Emotion has the purpose of bridging thought and effort. It is a manifestation, a condition of beingness, which is the connector between thought and effort.

The Tone Scale is a direct index of emotion - direct index. At the bottom of the scale we have no emotion, no life - death. On the top of the scale we don't have any emotion; we have all thought. But the second thought becomes impinged upon the physical universe, its bridge, no matter how slight, is emotion.

Now, emotion is very closely related to motion, then, because as you go up the Tone Scale you find out that you're actually running different levels of motion capability on the part of the organism. And therefore, the emotion of the organism is directly indexed by how it handles or how capable it is of handling motion.

So if the boys are in operation out through the galaxy and so on, they don't know yet that we've not only maybe solved the sanity of what was practically a prison planet but we've gone way ahead on this basis. And maybe solving it here was a slightly tougher job.

Now a person who is way up the Tone Scale can handle stuff that is going practically at the speed of light. And a person down at the bottom of the Tone Scale couldn't handle a tortoise, you see?

(female PC)

The way an angry person, who is chronically in anger at 1.5, handles motion is to stop it. He stops motions coming at himself, and he'll stop anyone around him. He'll try to stop them. He'll see them doing anything and he will try to stop them. And he'll see this person sitting still, but actually the person isn't sitting still - the person is alive! That's what's wrong with the person from a 1.5's viewpoint - this person's alive, his heart is beating, blood flowing. This person might be doing something like reading a book. So the 1,5 comes along and he says, "Why don't you go out and play?" "Oh, I'm not bothering anybody." "Yeah, but why don't you go out and play?"

PC: Well, it has been obvious to me that there's an answer.

See, reading the book is too much motion for him. Much less walking around the house or running across the dining room or something of the sort - any one of these things. There's nothing wrong with it - nothing wrong with it except that it's motion. And a 1.5 has to stop motion.

LRH: [to recordist] You got a recording of all that?

The way you stop things - you use various methods of stopping motion: You try to just intimate that the motion should be stopped; you try to hold the motion so that it will be stopped; you try to make the motion stop; and then if you can't do that, why, the only thing you can do is destroy the thing that is moving. And this is what gives the Tone Scale an additional apparent depth.

PC: ... as to why people cannot rise spiritually, shall we say, in healthy bodies. And I'm primed that you will get it.

You take a 1.5, can be very calm. He's sitting still and you're sitting still. But don't move. Because the 1.5 will go into a little more depth of being 1.5. They will demonstrate they will hold motion more and more violently - that is to say, in direct proportion to how much motion they're trying to hold. So the depth of the Tone Scale is volume of motion which produces a volume of emotion demonstrated.

LRH: Oh, yeah, that's right. You have to be a devil . . .

It's not difficult to understand, then, that a 1.5 can be very calm and apparently very pleasant and still be exactly at 1.5, which is anger. But everything would have to be completely still around him for him to be happy at 1.5.

PC: Thanks.

The first thing you get a flutter in his vicinity, he has to do something about the flutter. And when the flutter starts to become a hurricane, your 1.5 has got to kill to stop it. You get the idea?

LRH: ... to be even healthy.

That's why wars are fought with so much noise - there's got to be so much volume and action. Actually, the purpose of war according to Clausewitz is not - is not "the induction of a more tractable spirit in a foreign people who are antipathetic toward the goals and gains of your own country." I mean, this is very philosophic, It's not true!

PC: Oh!

All that war is - all that it is - is simply a 1.5 society dramatization. It is not an effort to do anything to anybody for any reason whatsoever. And that's what people find very baffling about war, is it hasn't any reason in it.

LRH: That's a great gimmick.

And the most baffling thing about a criminal is there's usually no reason for him to commit the crime. Same way with war: there's no reason to go to war. And you try to fight war with reason. Well, you can't handle 1.5 with reason, because 1.5 is incapable of listening to reason. So you have to handle war with emotion.

PC: Isn't that it?

Now, if you could take emotion and you could say, "Drum, drum, what we want to destroy is everything evil," and then get this emotional run at things that are evil. The only trouble is, you start in destroying - trying to find what is evil so that you can destroy it - will wind you up in destroying things that are good. So even that doesn't work.

LRH: Mm.

But you take 1.5, beating the drum, war and so on - not reasonable. Well, it isn't reasonable because it's just 1.5 in action. Some country moved! So a country at 1.5 has to keep the other country from moving. And this looks completely irrational, because the movement of the country to be attacked may very well be a movement in a constructive direction. This country may have moved to the end of making people have better things to eat, which produced sports. And they're moving in the direction of sports and they're quite active in sports. This is ample and adequate reason for them to be attacked, destroyed, torn to pieces and murdered to the last child - because they moved! And because there's no force high enough over a national sphere to compel a 1.5 by force and punishment not to 1.5.

PC: Put me on a succumb.

That's why you'd have to have a police state over the top of all other national police states in order to stop war, which is no solution. It's one of these stopgap affairs Then you'd have nobody over the top of the police state to stop the police state, and every time one of those nations moved, the police state would have to 1.5 and declare war on it. So you'd have no motion at all.

LRH: I find myself talking very colloquially these days whenever I get anywhere near this one that I was running last night, and I think that what's happening is, is I'm picking up the speech attitude of the space boys. They're very offhand - very incorrect. Oh, there's one that shows up on this machine about it just beautifully - Roman roads.

The last answer is a police state, such as a set-up, authoritarian United Nations - the last answer - an international police force. In the first place, there wouldn't be any place to go where you could move, and so on.

PC: Roman roads. Hm.

That was the trouble with the Roman Empire. After they'd had the boundaries of the Roman Empire all set up, there was no boundaries left to cross over. You couldn't go to any civilized part of the world. There wasn't a civilized part of the world left to go to. So if the Roman Empire got mad at you - in other words, if you moved and the Roman Empire found out about it - why, you were done for. And that's what happened constantly.

LRH: I built some of the big Roman roads.

All right. Now, your 1.5, then, objects to motion. And he objects to the motion to the volume that something is moving. When the volume becomes too great and he recognizes that he cannot destroy it, he moves, then, down the Tone Scale - temporarily or permanently - to a lower position on the Tone Scale.

PC: Mm-hm.

He may move to 1.1. And the 1.l's effort at motion is very simple. That is to destroy it but not let the motion find out about it.

LRH: Boy, it shows up on this thing. Proud of them! And how do you get a road built? You've got your certificate of chief of engineers of the area of Gaul - very proud. This business is fun if nothing else.

So if you move around a 1.1, the 1.1 may tell you, "That's just fi~ that you're moving," and reach around behind you and grab you somehow or other by the suspenders or something, and then you say, "Hey! Don't hold me."

PC: That's honest at least. (laughing)

And they say, "But I'm not holding you."

LRH: Oh, very much so; it gets less and less serious to me. Boy!

And you say, "Well, that's your hand behind me."

PC: One of your outstanding qualities - you can change.

"Well, that isn't why I put it behind you. I don't have any hand behind you. As a matter of fact, I don't have a hand at all." Because they're completely irrational; there's no rationality involved with this. It's complete and utter irrationality,

LRH: Mm-hm. Yeah, you can get more serious or less. I'd rather get less.

Now, when you get down Lower than this on the Tone Scale, you take grief: grief has a tendency... Theoretically there's one down there at 7.5 [0.75] which is another little harmonic on "hold." Yeah. Which is actually, technically, about where grief would be according to the harmonics scale.

PC: Get the seriousness off, you come up to truth.

Now there's a "hold" there, you see, because grief sort of holds a little bit. You put grief anyplace and it stops in that shape, form. It doesn't flop. Grief is stiff to some degree. The person sobs and so on - very interesting manifestation, grief is.

LRH: All right. What are we dealing with here? I know we're dealing with one thing. What did you think of?

All right. By golly, you move around somebody in grief and, of course, they go into grief. And they go into grief to the extent that you move around them, because their action is not an action to the computations of life or how dreadful life is.

PC: I just felt somatics in my ankles.

You see, death is stillness, and so motion and emotion have a similarity to each other because of this factor.

LRH: Somatics in your ankles?

You get somebody who is in grief and you move around them, and they go into grief to the degree that you move, because their method of handling motion is grief. Now, that's simple, isn't it? I mean, there's nothing to that.

PC: Yes.

If you walk into a house and began to dance, a person at grief would cry or would tend toward crying to the degree that you danced and produced motion.

LRH: Was it a past death?

Let's get some intention behind this: Supposing they objected by saying, "(sniffle) What are you doing?" and you started to caper even higher and shout loudly and so on, they would sit down in the chair and cry.

PC: Yes.

