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.

Last lecture I talked to you ahout the Tone Scale. And you'll notice on this Tone Scale, the higher you go on the Tone Scale, the more a person is in a position to think; that reason is a definite index of this Tone Scale. And T showed you, also, that down here from 0.6 to 2.2 you have an effort band. There your people are very, very MEST. Above that slightly is an emotion band.

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.

Well, thought effects - or makes its effects upon the physical universe - by translating itself into motion or effort; see, thought translates into effort by emotion. So emotion could be looked upon as a sort of a bridge - Tone Scale positions on this bridge. And actually all it is, is how thought is joining effort and counter-effort. Thought joins effort and counter-effort, and the state of beingness produced is, we call, the emotion of the individual. It's very simple.

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?

So therefore, you look at emotion as having two bands: from the middle of the band up is by a thought and from the middle of the band down would be by effort. In other words, when the mind translates to the brain a decision, it goes across the bridge of emotion into effort. So that you can take a person and hit him and produce an emotion and produce a thought, or you can make a person think something which will produce emotion and produce an effort.

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?"

If you want to get somebody to work heavily and hard at something, this is very simple: What you do is give them a thought which is capable of restimulating an emotion which is then capable of putting: the effort into action. So that before troops go into battle, for instance, you have to determine what kind of an effort you want. You want a destructive effort, so you make them angry. So you give them a thought that makes them angry which will turn on a destructive effort. This is mechanical as holding a puppet cross and making a marionette dance. You give them the thought necessary to produce the emotion to produce the kind of work you want - uery simple. Or you give them the effort necessary to produce the emotion which will produce the thought.

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.

You, in the physical universe, are not dealing straight across the line with emotion except in the form of counter-emotion, You can feel this counter-emotion from people, and that's just sort of cutting it in the middle.

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.

So here you have - this isn't the Tone Scale. This could approximate the Tone Scale. But step one is the thought and here's the emotion [tapping on blackboard] and here's the counter-effort.

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.

Now, when we've got the emotion in the counter-effort area, it's actually misemotion because it isn't pure enough in its state - it's overbalanced. More than 50 percent of it is into the effort. As a matter of fact, probably as much as 95 percent - something way up in percentage - is mixed up with effort, not with thought.

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.

So here down in this band of the counter-effort band, if you want to produce effort, the only kind of effort you can produce is destructive - overtly or covertly - or efforts to run away or efforts to quit or efforts not to do anything and so on, when you use misemotion. That the only kind of efforts you can produce, then, are the efforts to destroy, to run away or to quit - I want you to take good cognizance of that. That is from 2.2 down, those are all, actually, that is present: to destroy, run away or quit.

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?

Now, you look over on the Tone Scale and you find out that from 2.2 down to about 1.2 is the band of resentment, anger and destruction, and the kind of action produced is destructive action.

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!

Now look at that again. Where's this society operating? In other words, when you use punishment drive, when you tell a person that if he doesn't do so-and-so, you're going to punish him, which is to say, you're going to apply effort to him or take effort away from him, such as starve him - you're going to handle him by effort, not by thought - the only possible reaction you're going to get is destructive, retreat, or quit Now, that's very interesting, because you have seen punishment drive applied in societies, and the society apparently stumbling along somehow. But that is the little hooker in it. It so happens that where the society is succeeding, it's succeeding because of a thought; there's a thought injected in there.

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.

For instance, out here at Boeing, if the people worked just for one reason - just to get paid - no airplanes you see, would ever get built. I don't say they are building airplanes right now, but the point is - the point is, that their success would be way low and hardly anything would be happening. But there are people who go out there with a little enthusiasm and desire to get something done, and they last for a short time before they're driven by punishment drive down into the effort band. You see? They last for a short time, and therefore they will translate, through emotion, a thought into constructive action. And that's how pxrr airplanes get built.

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.

And the airplanes get destroyed and the plant gets slowed down by the punishment drive. And the 1.0, this low 1.0... Or 0.6 up to [marking on blackboard] 2.2 - this low band is tolerated because there is thought present in the group. In other words, a group can never be drivn into doing anything but destroying, running away or quitting. It can be driven, then, into anger, fear, apathy.

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.

So that if you want to get something built, you have to apply plenty of good, constructive thought. In other words, you have to apply thought - reason. There has to be reason supplied.

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.

You take a group now and give them a good reason why something should be done - that's a thought, you see? And this thought will then go out in the direction of emotion, taking the place of exhilaration, enthusiasm, or even cheerfulness or even conservatism or even boredom - upper level of boredom - and you'll still get some construction.

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.

But if you go in tearing into them and say, "You've got to, because if you don't..." And what you'll get is destruction, withdrawal or quit - defeat. That is why armies are so popular as a human attitude at this stage of the human race, because, you see, it is very simple to form up an army. All you've got to do is threaten to punish everybody and an army gets formed. And then if you threaten to punish them some more, they will destroy. So that's why you have war as the favorite indoor sport at the present time. It's the nearest people can get to constructive action on a broad, mankind level. And they'll point out to you all sorts of good things that come out of war. And you'll find these good things always existed before the war.

