully spoken person in your youth?" And maybe you wouldn't have remembered. I'd put you on the E-Meter: "Now, was it your mother? Was it your father? Is it something else?" All of a sudden you would have turned up with somebody who was terribly forcefully spoken. And then, as we picked it apart which — not necessarily happened in your case, but just as a demonstration — and we picked it apart, we would have suddenly found this person couldn't speak, and that you had to stand there and yell at them all the time. And we'd get a varied datum in that fashion, but the facsimile would show up as, "Forceful speech means this image." And so he'd say afterwards, "Well that person wasn't forcefully spoken. That person couldn't talk." See how this thing works?

Who was the most — now you say, "Who was the most moral person," you talk to this young girl — she's very immoral — you say, "Who was the most moral person you ever met?"

"Oh, that was my mother."

"Yeah?"

"Oh, very moral. Lectured all the time about morals, just morals, just all the time, day and night."

And you say, "Well, all right. Now, your mother lived with your father?" "Well, no, as a matter of fact, my father left home when I was five." "Well, all right. Um — urn, your mother is a member of the church?"

"Say, that's right. Heavens no! Say, do you know, we got kicked out of a town once. I'd forgotten that."

You suddenly pick up the fact that this young girl spent all of her youth, you see, pounding and beating at Mama saying, "Be moral, Mama, be moral," and finally just gave up; just failed, see? "Who's the most moral person you know?"

Well, a thetan gets out and he starts sorting these things out. See, he gets outside and you give him a little time and he'll just sort these various factors out but he won't think too much about them. He's getting too interested again in the MEST universe.

But I say, in a case of a perceptic, in a case of a pair of glasses, you say, "Who is the most sharp-eyed person you know?" And you very well might find the person in the child's youth that the person had to look with all the time. You'll find Mother, and Mother couldn't see anything. You get the idea?

This is a reversal factor which is part of a life continuum factor.