And you would say, "Why are - why are you crying?" Well, they'll have a big justification, big picture, a terrific script as to why they were crying. But that isn't why they're crying. It's because you moved around them.

LRH: Yeah.

Now you get a person in apathy, and a person is all the way down into apathy. What is apathy's method of handling motion? Let it go through and by; let it go through and by. And they will let it go through and by to the degree that something is there to go by.

PC: Bands on my ankles, metal bands and chains.

You take a person in apathy and you put their hand over on the side of the couch, they'll leave it there. Put their hand back across their stomach, they'll leave it there. They won't move it beyond that point,

LRH: Probably.

And by the way, they will leave it there to the extent that you move on them. If you moved their hand suddenly on their chest, the duration that they would leave it on their chest is much longer. So that if you laid it over very carefully and quietly like that, they would leave it there for a couple of seconds and then they'd drop it back by their side. You see, time has a lot to do with motion. That is to say, if it was more comfortable at their side - but they'd still leave it there for a while. The covert one at 1.1 would put it back in the position where it was before you moved it after a couple of seconds, you see. That's an effort to hold.

PC: It's growing heavier.

But here it is on the apathy fellow, you put it on the chest... Now if you put it over on his chest very solidly - wham! - and fixed it right there, it'd probably stay there for hours. See? The amount of residual motion which you have put into a limb fixes that limb for a duration of time. That's motion - goes through. You take a person in apathy and you hit them on the right shoulder and they'll spin. They'll turn around; you hit them on the left shoulder, they'll turn around.

LRH: Well, how about way back?

Now, here's another test on this motion-emotion: You take a person who's sitting in a chair. If this person is at resentment, you come up to the person, back of them (they're sitting in the chair) and you come up to them and you take ahold of the chair and you say - you don't say anything, you just start to lift the chair a Little bit. And they'll get up out of that chair and they say, "What's the matter with you?" Now, if they are in anger, you come up and put your hand - if they're at 1.5 on the Tone Scale, you come up and put your hand on the back of the chair and make as if to move the chair and they'll become heavier. They'll sit down on the chair harder. And try to pick up that chair - you might as well be trying to move a truck with your little finger. I mean, they make themselves very heavy. That, by the way - people get beefy at 1.5 - very beefy.

PC: Yes.

So anyhow, they sit hard. They'll sit harder in that chair and sit stiffer. And they'll sit stiffer to the extent that you try to force motion. So the harder and faster you tried to move that chair, the stiffer they'll sit. And theoretically, you could turn them into stone by hitting the chair very swiftly. That's theoretically; that would be the absurd extremity of it.

LRH: How about way back? Not be so anxious to run these bands on the ankles.

But as a matter of fact, you can turn them into arthritis by trying to make them move, because the harder you try to make them move, the stiffer they'll sit. And that's your arthritic.

PC: Well, they're stockings, now (pc and LRH laugh) It's a suit of armor.

The more you move around an arthritic - did you ever see an arthritic with a child around him? He gets worse and worse: hold, hold, hold, hold, hold, hold, hold, hold, and the next thing you know, more and more arthritis, more and more arthritis, more and more arthritis.

LRH: How about way back? How about before - before Earth? Is there a Before Earth with you?

Because what is it? It's holding the blood; it's dropping calcium out of the bloodstream. It's holding the endocrine system, which, by the way, also holds the parathyroid, which dissolves calcium in the system - establishes the amount of calcium in the system. It does these facts, and you get precipitation of calcium and other minerals in the system and you get arthritis And the more you move around this person ... You don't have to touch this person or bruise them or do anything else to them, just move. Just move. Do the stunt of coming in the house and sailing your hat across the room. They'LL get an arthritic twinge every time.

PC: Yes.

If you want to really upset an arthritic person, walk very fast, briskly, about everything you're doing around. Walk swiftly, make darting motions, and they'll really get sick!

LRH: Mm-hm. Yeah. And this Before Earth...

Now, if this person sitting in the chair were in fear, you'd come along and you'd touch the back of the chair and move the chair, and after you moved it a little bit, the person would slide off of it and they'd say, "Oh, did you want the chair? Well, if you want it, you can have it." And then they'll wait until your attention is off the chair and they'll sit back down in it again, even though it makes better sense to do something else. They'll come back and sit down in that chair - covert. They're trying to hold their own, but not too well.

PC: I feel as though I'm melting.

Now, in grief, if you come along and dump - try to dump this person in the chair, you could dump them half out and they'd have a tendency to stay there. That is to say, you dump them half out, they'll rock forward on the balls of their feet and you can let the chair sit back on the floor and you can watch the moment - even though the position is uncomfortable - that they will sit there balanced to that extent, sort of half-crouched. Then if you turn around and push them in the shoulder, they'll sit back down in the chair again.

LRH: Is it pretty hot?

And if you take a person in apathy and you come along and you take the back of the chair to tip the chair as though to dump them on the floor, they just dump on the floor. And they will dump on the floor all the way down until it occurs to them to ask what you're doing. And they probably won't ask it then. They'll probably look at you and go over and sit on the couch.

PC: Yes. But I'm growing very long and very slender - angular type of creature.

There's another test: If you stop an automobile, watch your passenger; if you stop it awfully fast, watch what the passenger does. If the passenger just sits tighter and tries to push his feet through the bottom of the floorboard - very extremely hard - 1.5. If the person lunges forward and then steadies himself and then wants to find out what's wrong and then sits back, you've got that. And if the person just dumps and goes into the windshield and spills onto the floor and everything else, they're in apathy. But this is a rigorous test and it is not recommended. Above these low bands - and the reason I stress them is because you see so much of them in preclears - above these bands, you get an emotional reaction which is very, very good. A reasonable reaction to what you're doing,

LRH: Mm-hm.

You come along and you hit the back of this person's chair .. This person by the way - a thought, the higher level of thought a person operates on, by the way, the less predictable he is.

PC: And ...

You'd think it'd all get down to zero. You'd think a person when cleared would be zero unpredictability, so that you could predict euerything he did. That's very nonsurvival. Because he's got greater and greater and greater and greater variability of action. The more he can think, the more variable his action and reaction is. So he's very well off, why, he's about as predictable as the pattern that'll appear in a kaleidoscope. He has great volatility.

LRH: Quite intelligent.

By the way, he can get misemotional, too. He can get misemotional and then get unemotional practically in the same split instant. But he's determining whether or not he does that. Sometimes serves his purpose.

PC: I'm moving with great rapidity, even my physical body moves - oh, the speed is terrific.

Now you take an individual who is reasonable and you start to dump them out of this chair. They look at you and the thoughts go through their mind clickety-click: "Does he want the chair? Is he just being rude? No, it's a test," They look at you and they know it's a gag, so they probably smile or something of the sort. And if you've really dumped them very hard or something like that, why, they won't object too terrifically, unless you introduce enough action there to injure them in some way or threaten their survival in some way. And then they're liable to do most anything on the tone band, such as beat you over the head with the chair. It'll have to do with reason though. Are you bigger than they are?

LRH: Were there any invaders at this time?

A 1.5, by the way, never considers that; 1.5 doesn't care what he starts out to destroy. That's why so many 1.5s get destroyed. That's a self-obliterating level.

PC: Yes. This comes when you asked, "Any invaders at this time?" Yes, and from civilizations yet to be born. That doesn't make too much sense unless you're in the situation I'm in.

Now the emotion is not complete, and your understanding of emotion is very far from complete, unless you know, appreciate, and can use the emotional curve.

We're invaded back here with a civilization which is yet to come to be knnwn by masses of people. A circle, then, to be completed by the people by whom we were invaded.

The emotional curve is simply this pattern of the Tone Scale whereby an individual starts at a high level on the Tone Scale: [marking on blackboard] here's 40.0, middle band 20.0, here's 2.0 and here's 0.0. And he starts down here at, let's say, 2.5, and he's traveling along very well at 2.5, and then he receives some bad news or some bad action to him - he gets a dip.

LRH: Mm-hm, Well now, which set of - is this the first set of invaders?

Now, the speed with which this is delivered to him and the magnitude with which it is delivered to him - actually, the magnitude of motion contained in it - will drive him down the Tone Scale. But you see immediately, to change a person's position on the Tone Scale, you must introduce too much too fast for the tolerance of his band or his own endowment - too much too fast.

PC: No.

Now, you see, a 1.5 will go up to a point where he will destroy what is moving. So you have to give him more motion than he can destroy, and you have to give it fast enough so that he has time to see that it is more motion than he can destroy, or he doesn't have time - and, you see, the less time he has to see that, why, the more variables can be in that motion. The point is - I'm making is, you've got to give him too much and you've got to give it to him too fast. So that when you give a 1.5 a lot of motion in an awful hurry, he starts down the Tone Scale.