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.

But if somebody could say, "This is very destructive!" why, then, somebody during a war period will invest money and energy. They'll make this thing destroy. That's how you got an atom bomb. Nobody would have built - at this Tone Scale of the society, nobody would have built an atom bomb, or nobody would have conquered the atom, for the simple expedient of making it easier for man to get places or go to the stars or something constructive like that. And what are they threatening to use it with right now? So you see, just with these examples, some evidence of this.

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.

Reason, through emotion, will generate constructive effort to the gain of the various dynamics. Force applied will generate misemotion, which will result in destructive efforts.

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.

Now, this I'm telling you is not for the purpose of making you go out and reform the society. I'm telling you this as auditors so that you know how to handle a preclear. A preclear who is forced to run the incident without any good reason, and is simply forced and pushed and hammered and chopped into running this incident and then harassed and beaten through the incident, is going to turn up at the other end of the session lower on the Tone Scale, because you've applied force or threat of force. So it's much easier,actually to get a preclear to run by forming ARC with this preclear. ARC: affinity, communication and reality - reason, in other words. No matter how long it takes, you aren't going to get anyplace with this preclear, bringing him up the Tone Scale, if you just drive him into everything. So it tells you something about auditing tone, tells you something about that.

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.

Now, the very best reason you can give any preclear to run an incident is to show him somebody in his immediate environ who is startlingly well, because, you see, this is high Tone Scale. So if you can't run preclear A, don't beat your brains out trying to clear him up as an inaccessible psychotic, which is what he is. Run preclear B to a level which is demonstrably high.

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."

Now, of course, your real, true psychotic has to be approached very, very gently. And I think most of them you will find in Facsimile One computing on it or dramatizing it.

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

All right. Now this should tell you, then, that in the field of thought, by using these principles, this should tell you the various ways you have of handling a preclear and how to handle the preclear. And actually you don't need to know much more than this. If you persuade him, if you are pleasantly emotional, not misemotional - angry, afraid and the rest of this, you'll get the incident run. And you'll be surprised what a preclear can run for a reasonable, pleasant-mooded auditor - just run anything for him.

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

Whereas, you take another auditor and this auditor is the favorite type of the United States Army or the psychiatric profession or something of the sort, and he's going to beat this preclear through there, and he's not getting well - this preclear isn't getting well "because it's his fault!" What are you going to get? You're going to get a sicker preclear. I don't care what you run off the preclear.

"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,

So I'm going to give you a solution to this. In the Handbook for Preclears, you will find ten steps listed for the treatment of the psychotic.

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.

In Advanced Procedure and Axioms, the first four steps, actually, will resolve psychosis.

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.

But those ten steps for the treatment of the psychotic should be applied to the ravingly insane, to those who are merely inaccessible, won't listen, apparently don't want to get well, and they're saying to you, "Oh well, I don't know whether that stuff is any good or not," and "I read in the paper the other night that there was a big new drug come out. And of course, this is going to solve all man's ills - just a new pill." And he takes a pill and throws it down his throat and he's going to get well.

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.

By the way, a new drug comes out about the average of once a week. It always gets front-page news: "Miracle Drug Now Cures Tuberculosis in Five Minutes!" That's the first news release - the American Medical Association or somebody.

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

Second news release: "New Miracle Drug Being Used in Local Hospital" - still front page.

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.

Now we get page two: "Miracle Drug Cheaper in Production." Up to this time it was $100,000 a milligram.

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.

Now we get page five: "Miracle drug cautioned in its use. Local physician states..."

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.

Page fifteen, back in the "Want Ad" section: "Miracle drug on further examination is discovered not to cure anything," or "... cures isolated cases but deprives them completely of their sense of balance."

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.

And this cycle is a continuing cycle. And somebody says to you, new miracle drug - he'll buy that, but he won't buy anything you've got that would make him well. This gets puzzling to you because you've seen these miracle drugs invalidated, invalidated, invalidated. And nobody notices that they're getting invalidated every time.

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.

Something comes out, it says: "Histamine. Hurrah! Hurrah! Hurrah!" And then the next - when it gets to page fifteen it's: "Don't take any histamine, particularly when you're driving, because it'll make you awfully sleepy. And it makes people sick at their stomach, and it evidently isn't very active on allergy anyhow." Now, that cycle is the drug cycle.

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,

Female voice: So many people are so nuts about taking this stuff, you think that might be in Facsimile One too?

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.

Yes, undoubtedly.

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.

