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.

What I published mainly was adventure and what they used to call "psychological" stories. And I wrote an awful lot of science fiction that never saw the light of day - never bothered with it very much.

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.

But I opened up an old book that nobody's ever looked at and it's got a complete system of spacial navigation in it. It tells how you navigate in space and it goes on and on, on the subject. It's very precise, And I looked it over and I wondered at the time why I was so glib about writing this. Well, then all of a sudden I looked at the name of the planet and where it was, and went over to the psychometer and got twoband drops on it - the name of this planet and the name of the system.

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?

Male voice: What was the name of it?

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?"

Planet Darengo in the Sirius system.

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.

Male voice: Darengo.

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.

Second male voice: What series was that - which story was it?

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

Sirius system.

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.

Male voice: Sirius system.

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?

The Kingslayer.

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!

(The R&D provides the following note: "The Kingslayer: a science fiction novel written by L. Ron Hubbard and first published in 1949, in which a brilliant young engineer is kidnapped by a member of a revolutionary group, told of the existence of "The Arbiter," the person responsible for all the world's evil, and sent on a mission to find and destroy him." - note that this was reprinted in paperback in the 1970s under the title of "7 steps to the Arbiter" - FZBA)

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.

Third male voice: Yeah. Darengo

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.

Darengo. Planet, I think, twelve - twelfth orbit (laughs) - how nuts can you get? I go over and I take a name I thought up fifteen years ago or twelve years ago or something like that for a planet, put it on the psychometer and knock the machine off its pins.

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.

Male voice: Action always precedes thought.

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.

Fact. It does seem to be a fact. That's why I've always had such a struggle with people telling me about imagination, because previously I didn't used to be able to account for what seemed to be pure imagination being so confoundedly factual to me. And I used to get puzzled about it. Story after story, though, I've written up big chunks of past lives. And these stories blow, by the way.

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.

I'll be running an incident, lickety-split, and all of a sudden I'll run into one of these things - crash! And I freeze up. Because, you see, I was writing on an electric typewriter, and it goes humm - bapity-bapity-bapity bapity-bap - crash! bapity-bapity-bap - crash! Bapity-bapity-bap - hmmmmm. Great stuff.

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.

So, naturally, sitting there at this electric typewriter pounding out a story would lay the story in as a lock or something. And I go running through this incident and everything's free and clear till all of a sudden I hit a section of it I've used in a story. Go suddenly back, 1522 or something of the sort. I've used a little section of actuality in a story, you see, and I'll just hit them - crunch! And I went "What the heck is this?" see. Work at it for a moment, and then all of a sudden hear this hmmmmm, then whooh blow that out.

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.

Male voice: Typewriter in the sky.

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.

Yeah, typewriter in the sky. And I wrote a story once called Typewriter in the Sky. It talked about a guy who was living through somebody else's plot in the book, and this guy kept living through this other person's plot.

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.

Female voice: A continuum to yourself.

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."

Yeah. Yeah, I was undoubtedly doing one.

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

Well, anyhow, as I'm busy writing this confounded thing, I get up an enormous number of locks all over the place on that confounded typewriter.

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

Nobody's run me through Facsimile One; I've been about halfway through it. And, boy, it is really nailed down with that confounded typewriter.

"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,

I wrote the first book on Dianetics on that typewriter. And, boy, that first book - I've tried to blow it off every once in a while as postulates and locks, and it just never has blown; it just won't blow. I started into Facsimile One and, boy, it's like running a Mack truck into the side of a mountain. There's that book sitting there.

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.

Male voice: Could you do it by reading the book, Ron?

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.

Hm?

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.

Male voice: Could you do it by reading the book?

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

Pretty well.

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.

& I guess that's why the book looped people, as much as anything else. It just - the book just dropped down on Facsimilie One and they'd spin.

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.

Male voice: How about the captain's farewell in To the Stars? The farewell letter in To the Stars?

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.

Yeah. Well, To the Stars is probably factual as far as life in that kind of an operation is concerned; it's probably very factual, but the stretch of time isn't. And I knew it at the time that it wasn't. I was under orders from the editor to write that.