LRH: What is the number?

And if you keep up the motion in that short space of time, you can drive him clear out the bottom. You could kill a person with too much motion. Do you realize that? Such as shooting him between the eyes. All that is, is too much motion.

PC: I say two

They don't die because neurons are disturbed or because of some electrolytic chemical response of the sacroiliac. They die because they've - suddenly confronted with too much motion.

LRH: Two. Okay. Second set of invaders!

Actually you could destroy every neuron in the path of the bullet one by one and systematically including all the bone and any gland that would be in the road of that bullet, without killing the person - if you did it slow enough. So that a 4400 feet-per-second muzzle velocity .22 caliber bullet has been known to kill a bear by hitting him in the paw. That's according to the manufacturers of the Hornet rifle, which is one of those rifles. And that's on the authority of Crossman, the great marksman. Killing a bear by hitting him in the paw. Whereas you can take a 2785-feet-per-second bobtail Springfield bullet and hit him between the eyes - in the eyes - and he'll still keep on going. You see, he is so much volume that to give him lots of motion fast is pretty rough.

PC: I'm too hot to wear a jacket.

Now, in other words, it's the shock; it's the speed with which this motion hits the person. It's the speed. It's also the speed which produces the pain.

LRH: Want to take it off?

You think something is unusual on the subject of - well, naturally a bullet hitting a person between the eyes would be different than an automobile turning around on one wheel and spinning around three or four times like a ballet dancer and falling over on its side, all the while, at first moment, doing a hundred miles an hour. If that much motion happened right close to a person whush, whush, eurr, eurr, whush, phsoosh! he'd probably fall down in a dead faint, no matter where he was on the Tone Scale. There's just too much motion there, that's all.

PC: Yes.

And that's proven by the fact that there's many a soldier picked up on the battlefield that is merely passed by an artillery shell. He doesn't even get the concussion, The artillery shell passes him too fast and he dies. There's lots of this on record. They were earlier on record because artillery shells were traveling slow enough so people could see them in the air. That's right. They were only traveling about sixty miles an hour or eighty miles an hour. But you take that much iron and you throw it over a guy's shoulder, and that's lots of motion.

LRH: Go ahead, do so. We can turn this heat down just a little bit.

So, you see, it's mass against time - mass plotted against time gives you the amount of motion.

[At this point there is a gap in the original recording,]

Pain is merely too much motion too fast. But when I say too much motion too fast, I'm gilding the lily you see? Too much motion is always too fast because it's space and time. Movement, change in space, according to time.

LRH: Did this wipe out any memory of past lives? This wipe out any memory of past lives or anything like that?

Now theoretically you could take an object the size of a .22 caliber bullet capable of traveling 4400 feet per second and press it slowly through a person's brain. And if you pressed it slowly enough it would not produce any pain at all. That's theoretically. You know that when you're trying to take slivers out of your fingers you always pull slowly. You always, in taking off adhesive tape, try to pull it very slowly.

PC: No. No.

Now, in the plotting of the emotional curve, what you're trying to do is take into effect how much motion is required, or how much motion was present, to depress the person on the Tone Scale. But it always has to be too much motion for their tolerance. It has to be beyond tolerance. Tolerance is the point where they can take the motion and react to it on their own level. They can stay on their own level and react to it.

LRH: No. Nope. Did this make you - did it wipe out any...

In other words, a man at 1.5 seeing another man rush up to him to stab him actually has not reached tolerance. He'll try to destroy the other man. He won't do anything reasonable about it; he'll just try to destroy him.

PC: I can't tell you what it did because I was told not to tell.

But if you had, let us say, a lion with full tooth and claw exposed charging this 1.5, that's too much, you see - too much weight, too fastand so he'll withdraw from the scene, completely aside from the aberration that's behind it. But a 1.5 doesn't act according to aberrations particularly, he just acts according to the Tone Scale.

LRH: Oh, that's correct. Yeah, absolutely correct. Tell me, are some of these - the ingredients of it "not to know"?

So you can drive this person down the Tone Scale by giving him more motion than he can tolerate. And if you give it to him too fast, there you are.

PC: "Not to tell," "not to remember ... "

Now when I'm talking about motion, I mean "change" actually. It's from [tapping on blackboard] start to stop, or stop to start. It's change of motion in his environment which is really what it is - change of motion in his environment. From start, or running, to stopped. From running, over here, to stopped, is a change of motion.

LRH: Mm-hm, ...

In other words, here was this very gay, happy person and they die suddenly. It drives a person down the Tone Scale because this is quite a drop. Here was somebody gay and happy... That's why people feel so bad about little kids, is they're so happy, they're so much in motion, and all of a sudden they're dead, and bong! And a motion by accident and the news delivered swiftly is capable of producing enough shock to kill a person, you know, or driving him down.

PC: "not to know" and "not to do this again except under specific directions, at which time without question it must be done instantly."

This change - call it change of velocity or change of vibration if you want to - this change can drive this person down here on the Tone Scale to a lower level on the band and then they'll resurge, but they won't get up to the position they were in originally. They'll be just a little Lower than that position. Sometimes you can drive them down hard enough, steep enough, so that they stay at the lower level.

LRH: Mm-hm! Do you consider you have those specific directions now?

If you atom-bombed twenty-one cities in America simultaneously in the first fifteen minutes - bang! - the country might be driven down the Tone Scale so fast that it'd go into apathy and stay there. Whereas the justification is not present for being in apathy. What have you lost? You haven't lost the majority of the production of the country, you haven't lost any majority of population, the country can continue, the country's capable of retaliating - but everybody's in apathy. You get that? Too much motion.

PC: (laughing) Oh-ho. I have them down pat. "Just don't " "To do is to die, and to leave undone is to die," so you're going to die.

So, on a preclear that you're working low on the Tone Scale, if you want them to work well, sit still when you're running a 1.5. Sit very, very still. And talk as easily as you know how to talk with as few words as possible and the 1.5 will feel much better. But if you were to move suddenly while the 1.5 was running through a heavy incident, you could actually dive him on the emotional curve - drop a heavy curve on him - and he would go into a lower band of the Tone Scale and would not then be capable of running the engram very well, you see?

LRH: Uh-huh. How would you feel at an impact making your face stiff?

So all of this heavy verve when you see a 1.5 who has arthritis saying, "Oh, come on there, let's see if we can get through that thing. Let's run it," you know, and snap the fingers and all that sort of thing: he is going to go down the Tone Scale. And then he'll get mad at you as the choice between that and going down the Tone Scale. He'll usually start out by getting mad at you, and then he'll go down Tone Scale on this. You see how that would be?

PC: Well, when I first started this, I went into the feeling of a board.

Now you take a person who's in fear: you'd better be covert in your motions - make that a person who's at l.l - obviously, be covert. Don't take out a pack of cigarettes, extract a cigarette in a forthright and determined manner, strike the match, light the cigarette, very determined. No, if you really want to match him on the Tone Scale, look for the cigarettes for a little while, take them out of your pocket, remove one from behind you, slide it into your mouth carefully so that he's not supposed to see it, scratch the match very quietly and then sort of pretend you're not smoking. And boy, he'll say, "That's my buddy," and so forth.

LRH: Great.

Now, emotional curves operate this way in daily life. All you have to do is to go around and drop a few curves on people to find out what is the solution to really ruining the human race. The newspapers have it down perfectly. They drop curves on you - continual dropping of curves - down, down, down. Therefore they'll wreck an individual's mental health.

PC: Just stiff as a board. I felt ...

[At this point there is a gap in the original recording,]

LRH: Mm-hm.

The emotional curve can be thrown down on a person so swiftly in an auditing session - by a sudden noise, by the auditor dropping something, by the auditor moving suddenly, by the auditor speaking sharply, suddenly, and unexpectedly after a long silence - that a preclear can actually be driven into apathy.

PC: that I was living in a civilization where everything was wooden.

And if you've ever tried to run a preclear who is in apathy, I strongly advise you against working preclears in places where noises are going to be sharp and sudden after silences, where you will be forced to make sudden motions, and I strongly advise you against speaking suddenly or loudly after a period of silence. Because, you see, what we're dealing with is actually change of motion, change of pace.

LRH: Mm-hm. Mm-hm. And what did it do to your eyes? Anything?

Now, you could run a preclear on a railroad train, even in a Pullman with its consequent and modern soundproofing, with the whistles blowing and the bells ringing and the wheels clattering and the windows rattling and the everything else happening, and the drummers in the other side of the car screaming over a poker game - if the noise was constant. But if you got a sudden silence - if the train by some necromancy suddenly stopped and became silent - your preclear would go into apathy. Or if a bomb went off in the middle of the car, this would accomplish the same thing.