By the way, I wouldn't criticize any organization or any profession on this in any way, because pills - pills are something solid and structural. And Facsimile One says specifically that you should not touch the human mind: you mustn't go through any incidents, you mustn't monkey around with it, you mustn't try to get well and you're better off sick anyhow - that sort of a thing. So it's no wonder that man has been driven over into drugs.

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.

Structure does not do much to function when we get the final count. Nevertheless, you, in auditing, are going to get this as your highest competitor. It doesn't matter what a drug does to a human being, he will take it in preference to auditing - which might do him some good. But he isn't avoiding auditing because it might do him some good; he's really avoiding Facsimile One - and doing a terrific avoid on it.

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.

So how do you solve this proposition? There are enough who will listen who can be shown as shining examples to those who won't listen, that those who won't, will.

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.

Therefore, in this field of handling preclears - in the field of how you think about preclears and how you handle them - you should not try to break your brains out tackling the inaccessible. You tackle first on the line, and if that case seems unwilling to resolve, you tackle the second on the line, until you've got a case resolved. Now, your confidence will be up at that time. So you take another case that is WILLING and you resolve that case. And by this time you've got a couple of shining miracles walking around, so you can get the first case just walks in, sort of falls down on the couch and runs it.

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.

What is the influence of thought and what is the limitation of thought?

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.

The limitation of thought is Facsimile One. Beyond that I know of no limitations of thought, except that thought attached to effort can be nailed down and made aberrative by misemotion, punishment. That can be done, but that's all that gets wrong with thought.

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!

And by taking, let us say, a group of ten possible preclears and by choosing out of that group - regardless of how bad off Amy or George is, regardless of how bad off they are - take the one that resolves fastest. Take the one that looks like it will just run Facsimile One as easy as can be. Pick that one, because you will then resolve Amy and George. But don't pick Amy or George if they don't look like they're going to resolve fast.

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.

So you look around and you find the easiest preclear you can possibly find. After all, you're only going to invest a few hours work on this preclear - just a few hours. Clean the case up. And then all of a sudden everybody looks and they say, "Gosh! What is that bright, shining light walking down the street?" And they say, "Well I ..." - their doubt goes down. In other words, you've brought their tone up just by bringing up slightly the tone of the whole race through one person.

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.

You take the next in line - the next easiest. Don't go beating on the doors of the local sanitarium and trying to get down to the hospital and so on - that's no good. Just take anybody that comes along that looks like they're a very easy case and finish the case. And then take somebody else that's very easy and finish the case. And if you've got five or six people in the few square blocks surrounding you up to this level, the whole neighborhood would be doing a little gab-gab about it. And the first thing you know, you'd find thirty or forty cases showing up which formerly would have been a little bit tough for you to work on. They'll resolve easily. And by this time the toughest case in the neighborhood will walk up, lie down on the couch, be run for two or three hours, or four or five hours or something like; that, or maybe not even that long, and go boom! - up the scale.

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.

And then, you see, what happens after that is the people, when they walk by on the street and just happen to see the front door, automatically blow Facsimile One! (audience laughter)

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,

Male voice: March them by there.

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.

That's a little bit exaggerated, of course. But it happened once, two thousand years ago. That is faith healing. It is such sudden confidence, such sudden faith, that the bank blows.

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.

Now, you know that you could - maybe you don't know this but you'll know when I tell you: A person can be broken down on the emotional scale so steeply, sharply and suddenly that they can be killed. That's what's known as shock. A fellow running along in a car and hitting a brick wall at 20 miles an hour gets bruised. If he hits it at 120, he might not even be bruised, but if he got stopped that quick, he would drop on the curve fast enough to kill him.

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.

Now, a sudden drop, then, will produce an enormous physiological change in a person. What happens when you get almost as sudden a surge up?

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?

Here is Bill walking down the street, and he has seen this girl Agnes a lot of times. And Agnes has been walking around the neighborhood on a crutch, and she wears glasses and she's in terrible shape. And here he sees this pretty girl standing on the corner and he saysp "Gosh! Hello. Don't you look familiar to me?"

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.

She says, "Well, yes, I'm Agnes."

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.

And he sees the similarity suddenly. He'll go up the Tone Scale - zing! And you could produce a reverse shock fast enough to clear him, theoretically. You get the idea? He says, "You're what? How could this be? How could this possibly be?"

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.

And she says, "Why, that auditor down the street did it."

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.

"Why, that stuff! I didn't think it was any good." Zhhhuh! Zing! He goes up the line again. He looks at her and then he says, "It must have been something else. Probably she was taking Bromo Seltzer. Maybe ... maybe it was that surgical operation she had when she was five that suddenly clipped in, and that did it. They said it might take a long time." He's got a lot of doubts, you see?

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.

And then all of a sudden he's walking around the corner and there's been an old lady sitting on a porch with a wheelchair who is just in horrible condition - arthritic, you know, and she's in terrible shape, and she's - he sees this person run down the steps, trot-trot-trot, trot-trot-trot, and swing down to the corner. Ulp. It's old Mrs. Smith! And he hopes that this isn't the case at this time, because he's facing something he's not quite sure of, and he said, "Good afternoon, Mrs. Smith!"