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.

Hm?

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.

Male ooice: The letters that came back on that about the-big dissertations on "time."

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,

Oh, yeah, I know. Boy, people really got upset about time factor because the time factor isn't straight; that isn't true.

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.

I was running through one of these incidents and boy, if I had hit this stuff trying to run it a couple of years ago on myself, I would have thought, "Boy, this is really delusion; I'm really hallucinating now." But I start running through one of these incidents ... The hero in To the Stars is an engineer tenth class, which was their aristocratic and plebeian scale. It started up at first class, second class, went on up the line - tenth class, Tenth class wasn't very high.

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.

But I'm running through this incident like mad and I don't know where the heck I am, and all of a sudden I come up against - crash! And I start running one where I hang this jacket up on a peg. I'm just running a lock on this jacket - and there's a 10 on its collar! (laugh)

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.

Yeah, you know, you think you've got problems. You think you've got problems in processing, but you haven't been commercializing and selling your engrams for years! (laughter)

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.

There's only one that's got me worried: has anybody here ever read Fear?

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.

Female voice: Oh yes, I'm on it now.

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.

Yeah! Well, that's got me worried! (laughter)

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.

& Is that on? (refering to the recording machine)

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!

& (unitelligible answer in background)

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.

& Is it live? (tapping on the mike)

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.

By the way, don't let me worry you too much with all of this space opera. Space opera has always been a hobby of mine. I would rather write space opera than anything else. For the good reason that when I first began to research in engineering, my first research was concentrated on reaction engines - reaction motors. And I designed a reaction motor in 1932 which is a controllable V-2, It's still on file; it's in an engineering journal.

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.

It was tested. This motor was made out of plumber's pipe and cans of liquid fuel and so on. Very, very advanced sort of a reaction engine for this day, but that reaction engine is just a lousy makeshift compared to some of the reaction engines I've been running into in this stuff. I know my reaction motors, and it's no wonder.

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,

But the point is, the point I'm trying to make is, don't worry about this space opera; if it isn't there, why, it isn't there for you, that's all. If you want to have lived on earth and your preclears want to live on earth, I wouldn't advise you (you're my friends, after all) - don't go start walking around and telling people about space opera because they're not going to believe you. And they're going to say, "Well, that's just Hubbard, and he's got a lot of space opera and you've got a lot of science fiction readers in your midst and these fellows just got super-restimulated, and all these stories are coming to life and all that sort of thing." This is the kind of a line that people can throw back at you.

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.

What you want to produce is a maximum effect, so you don't bother to explain to your preclear anything about it or anything of the sort. He'll run into the space opera just as you will.

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.

A guy calls me up from New York: "How do you run such-and-such and so-and-so?" I tell him how to run such-and-such and so-and-so. He calls me up two days later and he says, "Hey,'this isn't a real incident."

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.

"What's the matter with it?"

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?

"Well, I don't know. I'm on this spaceship and I'm standing there at the porthole looking at a planet go by, and they've just given an electric shock to a fellow and I feel regret on it." And he says, "Space opera is all it is; it's just space stuff." He says, "I don't want to run that. I don't want to be that kind of a guy. I just want to be an auditor. I just want to make people well!" And he said, "Besides, I never read this stuff."

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.

Male voice: Oh!

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.

Yeah.

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.

That's interesting, isn't 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.

It's also interesting the preponderance of people in this field who have been very interested in science fiction, and it's also interesting that the people that we start swamping up a little bit start coming up with much better electronics than ever before. And people are in this who are interested to a large degree in thought - metaphysics, mysticism and this sort of a line - who have been very interested in thought.

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 these two fields are almost continual in their consistency of interest throughout this entire subject. Now, that should remark something to you because it was the basic conflict, from the data I have to hand - good or bad data.

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.

Here was an advanced people - advanced peoples - moving in on simple peoples, or advanced mechanical peoples moving in on advanced thought peoples. Civilizations would go out in this "Y": These people would concentrate on thought - "What could you do in the humanities?" Or they'd concentrate on MEST - "What could you do in the physical universe?" And you'd get this cross; sooner or later these things would come into conflict.