PC: Well, my eyes have been in a scintillating dance for days. They've been horrible. And I have really perfectly beautiful vision, but everything goes black and white and black and gray, and moves in the horizontal plane.

Now, the lower zones are the danger zones. You may think that a 1.5 is in good shape, but a 1.5 can be hit suddenly with a change of pace, change of perception, change of something, and that change can drive him into a suicidal frame of mind very easily, A dictator - your strong-arm boy - is the most subject to death, self-inflicted and by violence. Your Hitlers will almost always wind up by blowing their brains out. Too much change will happen, suddenly.

LRH: Did anything hit your stomach in this same sequence?

Now it isn't a defeat or the bad news or the computation that fixes up a preclear or fixes up a dictator; it's the velocity shift. The dictator has had these armies going forward one way or the other victoriously, and receives the inexplicable news that the whole front has stopped advancing and has been met by a superior force and has actually changed direction and everybody is retreating. And he'll go into a complete fit! Hc'll even go into a fit if his army was stopped and all of a sudden made a tremendous attack which he wasn't expecting and was terribly victorious in the attack! He will throw the same fit. People then consider them unreasonable. Of course they're unreasonable; they're in a band of utter unreason.

PC: Oh, yes, I've been having - I hope - morning sickness which is - was tied up ...

Now, this should tell you something about observing people. In your observation of people, if you find somebody... Well, supposing you come home and you say, "T just won this essay contest and I'm going to go on a trip, and they've awarded me with this trip, and I get this big prize..."

LRH: Oh, yeah.

By the way, money is motion. You know, money is transaction - motion. So the loss of money, sudden loss of money, is much worse than slow loss of money, and the sudden acquisition of wealth can be as much of a shock, you see.

PC: with this thing a squeamish stomach.

So, now here goes somebody at 1.5 - you come in, you give them this piece of news. And you know they wished you well; you're very well aware of this. They wished you well - they've always said so. And you've all of a sudden won this contest and you're going on a trip. And they go into some sort of a state, and you can't quite figure out what state they're in. They weren't glad about this, and you start to feel bad. They'll eventually give you the idea you shouldn't win. That's true: from their viewpoint you ought to be completely motionless - no heartbeat, nothing! And if possible and at optimum, not even molecular or electronic motion in the cells, That's no motion. That's how bad it can be. So the critical band is the band below 2.2, really, because any speed of motion is not attended by the modifier of reason. And not attended by this modifier, of course, any change of pace produces a down curve. So your effort to pick up a preclear from a tone band to a higher tone band by feeding him good news, by being happy, by being cheerful, by being this, only succeeds in driving him down the Tone Scale.

LRH: A squeamish stomach. Mm-hm. What would happen if you got a summons to come?

So a person at 2.2: If you become active, cheerful, bright - your computations get very bright, you assure them they are going to get well ... You see, you told this 1.5 he's going to change - arrrrrhhhrr! He really doesn't have any objection to getting well. This is not the computation. He has an objection to motion or change of any character. You'd be much more likely to have him do it if you could establish the fact with him clearly that what you're doing makes it more and more impossible for things to change.

PC: Well, I would have to follow but not tell anyone why I received it.

It works the same way with a 3.0. If what you're doing confirms the status quo, bad or good, it will have more appeal to him. And you go in on a nice high-level, high-theta line, and you start selling the head of a corporation, who is at 3.0 and a very competent fellow - he's managing the corporation beautifully, it's going along, it's doing well... Or you go in and you see a surgeon who has been going through these routine motions and he is doing well - because, you see, a routine motion is also no motion. And a fellow who repeats an action over and over and over and it's the same action - that's no action because it's repetitive, because it can't be placed on the time track. Don't you see how that is? You can read your Axioms and find out about randomity.

LRH: Mm-hm. Good. Now, was there just one incident of impact, is one incident of being shot this way?

Now, here's this individual. He's been going through these routine motions. His state in life is not very good; he isn't getting anything done particularly. And you go in and you say, "Hey, what do you know? I've got this new stuff, and it's going to do all this and it's going to do that and it's going to do something or other." He isn't listening to you at all. He's seeing, all of a sudden, here is a change of pace. And if he's at 3.0, he doesn't want any change of pace - no change of pace at all, thank you.

PC: Yes.

But if you can show him that this fits with his program and this doesn't change anything, at 1.5 or 3.0 he's very happy you're there. "Doesn't change a thing, As a matter of fact, it makes these motions which you're going through even better and even more routine." Now he'd listen to you.

LRH: Was it followed by other incidents of any kind? No. Now, was it a civil...

But let's take from 1.5 to 2.5, the single-band jump. A person in boredom doesn't have enough randomity - he does not have enough action, enough change of pace. A person at 2.5, then, very easily gets into one of these statics. He starts going through a routine motion - oh, he does not like that! He wants a motion that goes bap, bap-bap, bap, bap and then bop, bop, bop and then bap-bap-bap, bop-bop, bap. Randomity, you see? He's got to have change because evidently 2.5 is a perilous point which demands change. 3.0 is practically stable; so is 1.5, so is 6.0. These things are stable.

PC: (laughs) I can't tell you these things, don't you understand?

But 2,5 is an unstability which a person can't tolerate. And he can't tolerate that instability He wants to go to 3.0, but he will go either direction or anyplace to get out of the 2.5. Therefore, people who read the New Yorker, something like that - they don't care euhat they criticize, they don't care euhat they chew up, they don't care what they kick around or destroy or help or what they do, as long as it's something-anything.

LRH: Sure.

So you can get a person at 2,5, which is just half a tone lower than 3,0, and you come in to this person and you tell them, "This new subject, Scientology, is going to make everybody sick, and it'll probably lay out three quarters of the populations of the world, and it's going to just ruin everything and everybody indiscriminately, and actually, practically nobody is ever trained in this, really. It's just a fake that they're trained. And half the time they do something, but the other half of the time they hurt people and so forth."

PC: I can't tell you these things; I can see them.

The fellow says, "Let me at it! How much money do you want?" - any change.

LRH: That's why this meter's so handy.

Now let's get the 3.5 and 4.0 bands: 4.0 is a stability; 4.0 picks up any motion that comes in to him and throws it back. So he will listen to you. He'll say, "Well, that's - that's fine. But what can we do with it?" right away.

PC: Yes, well, one impact, but it was divided off into a section, you see?

A fellow at 2.0 will say, "(antagonistically) Hm. What can we do with it?" The fellow at 4.0 will say, "(enthusiastically) Well, what can we do with this? Where will we go with this? Fine, fine."

LRH: How many sections?

But you've got to have something fairly constructive for that fellow to do with it at 4.0 and even at 2.0. It's got to be systematic in its action. It's got to be able to produce something that has something - vague semblance to reason at 2.0 - semblance to. At 4.0 it's definitely got to be constructive and reasonable.

PC: Oh, many sections.

But at 3.5, uh-uh. No. At that point on the band: "Well, what does it do?" "It does something. It changes things," "Let me at it." You get the idea? "Let me at it," he'll say.

LRH: Divided off into sections

Now, this should give you some sort of an idea of reaction - human reaction. The critical band is below 2,5 - below 2.2, actually. Because it's always down. It is never anything else but down. If you let the person go through the static he demands - that is to say, the motion tolerance he demands - and you keep him in that level, he just stays in that level. He doesn't rise; he stays in that level. You confirm the level. But if you give him a change of pace, you reduce the level. You never improve it, you reduce it, by any motion in his vicinity or any attitude which you assume.

PC: ... There's a sporadic spilling of force.

Above 2.5 you can start shooting people up curves. By giving them something that demonstrates constructiveness to them and a change, or a static which confirms constructiveness at 3.0 and 6.0, you will be able, then, to shoot them up curves. And theoretically, you can shoot people up curves fast enough to make a marked change in them - just by giving them a tremendously good piece of news, let us say. Shoot them up the curve.

LRH: How about you being divided off into sections with it?

A good piece of news is different to different people on different bands, however. A good piece of news to a 3.0 is "The stock market has at last stabilized, business is in a status quo, nothing will now change for the next eight thousand years. Nobody's going to die and nobody's going to get well."

PC: Well, I was about that, see? There were various forces for the limbs, and chest area was heavy and throat area was like something grasping, just throttling you, see?

You could practically ruin a 3.0, or a group which is running at 3.0, though, by shifting their routine - rrrrh. That's horrible to shift their routine. Shift them five minutes and you get a - practically a revolution on your hands. They don't want this. But the revolution is not toward anything but back to what it was before; so that's the result of your revolution.

LRH: Did you ever see this as asthma?