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.

And she says, "Oh, hello, Bill!"

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.

And he says, "What did it to you!"

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.

"Well, that fellow down the street - Scientology," and so forth. "Well, I've got to catch the bus I've got to go down and take my dancing lesson," He goes into a high-level shock - stunned. High level, though. He's been zinged up the Tone Scale a couple of times. Now, this is an extreme case. You can do it on a milder level than this and still produce results.

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.

When he walks down to you, if he had just heard about Agnes and he walks down to you, he's still full of doubts, he doesn't quite know and so forth, then he doesn't know about you.

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.

Well, he already doesn't know about himself. And when you compound the felony by fixing it up so he doesn't know about you, and have no confidence in what you can do, why, you're going to find yourself in a bad position as an auditor, because 50 percent of the confidence is gone out of this team. So you see how to work it.

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.

Now, people who come around and say, "You got to prove it to me!" or "If you can do anything for me, it'll mean a lot to you! I mean uh . . ." so on. Now if you fall for this you're in for trouble, because he's got doubt - have to prove it to him. Well, so, that's tough. And you can go on banging your auditing brains out from one end to the other and you probably wouldn't even get to Facsimile One, if you go on the line of only working cases that have to have it proven. So pick the cases that don't have to have it proven.

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

Now, why is this business of faith and doubt and sudden shock - why is this so productive? On this Tone Scale of thought, as you'll see in the Handbook for Preclears, up at the top here is [tapping on blackboard] "faith," In another column is "I know." Another column has as its top "trust" and at the bottom is "distrust." How distrustful can you be? Dead! So if this person is hanging down in the counter - low countereffort band, his thought, thought all by itself - it's below, usually, 2.2. And as a result you're going to find him incapable of arranging his thought or concentrating on you enough to do a good, clean job.

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.

Now, there's an advantage which I have over other auditors: People do not and never have questioned my ability as an auditor. There's no point in it because I keep turning cases out. I patch cases up. I diagnose a case... Two auditors - they've been working seventy hours on this case - they come in and they look all haggard and down and so forth and they set the case down. They've been up too close against this case. You take some elementary principle, and you say, UWell, why don't you run so-and-so and so-and-so on the case?" And they say, "Well, all right."

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.

Of course, this fellow heard me say that such-and-such should be run and the auditors heard it said, and what that's done is shoot them up above the counter-effort band. And if I said, "Well, go run the time he fell in the pig trough," the guy-it's a cinch - would get better. And that's not because of me or any mysticism or anything else; it's just the fact that it's generally accepted I know what I'm doing. Now, that's simple, isn't it? I sure ought to know what I'm doing - I developed the subject!

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.

Now, all right. One of the things that auditors in the field sometimes feel very badly about is the fact they don't get this same result. Well, they're not getting this same result for a good reason. It's a very simple reason: they don't think they can get it, so they don't try to get it. And they get down here in the counter-effort band and they start punishing preclears.

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.

Now, another thing. They say, "Well, he says he can make them well and I punish them, but I'm trying to make them well and I'm working twice as hard as he is on this - I know - and it's not working as well for me?" Well, it isn't going to do it either. And they even can go to the point of getting upset about me. All right, fine. That really starts them down the Tone Scale. They get down, way down here.

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.

Now, what I'm giving you, then, when I'm talking about thought, is not just a little, mild hint; I'm giving you something which should have a very, very high evaluation to you - very high evaluation. Yes, I know there's lame and the halt and the blind, and I know they're in terrible condition. And I know that we'll have to work for a long time to get all this straightened up, and I know that there's people that demand your sympathy and your time and all of this sort of thing. None of these reasons, even the reason of the "ninth dynamic" - the buck (laughter) - even that reason should not argue you out of following what I give you as a very necessary part of processing: Pick easy cases when you go into any area. Pick nothing but easy cases.

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.

It's easy to tell an easy case. An easy case is usually fairly well formed. Simple, isn't it? And they're agreeable and they believe you can do something for them. You believe you can do something for them, merely by finding out the fact that they don't object to you or criticize the things you're saying. And they're sort of mild and pleasant, and you shoot them up the Tone Scale with this auditing. And therefore, you should be highly selective in your cases.

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.

Audit only the very well, and make them superlatively well; so they don't need any streetlights in the town anymore as long as they have pedestrians around. That's the kind of a thing you want to build up.

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.

Now you can get to a preclear this way: You say, "You know, your sister - your sister's in pretty bad shape. And I'd really like to do something to help your sister. But the funny part of it is, is I'd have to show her how this really works"

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.

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

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.