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 what is our present drama and conflict in this world right now? The atom bomb, which is a high level on the MEST line, coming into conflict with the humanities. So anybody who has a thought background very thoroughly is quite concerned about the fact that we have no present modus operandi in the society of humanizing man swiftly, (Of course, we realize we don't have this!) And so the point is that here is this basic conflict demonstrating itself today - demonstrating itself very heavily today.

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.

But don't become terribly uneasy about these incidents. But also, for God's sake, please don't dodge around Facsimile One as an auditor. Please don't! Because this is just cruelty. Actually now that you know about it, letting a preclear suffer through and agonize around through a birth or through an engram or a tonsillectomy or some automobile wreck, something like that - unless it's an assist - is about of the same order of tying a dog up and then beating him with a chain. Because it's just not sensible, that's all.

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.

Whereas you can spend actually less time in running Facsimile One. And what you'd want to do is raise tone. You know, we've been trying and trying and trying and trying to raise people's tone. That's been the big thing: Get them up above this counter-effort band; get them up high on the Tone Scale. And, boy, they just go off of those psychometers; they just go off the top of the psychometers. We had to have them install another switch on this one.

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.

And Mathison, since the Handbook (by the way) for Preclears has reached the coast out there, has redesigned his machine with a switch to throw it on the upper tone band. The machine would not match up. And now that we've found Facsimile One...

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.

Male voice: Brother.

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

Yeah. Because it's going to go off - the first machine, the switch - it's going to go off of that. People will go off the top of that - just the proportionate rise in tone - just what we've been trying to do. Now you can demonstrate that this happens.

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.

By the way, how do you feel, Nan! How do you feel? (addressing the PC from the previous demo session)

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.

Female voice: Rather nice.

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.

Well, did he run things right?

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.

Female voice: Mm,hm.

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.

Is it all out? What did you strike - heavy effort?

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.

Female voice: Yes.

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.

The heavy effort just started on. You know why? She got tired.

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.

Male voice: That's right.

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.

That's all right. We'll catch it and run the rest of the way out. Now, just checking on the number of hours it takes to run this: I can't make an estimate at this time how long you as an auditor are going to take to run this on a preclear - or you as a case, maybe, that's been stuck in it for a long time - how long it's going to take to free you out of it so that you can run it. The hours are quite finite. If they went up to fifty, I'd be disappointed in any one of you.

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.

But I just had a mention that every time one pc here started into Facsimile One, she wound up in birth. Yes. It's the basic on all births. So they start to run Facsimile One and then - bong! - into birth.

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?

Now, it might be that she had a definite confusion in her mind as to the fact that really maybe she ought to be running birth. At that moment, somebody had better pick this up as a postulate, because it might be an auditing postulate. You might have made a decision about it.

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?

Female voice: I nearer even thought of birth, but suddenly there were the efforts of birth.

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.

Well, it's quite "birthful."

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.

Female voice: What are the efforts and the ...

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

What are the efforts?

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.

Female voice: Could we run the physical efforts in this?

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.

Well, you run whatever turns up; the physical efforts you'll have to run eventually.

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.

Female voice: Is that a good thing to start with?

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.

No.

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.

Female voice: Start on the motion?

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..."

Emotion.

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.

Female voice: Yeah.

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.

Start on the emotion.

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.

Male voice: But if she's starting to boil off, it's all right to let her boil off?

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.

Oh, yeah. You're going to find a lot of boil-off on this. You may run it two or three times and then all of a sudden hit a pit of boil-off and then have six hours of boil-off - nothing but - or something like that may happen to her.

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.

Male voice: You want us to concentrate on this one incident entirely as long as eve can run something on it, is that right?

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.

Well, right now, auditing procedure - because I want to see how well you get along with doing this as much as anything else - but my auditing procedure is to do nothing but what is absolutely necessary on the case to clip Facsimile One and roll it.

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.

This means that you may have identical efforts stacked on it someplace; there might be a crunch on the bank one way or the other. There might be something else mixed up with it or impinged upon it so heavily that you have to run it. But you know how much you run it? You know how much you run it! You run it just enough to get to the earlier one, to get to the earlier one, to get to the earlier one, to get to Facsimile One.