Now, this should tell you and should to some degree conflict in your minds with what I was telling you about getting a lot of people well in your vicinity. You notice I ended that other talk by telling you that probably some of you would be burned as witches and we would probably have to pick you up in the next life and run it out. Nothing truer.

PC: Well, it is a perfect description of asthma. (laughter) But it starts, you see, in one shot. I can show you. It starts...

Because you show a 1.5 a person who is lame and blind, who is suddenly radiantly healthy, and oh, he does not like that because it's change - it's sudden change. But you know what you do? You know what you do when you show it to him suddenly? You take him out of your hair as being any threat to your operation because you'll drive him instantly into apathy and after that he won't interfere with you. You get the idea?

LRH: Mm-hm.

Now, this change, this sudden terrific upsurge, will hit a 2.5 or a 1.1 as being very desirable because it's "change something, change anything, do something!" See? And you give them something up, so they're not going to object to you.

PC: ... right here and then it splays out and then it sneaks up in your back, across your shoulders, and finally gets into your chest cauity, and then one of your poor auditors says, "Have you had an x-ray recently Of your chest?"

And people who are in grief and apathy will just stay in grief and apathy anyhow. A person's crying and they - because their little girl is sickly. Then you make the little girl well, and then they're crying because the little girl's too active. That is a horrible part of the lower part of the Tone Scale band, is anything makes it more of what it is or drops it down.

LRH: (laughs) Your auditing lying on top of this ...

So that's why I'm advising you on this emotional curve. You must give it a terrifically upward surge - zing! - to really make it stick; because what you do with people on the lower band, the counter-effort band on down, they just go into apathy. And you go around and you say, "Well, I'm going to work on you now." And they say, "(apathetically) All right," "Run such and such an incident." "All right."

PC: I'm so hot. Hm.

And they'll run it too, by the way. They'll go through it. They won't see any hope for it and all of that sort of thing.

LRH: Is the auditing lying on top of this?

Now, there is a way to change people on the Tone Scale. The best way I know is run Facsimile One, beginning to end, run it out. That changes people on the Tone Scale. That changes them wildly. That changes them way up. You run it half out, though, you'll run it up - you'll run their tone up.

PC: No - yes! Yes.

Now, you can actually work a person and unburden the confirmed level where he is. By blowing locks, by knocking out some engrams and so on, you can gradually raise him up. You can do this. So therefore, for people that are too low to run your first incident on, Facsimile One, what you do is try to knock out some locks or secondaries - and I want to tell you about a secondary. But people who are very low like that, you want to work them on locks and work them on some secondaries. Don't even try to make them feel effort; just work them on something to raise their level.

LRH: That's all. . .

And the fastest way to raise them up the Tone Scale, the swiftest way to do so if they're too low to be worked in Facsimile One successfully, is by establishing some affinity, communication and reality with them, giving them some environment, then making them contact some of the reality of their past, and then knocking out some secondaries if you can get to them or taking some emotional charge off of the case. And this you will find is successful; it'll bring them up to a point where you can run Facsimile One. And that'd be the only reason you were monkeying around with what we call locks, secondaries or lock chains.

PC: I'm so hot! (chuckles)

Now, emotion is very strange in that it confirms at various levels; it is at various levels. A person who is in grief most easily runs grief and actually will run grief almost endlessly. You can take a person in grief and they can spill off, I would imagine, about a thousand hours of tears without getting the least bit better. Why? Because they're in grief.

LRH: Was it very hot the day it was done?

You take a person who is in anger - this is a little bit different than grief. Grief is a hallucinatory state. The person who is in anger might actually run some incidents where he was very, very angry and feel better. He's no more - or no more above 1.5 than he was before, but he'll feel better as a 1.5. Get the idea?

PC: Yes!

Now, as you go down the Tone Scale, this 1.5 - if this 1.5 could be run through some grief, you see, you'd blow out some of the foundation that was holding his tone down, and as a consequence he would go up the Tone Scale a little bit. And you get some - what would have been considered in the past some marked changes in his personality. He wouldn't be quite as bad off as he was before. Terrific change, in other words, according to past results. Even in old time Dianetics, what we considered to be big result - no, that was microscopic. But that was an enormous result compared to what they had before. All right.

LRH: And did it also seem to generate some heat?

A secondary could be called a deposit of emotion - a deposit of emotion around a certain subject and incident. Let's take a secondary of grief - something of that sort - and here you'll find the individual received the news of somebody's death. If this person was a 1.5, what's he going to do with that news? He's just going to hold on to it tight. He's not going to cry about it either way. This is what you call an emotional shut-off. It's not an emotional shut-off, it's just a 1.5 holding on.

PC: Yes.

But if you can, get the person into this incident - let's say it's his father's death - and you run him from beginning of the incident to the end of the incident, you will find this individual, in releasing the tears of loss, will actually feel considerably better. The 1.5 can be run through it from beginning to end without any tears at all, but the effort to hold on to this change and stop it from changing can be run out of the news received. So a 1.5 would receive a different secondary from the same news than a person at 0.5. You see how this would be?

LRH: Were you unconscious for any long period of time?

All right. The way you run a secondary is very simple. Facsimiles can be arranged according to time. A facsimile contains all the perceptions, all the emotions felt and present, and all the efforts and counterefforts present at a single incident or a single moment or a single chain of moments. The way you run a secondary is to take the person to the beginning of the secondary (you don't have to send him down anyplace because the facsimile's right there if you call it up). You take him at the beginning, the first time he heard something or saw something related to what you're trying to run in that incident.

PC: Yes.

For instance, let's take the news of the father's death: "Who told you?" "All right, well, my mother called me up, I guess." "All right, go to the moment you answered the telephone." Now you run him through that on a blow-by-blow description just as though it was happening all over again from beginning to end. And when you get to the end of it, which is maybe the next day or even a week later, you go back to the beginning of it again and you run it from the moment he picks up the telephone straight on through. And you coax him to feel the telephone in his hand and you coax him to do this and you coax him to do that in order to bring up and develop this facsimile so that it will erase against present time or reduce against present time.

LRH: Numbers of hours?

Actually, a facsimile can be made to disappear in its entirety. You're not interested in making facsimiles - any facsimile do that except Facsimile One. So a good reduction is all you're looking for. It just doesn't have jolt in it anymore.

PC: Ten.

Now, you watch a person running a secondary If you have a person who is fairly - let's say a person at 3.0 on the Tone Scale and he starts to run a secondary of grief, you take him to the beginning of the moment he heard his father was dead, and he runs through from that. And "What did your mother say?" and "What did you say?" and "Where did this..." and "What did you think at that time?" That's very important: "What did you think at that time?" and so on. And "Where were you?" and "How did the hospital smell?" and "How did this..." and so on. "Let's go on through. Let's pick up these things, one by one." Run him right straight through to the end of the thing.

LRH: Ten hours. Mm-hm. Okay. What would happen if you ran this?

You'll find out the first time he went through it, he'll just be in glue on it. No, he'll probably be way outside of himself looking at himself. And you run it through the next time - that's apathy, by the way, that you ran off of it, only you don't recognize it as any action because that's apathy: no action - reaction.

PC: Why, I got a great, bright light when you said that. I feel as though I would break a prison bar.

Now, you run it straight through from beginning to end in apathy and you come up to the next band: grief. If he finally gets inside himself and so forth, you run it through, you'll probably get the tears off. And you'll run it through on that, and he'll eventually stop crying about it. And you say, "Well, that's fine, that's run out." Oh no, it's not.

LRH: Mm-hm. Good enough. We got all we know. Become aware of your surroundings. Okay.

He has to go through fear now, and there's something in there that has anger in it, and the next level up is resentment, and the next level up he'L1 be bored about it, and the next level up he'll get very conservative about it, and the next level up he'll get happy about it. "So my father died, so what?"

Just for interest, Doctor, how about you taking hold of her cans for a couple of minutes?

And that is, by the way, the way the Tone Scale was first observed. A person as he runs the incident goes right on up. Very often he'll skip one of these steps, having hit it as a mixed emotion with the last time through - not exhibiting it. So he'll just run up the Tone Scale. But it would be a mistake to leave it in anger; it would be a mistake to leave it in boredom; it would be a mistake to leave it anyplace but where it should be left, namely at least tone 4.

Male voice: Uh-huh.

Now, if you can get tears and run an incident up like this, your preclear will regain quite a lot of bounce. He'll be in much better shape if you get off some tears or you get off some fear, you get off some anger; he'll be in much better shape afterwards. And these incidents do not readily present themselves; they are not particularly easy to run. Rut when you can run one, look for it and run it. Actually I haven't run a secondary off of anybody since I ran one off of myself a year ago, but it's a good thing to know.

LRH: Why don't you take them?