Well, then, as a favor to you, this very well person permits herself to be shot way up the Tone Scale (audited) although she doesn't - obviously nothing wrong with her; she's happy. She permits herself to be shot way up the Tone Scale so she'll serve as the shining example for her sister.

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?

People will do this for you. They will permit you to audit them although they obviously need no auditing. Because, you see, a person who doesn't need any auditing is thinking of it in terms of "I don't need any surgery". They don't know how much better they can be; they have no idea how much better they can be. And there's no reason for you to sit around and try to give them a big sales talk.

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?

Anybody you have to give a sales talk to should be ignored until you put into their environment several flaming torches. And this way you can win! But going at it from the basis of helping only those who need help, only those which challenge you, only those who can pay you, is going to keep you failing, keep the society failing and it'll keep you poor. And the "ninth dynamic" - the buck - will not come true!

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.

Now, the funny part of it is, is right now, with the techniques at hand, if I had this ninth dynamic in mind, there could probably he a pile of crutches sitting outside my door down there - a young mountain of them, undoubtedly - and there could be an awful lot of money lying in the till, I could be auditing on a solid-gold bed and get some of the MEST of the world shaped up. Now, this is the truth!

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.

As far as trying to accomplish something with Dianetics, it'd be very, very nice and so on, and it would prove that Hubbard is a good auditor. And what we're trying to prove is Scientology is a good subject.

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

And the - one of the first things that people argue with you about - "Well, one man could do it, but others can't." Well, that's hogwash' If you go into it with that intent and that feeling and that suspicion, why, you probably wouldn't be able to do it, because you're working with something very tricky there. You're working with thought, and thought is as effective as it knows, as effective as it trusts, as effective as it has faith in itself. It is faith by the way - it doesn't have faith.

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.

I'm not, by the way, asking you to "have faith in me." I am asking you to be faith.

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.

As Long as you have infinite time (which is up at the top of that band), as long as you have beingness - you're alive then, you're really alive - you can't help but succeed with auditing.

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.

But we are not dealing with some extraneous fact when we are dealing with the fact - when we say it requires some belief in order to do this. You see, we're not dealing with this fact. What I'm telling you is an artificial method of putting yourself as an auditor up the Tone Scale without running any engrams. You see?

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.

Now, it's necessary at the first stage to tell you this. After you get Facsimile One out, nobody will have to tell you this. But ours is the job of the blind helping the blind, to a large degree, don't you see? So that people who are just going to be torn to pieces by restimulation, people who are going to have an awful time of it and go home and have nightmares and feel they're going to go completely mad, still have to get themselves by the nape of the neck and go back and finish off auditing that preclear. Then they've got somebody who's well enough instructed and who's high enough up the Tone Scale that they can be audited.

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.

But there's a lot of us - includes me - are going to have to be doing a terrific amount of auditing which is highly restimulative because it's right on top of Facsimile One. And when you audit, you're going strait against Facsimile One.

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..."

You're not supposed to know and you're not supposed to let the prg clear know and you're not supposed to let anybody know and you can't get through it anyhow! That's why auditors won't run engrams completely out of cases half the time - is because they're not supposed to be able to go through it or finish it. It says so in Facsimile One! And so they'll drop an engram before it's run out. Do you see how that would be?

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.

So you just have to pick yourself up by the nape of the neck and say, "I am Superman!" And say, "Well, here I go. (Hmm-never had migraine headaches before, but I got a migraine headache.)" You know? But - "All right, go to the beginning of the thing ... (My, I'm getting awfully sick at my stomach) - go on, go on through it." The first level of approach on this, then, is a level of brutality, as far as you're concerned. Turn on your masochistic personality then, not your sadistic one, and knock out Facsimile One completely out of your preclear. Take off whatever locks are necessary to get to it - knock out Facsimile One. And do it on an easy preclear. Or do it on a preclear who will be competent then to do it on you. And you've got the two choices. And actually they're not choices: you ought to do both. You understand?

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.

Another thing is, don't go dodging around and not running Facsimile One as an auditor yourself. Don't go dodging around. Just because you're latched up halfway through Facsimile One is no reason why you have to stay there the rest of your life.

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.

What happens to auditors in the field is they get badly restimulated. They have an effort to keep the preclear still and an effort to help the preclear and an effort to do this and an emotion to do that, and they feel sympathy for the preclear and they feel they're doing an overt act and all this sort of thing. And all of that thing sort of shuts them off and closes them down if they keep at it very Long without any auditing of their own.

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.

Because what happens? Now I can tell you what happens: They go into Facsimile One and there they are! And any auditor who stays at it very long will wind up in Facsimile One. So, if you're going to wind up in Facsimile One - you won't wind up there first case or so particularly - so run it out of somebody else, and any harm that auditing can do you will blow when you run Facsimile One. Now, that's heartening.

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.

So if you're going around with a quivering, terror-stricken stomach for two or three days after you've finished auditing this preclear, that's all right. So you've got a terror-stricken stomach, so you feel at any moment you're going to have a convulsion - so what! It'll only be a week or so before you're out of it.