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.

Male voice: Like repeater technique.

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."

Yeah. By the way, this is an old technique with engrams. You get an engram - a chain of engrams, and you just run the engram once or twice so that you could get to the earlier time it happened, then run it once or twice, get the earlier time it happened, earlier time it happened, all of a sudden get basic on it, run basic out thoroughly and the rest of the incidents would blow.

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

Well, there's nothing like Facsimile One under Facsimile One. There's deaths and other things under it, but they didn't hurt us any. Facsimile One was the louse-up on the line.

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.

Male voice: Hm. What's the minimal tone range that you could run Facsimile One on a preclear?

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."

I would not even make a guess. Because you may have this kind of a setup: you may have Facsimile One establishing the tone of the preclear, He may be in a section of Facsimile One. So to gauge it, you just find out what you can run with it. You just try and run it, try and run it.

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.

Male voice: Regardless of tone, try?

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.

Just try and run it, that's right. Don't get the guy locked up in it.

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.

Of course, you understand accessibility is a criterion there. You get a person who is almost psyche, who is - never really could - can't remember anything real or anything like that: if you start running anything like Facsimile One on them without bringing them up to a rational level, why, you'd get into trouble. Because you can get into trouble any time you run an effort on such a person. So you have to take locks off of it. But that's a very low-toned case.

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.

Now, I don't know any big bars. I have only seen one case around the school, by the way, that struck me as a person that - and this gentleman's gone now and he was brought well up above that band before he left. You remember the boy.

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."

So I don't think Tone Scale has too much to do as a criterion. We'll know more.

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.

Male voice: What's the degree of indoctrination necessary to give the preclear before he can run Facsimile One? Emotion, effort and thoughthow much does he have to know? How aware does he have to be of these phenomena going on in it?

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.

Very good point. T was going to give a talk later...

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?

Male voice: Okay.

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.

.. on indoctrination of the preclear, but I can answer it right now. There's nothing much to it. What you want to do is make him run a thought. Then make him run a lock. And then see if you can't find an emotion - any kind of an emotion, even if it's determination or something of the sort - anything that: is an emotional state.

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.

All right, that's an emotion. He's all of a sudden got subjective reality on this. Now Let's run him on an emotional curve of some sort so he sees that his emotions shift and he gets reality on that. And then make him pick up something that's heavy and then run the effort out - then make him pick up this something that's heavy and run the effort out. Then show him what his effort is in it and then what the counter-effort is in it.

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."

And if you wanted to do a solid job of indoctrination and training on your preclear, so absolutely nothing could go wrong or he wouldn't suddenly go astray, I would leave it at that. Then I would say, "All right, there's an incident .."

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.

Really; one of the best ways to give him reality on it and keep him from going off the rails is throw him on a machine. You take and throw him on this machine and you say, "Now, did you ever get hit in the middle of the forehead with anything?" Gong!

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.

And he says, "Funny, I got a somatic."

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 you say, "Yes. Well, how long ago was this? Was this last year?"

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.

"No. "

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.

"Was it when you were four?" Little dab.

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?

"Oh yeah, I remember that," he says, "I fell down when I was four."

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.

"Are we referring to a much earlier incident?" Dive! "In what order of magnitude of years ago did this thing happen? Hundreds? Thousands?"

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.

He's saying, "What you doing talking to me about thousands or hundreds of years ago? What are you talking about? You know very well I was born in 1918 and I'll never be born again and I'll go to hell when I die."

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?

And you say, "All right. Was it tens of thousands? Was it hundreds of thousands? Was it a million?"

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.

"Yeah, I think it was a million. No, it was more than a million - what am I talking about!"

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 machine goes bizinnng! And he says, "A million years ago. Shot in the middle of the forehead a million ... What is this machine?"

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.

"Well, it's a lie detector. It's what the police use to know whether or not you're telling lies - if it doesn't act, why, it isn't true. But if you get a dive like that, that says that's true. I've got the goods on you. It's like if I ask you if you ever robbed a store or stole anything when you were a little kid." The machine goes bong! You say, "Did you ever steal anything when you were a little kid?" Bong! You say, "What did you steal?"