Male voice: Say Ron?

Male voice: Okay.

Yeah.

LRH: It turned out exactly. I never saw the like of it - it's just bang-bang, bang-bang. Just perfect. I think I'll run this on you, Nan.

Mule voice: Your suggestion at a previous lecture to run ARC enforced - inhibited, preclear to enuironment, envioronment to preclear, I find very useful in discharging secondaries rapidly.

PC (female voice, 1st pc above): Good, I wish you would, because I damn near died in this incident.

Yes

LRH: Sure.

Male voice: Very fast. Cuts the time in half.

Female voice: I mean it! I don't exaggerate!

Well, your running of secondaries is something that you must know how to do. And the reason you must know how to do it is, in addition to being everything else, Facsimile One contains all of the aspects of a secondary and comes up the Tone Scale like a secondary will. So you have to know what a secondary is and how it reacts and how to run emotion.

LRH: Well, let's...

Now, it'd be very well if every emotional incident which you ran was a monotone emotion: it was all grief, it was all fear, it was all this and it was all that. But they are not that way. A person who's giving you all of an emotion at one run is not moving in the incident.

Female voice: We were down in Key West. You know that he had to give up his office practice, take me to Key West, and I got so sick in the street we had to come home again!

Emotion varies and this is where we get back and tie in the emotional curve. You see, just before he received the news of his father's death he probably felt fairly good, and immediately after he received it, this was too much change fbr him. Bang! Down he goes. You see, father's loss meant that there was no motion there where motion was before. So that's a big change. That's what loss is: motion is no longer with you - "I haven't got this object anymore or I haven't got this person anymore." It just has ceased to move or ceased to exist. All right.

LRH: You're not telling me nothing. Not telling me nothing.

So you run it and it runs like a roily coaster. Any incident more or less runs like a roily coaster. He starts in and all of a sudden he receives this shock. He can feel his emotion go down; he can also feel his reality turn down; he can also feel his ability to communicate turn down; he can also feel the affinity of the world for him and his feeling of affinity for the world - all these things - cut down sharply.

Female voice: You haven't seen me sick? Honest! Am I like this...

Now, if you really want to get him into this secondary, just run him over that first emotional curve of it several times - zing, zing, zing, zing, zing - and make him feel this drop. Make him feel this drop of emotion, make him feel this reduction of affinity, reality and communication with the world around him and so on; make him feel this change - over, over, over, over, over. First he's happy, now he's sad; then he's happy, now he's in apathy; now he's happy, now he's in apathy. Oh, he remembers now that he was very happy and then he got very apathetic. And so you run him through this curve over and over and over and over - over and over the curve.

LRH: Little kids' measles . ..

And by the way, you won't find him in the secondary very long if you do this too long, because he'll go back and get into the beginning of a death or something like that, way back on the track somewhere. He'll get into some lock on the service facsimile, and of course, the service facsimile basic is Facsimile One. That is the basic on the service facsimile. The service facsimile chain is a whole chain of incidents which have been bothering the preclear all of his life, which he's been using, which other people have been using, and so on. This is his useful series of aberrations, which has no use to anybody but to other people. Now, running then, this secondary, you will find his emotions will vary. He'll recover a little bit a half an hour later and then somebody else will mention the subject again and down he'll go. And then he'll recover a little bit and down he'll go some more. And each time you find out that he isn't up quite as high as he was the last time, until he'd be chronically in a lower tone.

Female voice: Am I like this.

One's whole life actually is a sequence of dropping tones. Old age is nothing more than a confirmed low tone, actually, on the physiological side. And that is the deterioration of the body. Now, if you got the emotion off of a case and so forth, there's no reason why anybody has to stay old.

LRH: ... and all sorts of things are on this darn thing.

Running, then, a secondary, one is running the variability of emotion. And you can make a person move in incidents where he's stuck by making him run the emotional differences, one to the other, one to the other, one to the other, one to the other.

Female voice: Am I like this one minute and nearly dead the next? With Hal so frightened he doesn't dare work with me.

The emotional curve is something that sounds very simple, but you should know about it because it will locate incidents for you, and it is something that people do about emotions and so on. And as you're running preclears in general, you have to know about this if you're trying to raise them up a bit on the Tone Scale. And in particular, in running Facsimile One, you'd better know about emotional curves because, oh boy, some of the curves that thing takes! Up! Down! Agony, hate, sorrow, anger, fear, terror, apathy, wild happiness, anger - just over the humps, over the humps.

LRH: Yes or no? Traffic? (snap)

Now, you can tell a person to run the emotional curves of this incident and he will feel nothing more nor less than the band, roily-coaster changes of emotion throughout the incident. And by the way, that's right, he'll just feel these curves right straight along the line, and it will keep him from feeling the effort if you tell him to concentrate on those emotional curves.

Female voice: Yes. Hummm Hummm!

Now, you can also tell him to concentrate on the emotional curves of the people around him, his environment - not so much in Facsimile One, but in other incidents - and you'll get quite a difference to him. He can feel the emotional curve of somebody else, the drop of emotion of somebody else.

LRH: That's right.

You can test this on yourself merely by going back and remembering times when people dropped curves on you.

Female uoice: Hydra-Matic.

And that's the only way anybody's ever going to slow you down in Scientology, by the way, is: you feel good, they drop a curve on you. Dropping curves.

(R&D volume note - Hydra-Matic: the trade name of a type of automatic transmission that came into use for cars in the early 1950s; it employed a hydraulic system to automatically change gears while driving.)

And if you ever want to really take somebody out of the running completely, all you have to do is drop enough curves on them and I guarantee they'll never bother you again - or raise enough curves up co the top. And if you raise enough curves up to the top - shoot curves up on people who are low in tone - they won't bother you anymore either. I advocate pushing curves up, not dropping them down.

LRH: Sure.

Thank you very much.

Female voice: ... more than anything else.

LRH: Mm-hm. Sure. That's it,

Female voice: Yes. Electric eggbeater is another one. Anything like that.

LRH: Well, look here. Look at this one. How do you like this? High-toned character.

Female voice: You bet he is - the best.

LRH: What do you know?

Female voice: Have you heard that I've decided to keep my aberrations and my husband, rather than to give my husband up!

LRH: Oh-ho! (laughter)

IRon begins auditing second pc (husband).]

LRH: How do you feel today?

PC (male voice): Oh, I feel good today. Had a little headache this morning. Keyed in ...

LRH: When ?

PC: ... while you were talking last night.

LRH: Last night?

PC: Mm.

LRH: Where was the headache?

PC: Oh, it was about the center of the head ...

LRH: Find the spot back there in the middle of the head!

PC: Well, there and radiating; sort of center ahead and toward the front and between the eyes.

LRH: Now, in terms of order of magnitude, how long ago would you say this headache might have been - occurred the first time?

PC: In this life, you mean?

LRH: No, in order of magnitude: Thousands of years? Tens of thousands of years? Hundreds of thousands of years? A million years? Million years?

PC: Well, it comes to-nearer towards a million, I think.

LRH: Million? Nearly a million?

PC: I think a little over.

LRH: More than a million?

PC: Yes.

LRH: Yes, more than a million. Let's say a million, a hundred thousand - something like that - or million, a quarter of a million?

PC: Million, two hundred thousand.

LRH: Million, two hundred thousand.

PC: Yeah.

LRH: All right. Were you in rebellion before this happened?

PC: Yes.

LRH: Did this make a citizen2 out of you?

PC: No.

LRH: No. But did anybody hope it would?

PC: No. I just answer, I don't know what I'm - what I'm ...

LRH: Yeah. You're just answering, that's all right.

Female voice: You're just answering is right! Just keep answering.

LRH: Yeah. Now, would you feel, offhand, that there would be any chest and throat condition might go along with this forehead somatic?

PC: Well, I just got a little - some funny feeling in my throat - deep in my throat.

LRH: So you get a little tone rise on it, don't you? The idea that it might really get better. You been looking for this for a long time?

PC: Well, I'ue had a - an allergy in the right side of my larynx for quite some time.

LRH: Is this from the same incident?

PC: No.

LRH: Later incident lock is what we got. But it's - is it sitting on this first incident?

PC: No.

LRH: No! Would this throat somatic have to be run before we could run the first incident?

PC: Yes.

LRH: Could we run the first incident, just start right in with that?

PC: I hope so.

LRH: How would you like to be relieved of this?

PC: Oh, I'd like to be relieved of it. It's not the primary thing that bothers me. It's just something there, that's all.

LRH: Very interesting set of needle jumps there. This first incident, are you supposed to hold on to it?

PC: No.

LRH: Not from your own choice.

PC: No.

LRH: Would somebody like you to hold on to it?

PC: Yes.