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.

Another thing is don't audit people when you're tired, and keep your own chin up and stop listening to all sorts of rumors about - this and about that, and what somebody has said about you or what somebody is going to do to you and all that sort of thing, because that just pulls you down. And it pulls you down on what? It pulls you down on thought.

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.

So it's what you're thinking about and what your intention is, and it boils down to that. If your intention is to make your preclear well, if your intention is to run Facsimile One come hell or high water, if your intention is to carry on through with this so as to spread it as far as possible in the society by making as many shining examples as possible, you'll come out fine. You'll just do fine. There'll be some bumps on the road but you can take those. So your intention should be a high-level, constructive intention which has good reason to it.

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.

Now, in addition to that, you should turn out some miracles. You should always turn out miracles. Any time you want to be comforted about what you're doing, go out and turn on a miracle. Run Facsimile One out of a blind man; run Facsimile One out of a deaf man; run Facsimile One out of a person who is on crutches - anything. And, of course, they throw them away and see again and all that sort of thing. And it builds one's morale a little bit to do that.

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."

But if you have an intention of doing the most good with what you know, then you should apply reason to what you are doing. Reason - good, solid reason to what you are doing. And that reason should say, "I want to create the best possible examples that I can create." And these will be the miracle case, or just turning somebody way up like a torchlight.

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

And by the way, a lot of your miracle cases will run just like nothing. You say, "All right, let's go back to the beginning and run through to the end," and you sit there and mutter to yourself and let them just run. They run through to the end of it and you say, "Go back to the beginning and run through it again." And, of course, maybe their screams deafen you a little bit, but you let them run on through tt the end.

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.

There's nothing much to it, but you have to know what you're doing, because all of a sudden they're liable to latch up in the middle of it someplace and say, "Oowazewowucewoeu! What do I do now?" and that is not the time when you go and find the handbook. That is not the time when you go look up on page four "What to Do in a Spin When 100 Feet above the Ground." You don't look this up at that point - you know that here. You know that here, you know what happens.

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."

And I'11 tell you that all of your handling is thought, emotion and effort - mirror image of the physical universe. Any facsimile, really will produce quite an effect the first time on your preclear and less next time and less next time and less next time. In other words, it'll get lighter before it gets "worser".

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.

You should know about past deaths and you should know how to run them. Therefore, when we're learning auditing, anybody who just wants to get his big toe wets at first, he should first do something with thought itself, just as itself. And then do something with a little emotion, and then do a little something with effort. Just this life, you know? Just get used to these things and see how it works. And on a regular schedule, just do those things to some other case when you're really trying to learn and want to be sure of your tools, and then sample some incidents.

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.

Are there any deaths around? I'm talking about learning the subject now. Anybody you can run a death out of! Well, all right. Let's run a death out and let's run a death out flat.

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.

Well, I'11 let you in on something: it's easier to run Facsimile One than deaths out of a lot of them. It doesn't matter. If you want to play around with it a little bit, you can run a real old-time engram, you can run a prenatal, you can run heavy secondaries and so forth.

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.

The medical profession, now evidently, according to Life or Timeg or Reader's Digestlo or some other medical authority, (laughter) is now beating the drum quite a bit for prenatals. Yeah. They caught up. They're only two years late!

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."

Well anyhow, this thought scale is a thought of reason, and at its top you have pure thought with no facsimile on it whatsoever. You have, you might say, thought which is unimpressed by anything. If it is impinged upon the MEST universe, it can come to decisions and think. But it is actually decisionless if not in - up against something in motion, because it's not in motion and it requires the physical universe to be in motion.

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.

Just down the line from that you get vepy light impressions from the physical universe, and a little bit below that you get heavier impressions.

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.

And the first contacts and impressions with the physical universe merely produce the sensation of emotion in this thought level. So you're up there around 17.0, 18.0, something like that, on the Tone Scale. About all you contact in the physical universe is a sensation of emotion. The effort and the rest of the stuff is - actually doesn't impress you enough to pay any attention to it. I mean, things like walking, something like that, and talking and so on - you're not conscious of the exertion of effort.

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?

Now, go down a little bit further: Well, you get heavier emotions such as enthusiasm; that's a heavier emotion. You go down a little bit earlier, you get a heavier emotion like, well, conservatism; below that, an emotion like boredom - which is getting awfully heavy, by the way. Boredom and apathy: apathy at 0,3, something like that, and boredom at 2.5, are thick, gluey sort of emotions. You wouldn't think that a person who's completely limp ,would have any emotion on them. But the odd part of it is that it's just like somebody emptied a gluepot over their heads. Any day - any day - anger is easier to get off than apathy. Well, I'11 talk about that later.

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.