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.

"I never stole anything. I don't ever remember stealing anything!" Bong!

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.

Well, you just say, "Well, the machine seems to know more than you do about it,"

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.

Female voice: Oh, good!

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?"

Say, "All right, now you take this time you were shot in the middle of the forehead a million years ago." Bong!

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.

"O-oh-oh-oh-oh-ho -ho-ho, I was, wasn't I? When did this happen? You know, a funny thing, I'm getting sick at my stomach. I'm getting nervous about this whole thing."

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.

"All right. Well, just lie down there and start in at the beginning and run right through to the end."

Male voice: Say Ron?

Now, you've told him what thought, effort and emotion were. He knows more or less what he's doing with regard to this. But you don't tell him what to run in it. You just tell him to go from the first moment of it to the last moment of it straight through, and he'll pick up what he can get out of it. Usually, what he gets first is some emotion, some sensation, maybe a little perception. Don't press him, because sooner or later he'll run enough emotion out to start getting the effort. And boy, the effort in this thing is a lulu. And you want to get the emotion off if you can before you get to that effort so his tone is up high enough to handle that effort. That would be the main danger: that his tone was low and you chomped him into the effort.

Yeah.

Because the effort is heavy. It's like a very heavy vibration - very heavy. So that your face - your face, for instance, feels like a board; it feels stiff. And you say, "I'm sure there's a mask or something over my face." Oh, no, there was nothing touching his face; that was the hooker, you see? There was nothing touching his face.

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.

What there was, however, was a bzzzzzzzz in impacts - impacts. And these impacts were arriving so swiftly that they made a solid wall, and of course this made the fellow's face feel so awfully stiff. Now, sometimes it hit the mouth, sometimes it hit the lips, throat. And he'll get a tingle; that's his first inkling of it. That tingle's nothing. Before you get through, his lips are going to be just about that stiff, see? He's going to say, "I wonder how I can get out of this?" Or his forehead is going to be stiff or his eyes will just be staring like "I can't see. What's wrong with my eyes?"

Yes

Now, he must know enough about the arrival of counter-effort and he must know that it is a vibration in order to appreciate how to get rid of it. And you have to ruI1 his effort not to have that as he goes through it, so it starts shaking, because he was holding his face very stiff, see? And he can feel, then, the vibration of it. And then he runs the vibration against himself. And running this vibration against himself will kick it out as he goes through the thing.

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

Now, nobody died in the incident that I've found so far, (It'd sound ridiculous a few years ago to have said this, but I haven't found anybody that died in the incident). At first they're afraid they will and then they hope they do and then they don't care. Because it's all over the tone band.

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.

The point about it is, is you've just got to run this thing until you get all the effort out of it. Now, the effort will exhaust out of it, but the effort sometimes will hang the person up. Well, if he's got any sensation of motion around him, if you can get any inkling of something else moving in his environment, the effort will start running because he gets this moving and that makes the effort move, and so it will reduce.

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.

We have the tools necessary to reduce this thing. But for instance, there's this sensation of from this side to this side, from this side to this side; he'll get this change. When he goes through it first, he'll just feel this side turning on, and this side turning on; this side turning on, and this side turning on. What he'll find out eventually is that there's possibly a squeak in there of an unoiled wheel or something of the sort because what they've got is a machine and it moves. And if he can get the sensation of that machine flicking from side to side, why, he'll run the effort. Because you get one thing moving in the incident and everything else in the incident has to move. Do you get the idea?

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.

In addition to that, I don't know that all these machines were alike. If I run a few more preclears ...

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.

One of the things that was - made the telephone so unsalable, as I was discussing earlier with someone here, was the fact that it had a crank mechanism on the side of it and it went whirr-whirr as you cranked it - because that's the sound of the generator on this thing. And you crank it. And you can sometimes see somebody's knuckles or somebody's hand motion. And if you can just get that concept of that hand cranking, you can get the thing to moving and the effort will start to run out. And sometimes it was double crank like these - remember the "Mae Wests"?

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.