LRH: Does this say you're not supposed to know?

PC: No.

LRH: Mm-hm. All right. Did this, by the way, subdivide your personality in any way - this incident we're talking about way back, you're in?

PC: Yes.

LRH: Traffic noise bother you?

PC: I don't like any kind of noise.

LRH: Did you start into this - I'm talking now about an incident. Would you say you started into this in the feeling that nobody was going to make you knuckle under?

PC: (pause) Way back there, you mean?

LRH: Mm-hm, way back there - that's right. That's a hot response. What are you thinking of?

PC: I didn't want to be knuckled under.

LRH: Yeah. Did you afterwards?

PC: I had to submit.

LRH: Uh-huh.

PC: I kept doing it in this life, too.

LRH: Okay. Boy, look at that needle jump. Oh. That's a feeling you don't like.

PC: I know

Female voice: (laughs) Oh, that rips our house apart every day.

LRH: Oh, that made it drop. Would that have its source way back in this earliest incident?

PC: It certainly could.

LRH: Mm-hm. Bong! What did you think of? Anything else?

Female voice: Yes. Was your father in this incident?

PC: No. No. Only in a late life.

LRH: Oh, you got a late-life incident sitting on it! How about handling diathermy?

PC: I'm always afraid of electric currents.

LRH: Mm-hm. Things that hum! How about jungle drums?

PC: They fascinate me.

LRH: Mm-hm.

Female voice: He was born in Burma.

LRH: Sure.

Female voice. Loves it.

LRH: Uh-huh.

PC: I'm always fascinated with voodooism.

LRH: Mm-hm. But if you didn't have this forehead somatic, and so forth, could you do it very well - this voodoo stuff?

PC: I think so.

LRH: Would it be very easy for you to?

PC: Well, if I didn't have all these blocks in my way it would be easy to do it.

LRH: Mm-hm. With them licked could you do it very easily and very well?

PC: I think so.

LRH: Mm-hm. Did you know how once?

PC: No.

LRH: "No." Are you supposed to say no?

PC: I don't know

Female voice: Are you supposed not to tell?

PC: Yes.

LRH: But not very heavily.

PC: Seems that I must have known because it's fascinated me so long.

LRH: Uh-huh, good. Okay. That's everything we want to know.

PC: Gee, these things tingle like the devil.

Female voice: Did you get hot?

LRH: And you're very sensitive to current, because there's practically no current running through those things.

PC: I may have this.

LRH: You know you take an electric battery and touch a terminal with your tongue, that tiny, tiny tingle you have?

PC: Mm-hm. Mm-hm.

LRH: Well, that's about as much current as it's putting out.

PC: Mm-hm. Mm-hm. In my fingers I can feel there's a pulse in ealery-every finger.

Female voice: Well, his fingers are very-that's the way he does his surgery .

LRH: Sure.

Female voice: ... he has such a wonderful sense of touch. He picks peanuts out of people's lungs just by feeling where it is, there.

LRH: Uh-huh.

Female voice:... where it's stuck.

LRH: Okay, put them down. (laughs) Can you stretch?

PC: (laughs) I answered a lot of things that I didn't know I-I didn't try to figure them out. I haven't had, you know much auditing. I - it was a year or so ago when I had a little of it, but I haven't done any since.

And you did about a dial on that - that drop on that restraint.

PC: Mm-hm.

LRH: "Having to submit. Well, that's the ...

Female voice: Problem - that's it!

LRH: Mm.

PC: That's been the most galling thing in my life, I think.

LRH: [to first pc] Well, let's - you take a run at it.

[At this point there is a gap in the original recording. The preclear being audited when the recording resumes is the wife.]

LRH: Feel that bap, middle forehead.

PC (female voice - the 1st PC again): Oh, God.

LRH: Pick it up again - bap!

PC: I have a feeling that I try to push it off.

LRH: That's right. Let's get that - your effort to throw it off. Bap.

PC: Yes.

LRH: Get it again. Bap!

PC: I'm getting under heavier pressure.

LRH: All right, let's get it hitting good and hard.

PC: I have a feeling that I'21 stop breathing if I do.

LRH: Go ahead. I'11 start you breathing again and you have a good doctohere, too. Bap!

PC: (laughs) I sneak up on it!

LRH: Good.

PC: Ou.

LRH: Right in the middle of the forehead. Bow!

PC: Yes, I feel it. I'm coming closer to it.

LRH: Bow! (pause) All right. Scan your emotion just before and right to it - bow!

PC: It just ends in death.

LRH: Hm!

PC: Any time I come near it, I have the feeling it will end in death.

LRH: Mm-hm, All right, let's scan that feeling, straight up to the moment it hits.

PC: Okay.

LRH: Let's scan that feeling right straight up to the moment it hits, and feel it hit. (pause) Got it!

PC: Mm-hm.

LRH: All right. Let's scan the - scan your emotion.

PC: I'm getting a terrific pain in my head.

LRH: In your head?

PC: Uh-huh.

LRH: All right. Scan the emotion up to the moment it hits.

PC: My ears feel as though they're being pushed in.

LRH: Mm-hm.

PC: Oooh. Ohh.

LRH: Are you kneeling or standing or how, the moment it hits?

PC: Flat, flat down on my back.

LRH: Okay. Well, scan that feeling up to the moment it hits again.

PC: (coughing) (long delay)

LRH: Oh! There's no asthma in that! (laughs)

PC: No!

LRH: Oh, no!

Let's scan that right up to the moment it hits again.

PC: Ohhh. (heavy coughing) (long delay)

LRH: All right. Get your emotion - emotional curve - just before and right into it.

PC: Oh. Oh. (choking coughs) Ohhhh. Oh. Ohh. (coughing) Ohhh.

LRH: Let's not bother to cough about it. Let's just scan ahead and do it.

PC: Oh! I'm getting awful hot.

LRH: I imagine so.

PC: Mm. (sigh)

LRH: All right. Get the emotional curve right at the moment... What kind of an impact is it when it hit you?

PC: (yawns) Oh, it is like something that comes in a cone effect. And it goes errrrh! and ... (moaning tone of voice)

LRH: That's right.

PC: ... but the point hits you first.

LRH: Uh-huh.

PC: But I've got it working down here now. (coughs)

LRH: All right. Yes or no: We scan through to the second one! (snap) Oh, let's scan through the second one. Get the cone hitting on the second one.

PC: (pause) (choking coughs)

LRH: Scan through the beginning on the second one no~

PC: Ohhh. Ah... ah... ah... ah... Mm. I won't be able to breathe if I do.

LRH: Go ahead.

PC: Oh, no! (gasps) Oh! Oh, no (coughs) (moaning)

LRH: Get the first and second one.

PC: Oh. (moaning) (long time)

LRH: Bop-bop!

PC: (yawns) Oh. Oh, oh. (coughs) Oh. Oh! Oh.

LRH: Is that second one a sharp point or is it more a spread area?

PC: Pressure.

LRH: Well, let's get that. Now, let's scan the emotion just before you get the one in the forehead - the emotion straight on through to the one in the chest.

PC: (yawn) Oh, God! This is where I'd like to kill everyone. I wouldn't spare anyone! Oh, no! Oh, God! This is where you're the devil himself! Oh! (gasps) Oh-uh. Oh-uh. Well, maybe I'd save one or two (laughing)

LRH: Tone comes up one or two.

PC: Oh, I certainly wouldn't save you. Oh, not for this. I'd save someone that didn't know anything about anything that you know anything about. Ah, ah, I don't know though - I might - I might let you live. If you let me live, I'l1 let you live. (laughing)

LRH: Mm-hm.

PC: Yes, I think I will. Mm. Why, sure. Okay.

LRH: Did you get that second pressure?

PC: Yeah .

LRH: All right. Let's scan the emotion from just before, right straight on through as far as you can go in the incident, now, on a fast emotional-curve scan.

PC: Oh, God, no. There's one point you go up - you go around, you don't go through.

LRH: Mm-hm, that's right.

PC: Uh. (groans) Oh. Ohh. Oh. Why does this come up? This is supposed to be buried. You're never supposed to have it come up. (coughing)

LRH: That's right.

PC: If you tell it, you get buried! (laughs) Uh. (coughs) Mm. Oh, I'm too hot. (yawns) Oh, God, I just feel that if I could see the ocean once more, I'd walk into it, and never come back. I'd get cool in the sea, never again come back-down deep in the ocean. And I'd like to see it move over everyone; drown everyone - slowly! Slowly. Oh-oh-oh-oh-oh. Ugh. I...(coughs) (pause) If you go through it, you die. Uh, only one tenth you never never can experience and live.

LRH: Mm-hm.