So, as you go down the line, you get this - a little more emotion contact, and you get down to about 2.2 and you're starting into the effort band, so that a person is conscious of the effort in the physical universe at almost every motion. He's conscious of the effort of walking; he's conscious of the effort of talking; he's conscious of the effort of seeing, of feeling - any one of these. He's conscious of effort - below the level of boredom.

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.

And he's conscious of effort down to the point where effort is so much that it just blows through him. He can't do anything because he can't stop any effort in any way, and of course that's apathy. And all there is on that is just solid glue. And actually, apathy is nothing but solid effort. And a dead body is nothing but solid effort - without any apathy.

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."

So you start at the bottom and go back up the scale again, you find down here at the bottom nothing but effort, force - very chaotic, unaligned, completely random. That's a dead man. Now up the line above that, you'll get apathy added to this force, and the apathy is an aliveness above the force. You see? Apathy is actually more alive than being dead. That's right! You wouldn't look at it that way, but that's your comparative - your levels.

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.

Now, up here you get grief. And a person sobbing and moaning and crying and so on is much more alive than a person who is in apathy. A person who is in apathy has too much to cry, see? So you've got - you've added just a little bit more level. Now, it's actually effort; grief is almost solid effort, by the way. Apathy is practically solid effort. That's what's wrong with it, see? But a little more emotion has been added. In other words, when I'm talking about emotion, thought is just a little bit more in view.

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.

Until you get fear. When you get fear, why, there again the effort is a little less solid and the thought is just there a little bit more, so that these two in combination will give you fear.

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.

And in anger, the body has come up to a point in thought where the individual will actually hold on to effort that comes at him or hold himself back from exerting effort. Now, that's pretty high control above apathy. Apathy will do anything, by the way. You take a girl in apathy, she will do anything. And, boy, can you get in trouble with girls in apathy. That's no kidding! That's no kidding because you say, "The poor thing, she is so sorrowful, she is so sad, I mean, and she often sits around and just is limp, and so on. Somebody ought to help her."

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.

Well, that girl is so close to out the bottom, she'll pull you out through the hole too if you're not careful. If she'll do anything you say, then she'll do anything anybody else says. It's interesting. Now, up here above this level on anger is resentment. Now a person is getting pretty alive. Resentment actually shows quite a bit of thought. A person who is merely resentful shows the ability and capability of planning, of organizing and so on. And very often they'll slop over into constructive action on this. They will, even in the band of resentment.

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.

[tapping on hlackboard] Now, you get up to 2.5 and you of course are getting thought. But it's thought which is being balked by too much effort. You know, there's too many conflicts on this band for a person to be very alive about what they're doing. But a person in boredom will accomplish quite a bit, because I'm afraid boredom is way above the present "normal."

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?

You get up above that, you get conservatism. Well, here's a person acting, here's a person thinking, and a person reasoning. But until;vou get to above the band of conservatism you can reach nobody by reason. They don't reason. You can't ask them to reason; they don't, You give them eighteen good reasons and they'll give you the emotion. And there's the band where you've got emotion, don't you see? You got emotion clear on up to 4.0; clear on up to 4.0 is your emotional-response action, Now these people still will take thought. They will take a reason. They will take thought and they will turn it into the emotion so that they can act on it. The emotional band is handling the effort band and the thought which is behind it is relatively slight, so that it's enough for you in handling such a person just to turn on the emotion. You turn on their emotion and their effort will handle it. I mean almost without any reason. You give them a direction which is - shows them which direction you want the effort applied, and then apply some emotion and the job gets done.

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.

And when you get up here [tapping on blackboard] toward 20.0, however, you've gone up to a point of where emotion is very subject to reason but it isn't the belabored - somebody gets the idea that reason is cold and calating. No, but 1.2s and 1.3s and 1.4s can be awfully cold and calculating.

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.

The people who are reasonable are not cold and calculating. They're quite volatile. Because what have we got here? We've got a scale of aliveness. And he's getting up to the point where he will actually translate thought into direct action. The effort is so easily handled by him that the emotion which he has to apply is practically nil. And it's only up around 20.0 that you'll see people producing peltergeist. You know, you tell something to move by thinking about it and it moves! That's why you don't see the phenomena very often in the Western world and so that people in the Western world don't think it exists.

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?

That, by the way, is the usual bottom-level reaction: "If I haven't implanted it on a facsimile for me in the physical universe, it does not exist." Whereas, as you go up the band, you give the person reasons why and the person will all of a sudden figure it out. And he will know, because he's closer up to a truth level or not, whether it is or it isn't. He'll know instinctively whether it is or it isn't, I say "instinctively" - he'll know reasonably whether it is or isn't. That's all, He'll know whether it's true or untrue.

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.

Now, when we get up above this level of 20.0, of course, we're receding from the physical universe to some slight degree and you can get a fellow up there to where he'll just be, all right, and he'll just know, all right, but he won't act. He's fully responsible, but if he's fully responsible, he doesn't select anything out of this full responsibility to attack or to throw any effort against because he's responsible for it too. So he doesn't get any motion.