(R&D volume note - Mae West: reference to a type of hand-cranked portable radio transmitter (also known as a Gibson Girl) included in aircraft life rafts during World War II. When cranked, the transmirrer would automatically send out an SOS signal. The name came from the radio's hourglass shape, reminiscent of the figure of American entertainer Mae West (1893-1980) or those of the "Gibson Girls" - young women drawn by American illustrator Charles Dana Gibson (1867-1944) in the late 1890s.)

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.

Male voice: Mm-hm.

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.

Well, it was some kind of a generator - manually operated generator. A very backward society - almost as bad as this one. Very, very interesting.

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.

You know, with all the sleuthing with a guy who was supposed to be able to imagine things, to take as many years to find this and the techniques to run it that I've been utilizing in it, would demonstrate something as thoroughly loopy as this, because the thing just plain wasn't reasonable. It just isn't reasonable that there could be this much effort that could hit a human being and he could liue. And, of course, it'd have to be a very odd kind of effort. Well, it was! Supersonic effort. It's the black band of the supersonic scale. And that will cook meat!

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, that's very loopy. A hand-crank mechanism has only been known in this society for the last seventy-five years, and this incident happened a million or a million and a quarter years ago, And so all of its computations - it wasn't anything that you would ever dream up to look for. Particularly since it says you're not supposed to, throughout. You're not supposed to dream this up.

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.

So what we've got here is a map on this thing, and having this map, you can run it. But it will assault your credulity like mad for two reasons: (1) my telling you about it is going to restimulate it to some degree, and (2) it says inside it that you're not supposed to have any truck with it, think with it, run it through, pay any attention to it - that it's just you, and it's part of you, and it's very helpful to you, and it's God, after all, and this is your soul, and all it does is louse you up and divide you into parts and do a lot of things, but you have to have it. And half the time, or more than half the time, people went into it in the full belief that it was going to be good for them and make them godly. Yeah, they sold a bill of goods with it. Dirty trick,

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.

Male voice: There we have God before the machine.

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

Yes sir. We had God before the machine.

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.

Now therefore, why I'm talking to you about this incident and trying to give you as much as I can in briefing about it, and give you as much as I can in its shape and size and general characteristics of the fact, is I know doggone good and well a lot of you are sitting there and not believing it. Because it's tailor-made to be that way.

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.

But let's reach it from this standpoint - let's reach it from this standpoint: If you've ever audited anyone through engrams that you know full well had the capabilities of destroying a lifetime and found them to be no better afterwards; if you have ever pounded your head against a case hour after hour; if you've ever watched anybody get more and more confused the more times you ran them early; if you've ever run people through past deaths and through the strangest computations imaginable without them getting much better - you can realize, seeing at the same time that individuals run through these very drastic incidents, did get a little bit better, you were producing results, the phenomena was there, the capabilities were felt and inherent in all the people that you were running. And you, therefore, should be able to recognize that it would be something pretty darn weird to throw us, as a people.

Thank you very much.

We're basically a very very strong people. Now, how did it ever come about that we went this far off the rails? Because believe me, we're off the rails: blowing up nations, nationalisms, insane asylums and everything else.

Now, two things can be done with this incident: One, you can unburden it - you can take efforts off of it and get a preclear away from it; you can run the handbook on him or run Self Analysis on him, and he has a tendency to come up and get out of it, and so he's better. Or you can audit efforts at random and occasionally accidentally get him into it and make him worse. And it is a sort of a grand tug of war - it has been - between the auditor, his efforts, his self-determinism, his valiance in trying to resolve cases, as to how much tag he could play with this incident and still make his preclear better. And the choice between that and simply bucking in and running a relatively easy-to-run incident shouldn't be any choice. It should be very obvious that the very least that you can do about this incident is to buck the preclear into the beginning of it and then just run it for all it's worth, straight through, and see what happens for yourself. Then get yourself run through the incident.

Because now, if we do that, we don't have to ask anybody to believe it. They can look at you and your energy and your smiling face and they'll know you've been through something, and you'll know it too. At the same time, they'll know how much better it was, so it must have been awful tough.

Okay?