PC: Slowly you'll die. (long time) (moaning)

LRH: Have you picked up a third strike of it?

PC: Please. (coughing) Nothing. Oh. Oh, no! Oh-hm. Oh. (yawns) Oh. Eeh. Oh, oh. (yawning) Ah. I picked it up in my shoulders, a force that strikes at right angles and pins me down.

LRH: Mm-hm.

PC: Ah...(yawns) Oh. (long time)

LRH: These guys were awful ruthless.

PC: Oh. (yawns) Oh. Oh. Oh boy. (coughing)

LRH: Still going through it? Get it all.

PC: Oh! Go on. Gee. (sighs)

[At this point there is a gap in the original recording.]

PC: (yawns) I'm tired. Oh, God, I'm tired. Oh. Oh, I'm so tired. Oh, I'11 - I'11 never neaver get over being tired, just tired. Oh, oh. The sides of my head. Oh. (very slowly)

LRH: Mm-hm.

PC: Oh. Both sides. (groans) (coughs deeply) Well, you can't live through this. It's impossible, so don't even try. And something else tells me to do it. "Don't-do Don't-do!" Oh! Oh, oh, oh. (yawns) And this is "don't" always, and this is "do." And one is just as strong as the other - so strong. (slowly) (long time) (moaning)

LRH: Alternate impacts?

PC: Didn't hear you!

LRH: Alternate impacts?

PC: Yeah.

LRH: Yeah.

PC: (yawns) Yeah. It's "Don't-do" and "Make up your mind." "Don't-do" and "Make up your mind." "Don't-do," and "Make up your mind." (coughing) Oh! Oh! Beat out your brains and tell you to "make up your mind." (yawns) I used to love to yawn when I had asthma and my aunt would say, "You're getting better." (laughs) Then she'd tell me "Yawn. Now you're getting better." I don't feel it right now It's getting worse. Oh, oh, oh. Oh, God, I'm getting so I can't see; I don't even want to. Uh-mm. (very slowly)

LRH: Steady on there.

PC: (groaning) Oh, I'm afraid of it. I don't think ... Oh, no. I don't feel - I feel just the way I did the other day, and I thought I was dying.

LRH: Scan on through it; scan the emotional curve on it.

PC: Oh, God! I at least had some adrenalin the other day. (coughing) Oh, help, my wind is getting shorter, so short I can't even cough. (groans) Oh, I hate everyone. I'm not going to lie anymore. I'm never going to love anyone again. I'm going to hate and kill! And I'm going to destroy everything that anyone ever had anything to do with. They destroyed me. Only stupid people will we let live because they'll never think. Never Only people that think can hurt me. (gasps) Oh. I'11 knock the wind out of everyone, including you. Everyone! Oh.

LRH: Scan right on through to the end of it.

PC: My arms! They wouldn't let the pain down; pinning my arms when I would cough.

LRH: Mm-hm.

PC: Oh! Bla-ah. Then my fingertips, my hands are getting crippled. (yawns) (coughs) If you live through it, you'll never defy your superiors again, and you'll be a willing inferior. Yep I'd rather be dead! (laughing) I would. (yawns) Twelve men - and they're not the Apostles - are back of this thing and every section - they've got us all sectioned off, and twelve minds work as one, always twelve. (groans) (starting to sound a bit better)

LRH: [to husband] She works like a dream - getting through it now.

PC: It's the funniest thing: there's a feeling that fire is now turning into such a liquid form it's like water but it's still fire and it spits Psssssse wssssssee wsssee.

LRH: Mm-hm.

PC: The way it happens, every nerve fiber in my body is burning! And ... Oh, ho (yawns) Arthritis, they calls it. (laughing) (coughing) (talking a bit faster now)

PC: Oh, God, I'm hot. Oh. Oh, I'm seeing the funniest thing. It's like a silver bullet with all colors around it going psssseeeew - like that. Pssssesssseww. Oh. (yawns) And it's striking my eyes. (yawning) And it's as if teardrops are permanently in motion in front of my eyes, and all the colors of the spectrum are whirling and then they go black...

LRH: Mm-hm.

PC: ... and then color again, goes black.

LRH: Mm-hm.

PC: (yawns) And some doctors tell you, you have liver trouble. (laughs) Liver trouble all right! Black-livered people ... (yawns) tell me that I should relax ...

LRH: Mm-hm.

PC: ... just permanently relax. Uh-it's an energy that distorts any element of concentration you might have, just willy-nilly. Ah!

LRH: Mm-hm.

PC: No power of coordination (sighs) Everything slows down - s-l-o-w-s down. Oh, so slow. Oh. Become thick-mouthed and sss-slow speech, ss-slow reactions, and heavy step. Everything is so awkward. (sighs) (talking very slowly again) I hate myself this way. Miss my sense of coordination, and now my memory is going. (sighs) I mustn't remember. The easiest way not to tell is not to remember. And I must spend time and effort trying to remember. Always trying to do something I can't do so that. I'll always end being split and desiring one thing never able to attain it. (choking coughs) Oh, it was just freaky. I feel as though (breathing heavily) I am being put in a tank of water trying to breathe under water. (yawns) And I don't know how you say this but it's as if I have just glimpsed the intent, that awful intent, that I am never supposed to tell. I feel as though it's waking up in the back of my head (coughing) and it is just coming up, if I can only get to it. God, what will happen to me - in me?

LRH: Mm-hm.

PC: Uh! (yawns) (pause) Something happened to the sternum bone.

LRH: Uh-huh.

PC: ... right in here ...

LRH: Right.

PC: (gasping) ... so that I was thrown back to a stage of evolution where I could breathe under water but not in air. (coughs) Oh, I'm hot; I'm so hot. (yawns) Oh! Oh, oh, oh. Every time you get hot you remember it in part, but just a little part; never enough so it makes sense. Just enough to sear over the thing.

LRH: Mm-hm.

PC: ... make you irritated.

LRH: Mm-hm.

PC: Mm. (sighs) Oh, so I go in places and say, "Open the window. Please! Open the window. Open the door!" And my auditor's been trying to run that out of birth! (laughing) Because my mother did say, "Open the window and shut the door " Uh...(yawns) (talking at a more normal speed)

LRH: Scan right on through.

PC: Birth is sitting right on top of it and ... Oh-he.

LRH: The basic of birth.

PC: Dirty trick!

LRH: Sure.

PC: Ah, what a dirty trick, eh! Water all right: breathing under water - the sac. Oh-oh-oh-oh-oh. (yawns) It's a good way to start a child hating his mother. Ties every birth since ... (coughs) Hm. "Run out birth," they say. This is the only thing you have to run out anyway. (coughs)

LRH: Are they blowing as locks?

PC: (choking coughs)

LRH: Scan on through.

PC: I'm dying. Oh. Oh-oh. Oh. How many times?

LRH: Go ahead.

PC: Every time you get born you have to die. It's got every birth (cough) and every death sitting on it! Asthma is death. Birth, death. Birth! Death! Birth! Death! Birth! Up-up-up - this hurts! Oh-he! Oh-he! Oh-he! Oh-he! Oh, no! Oh! (coughing)

LRH: Scan on through.

PC: (choking coughs) They won't even let you get married before you start over again. Oh, (sobs) I feel as though all the lost locks of death and birth, if not pregnancy, is getting a hold of ... Getting friendly with myself. (laughs) Getting my old fight back again. God help them! (laughs) Uh! (yawns) Oh, I'm ... (yawns) Oh, I just ran to - in this country, out of that one, into, out of. (yawns) Oh, boy. (yawns) Just froze to death, now I'm being roasted. (yawns)

LRH: Still got the basic incident?

PC: Oh, yes, yes, yes, yes.

LRH: Okay.

PC: Oh, basic incident simply gives you a Preview ...

LRH: Yeah?

PC: ... as much - a naturalization ...

LRH: Uh-huh.

PC: ... if you're fool enough to go into it.

LRH: That's right.

PC: And now on to that one!

LRH: Yep.

PC: And on to that one!

LRH: Yep.

PC: It's... It's something like a whirling preview: You get born and die before you get born and die. (laugh) (sounding a bit better)

LRH: That's right.

(According to the R&D, "Recording ends abruptly" at this point, however the reel continues on but is extremely faint and faded, they may simply have given up on transcribing it. We were able to make out the following, but you can only hear her when she speaks loudly and you can hear Ron saying something but usually it is unintelligible)

PC: I got a (?) about how you may be and then you wouldn't be and then you (?). Oh. Oh.

PC: There's a (?) now, works for (?) ..., Oh. Oh.

PC: ... I'm going to be unconscious ... Oh. Oh. (coughing)

PC: And then I see ...

PC: Don't Tell. Don't Tell.

Ron: Carry on.