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.

The way you get motion when you come down from full responsibility, by the way, is to select out a target and get mad at it and kick it around and do something about it. You've selected out an enemy. You say, "This is an enemy over here" - like I've selected out psychiatry. I don't care anything about psychiatry, truth be told. The guys are using Facsimile One almost straight through. And they're so thoroughly around in the valence of the people who did this originally, they're just keeping it going in the race with their electric shock and their prefrontal lobotomies and so on, But I don't care about that because we've got enough auditors to catch up to that. And this is - oh, three, four, five years, people will say, "Psychiatrists! What's that?" They will. Do you know they were once called alienists? How long has it been since you've heard that word? Well, someday they will refer to people who treat the mind as Scientologists. And somebody else will come along and say, "There was a profession known as 'psychiatrist' once." And people will say, "I wonder what that is."

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.

And somebody will look up and they say, "Well, that was akin to neurology." "Oh! They cut out nerves and things like that, it must be." And everybody will say, "Yeah, That's right."

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.

By the way, it's impossible, and there's a great deal to be said for people forced to use without knowing - forced to handle the violently psychotic, with something, with anything - do something to them. And so for the past many thousands of years they have beaten them, shocked them, given them drugs that drove them into convulsions, or anything to exhaust them or tame them or make them tractable in some fashion so that they would not have to be handled beyond that point in the society. There was never any effort or thought to make better human beings out of them.

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.

Now, in Scientology you have that as an intention. And anyone who then says Scientology is something else is forgetting this intention. What is the intention of this? It is not to make people tractable, it is not to make people civilized, it's not to make people tame. It's to make mankind, as a whole, a much better race! That's its intention. Only it means it with an exclamation point.

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.

So that anybody it treats, it treats people to make them better, more able human beings. That's its purpose. That's its intention - not to make them tamer human beings or better-adjusted human beings or something of the sort. Because you'll never get a race anyplace by adjusting everybody, because you don't leave anybody up top to do any of the adjusting. I wonder what happened to the race that PDHed the lot of us? I'm afraid they adjusted themselves eventually, too.

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?"

By the way, you will, in talking about this first facsimile, you'll hear about... Somebody will say, "Well, that's - that,.. Do you know that's - that must be insanity. You must be insane to think that, because in an insane asylum that's all people talk about."

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.

And you'll do a double take on this and say, "I don't quite - - what - if ... You see, we're trying to hit the thing that causes people to be insane, and naturally that puts them in insane asylums, so of course in insane asylums you see this thing and that's all you do see?" And they'll say, "Well, yeah, but you can see how crazy it is - the stuff you're talking about - because in insane asylums ..." You'll get this circular reasoning because it doesn't have reason, don't you see?

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.

So when you start up against the level of reason, this is the reaction you're going to get. So what you want to do is handle your area, your people, with the simple expedient of using what matches their Tone Scale. Now, that doesn't mean that you have to punish them or threaten them or beat them around particularly, It does mean that you could back up the hearse" and get far more effectiveness.

Male voice: Say Ron?

If you want to take glasses off somebody you say, "Well, wouldn't you like to get rid of your glasses? You know, you'd look better and you'd feel better and your eyes would be better if you got rid of your glasses," and yak, yak. No, no. That isn't the way to take glasses off most people. You go out here in the public where people don't know about this, the best way to take glasses off most people is say, "Do you know that glasses - glasses produce eventual blindness, and it's probably a very short time before you won't be able to see! You know that every few years you have to get stronger lenses! Well, it's later than you think!" And they'll say, "Gee! Is that so?"

Yeah.

That's right. And that's the way you can get glasses off. People are very interested in getting their glasses off by saying - if you put out a big rumor and said, "Glasses inevitably, 100 percent and all the time are the cause of cataracts. And anybody who wears glasses eventually gets cataracts. And the rubbing of these things on either side of the nose produces cancer. Now, you've noticed those little red spots on this pinch, so forth here. That produces cancer because of the enzymes of cigarette smoke that gets under them," or something. And you would have everybody taking their glasses off, right now! (laughter)

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.

So your thought, in other words - thought as it goes up the line has to be more and more reasonably handled, but as it goes down the line, more and more emotionally handled, and finally handled only with effort, because that's what it is.

Yes

And so when you are working in a neighborhood, the best thing you can do and the handiest way to go about it, is produce these terrific emotional reactions in people of making the very well into angels. Now, that would be very good. Or making the miracle case into a very, very high-level, healthy case. And this shocks people, startles them, is actually like a physical-force impact, is emotionally high and so forth. Of course, there are a few of you who will be burned as witches, but that's all right. We'll catch you in the next life and run it out. (laughter) Let's take a break.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

Thank you very much.