& Hurry up, hurry up, come on now. I have a couple of announcements to make, two announcements, one of them, I'm getting on with the show and everything's going along fine and all of a sudden somebody rushes up, puts slips of paper in my hand and says, „Announce this,“ you know, so I, so I'll announce this. Party, tickets are available from Mae Garrenger, who is up on the upper side up there at the back, and I think there's been some reduction in price, I'm not sure what it is. More important, on individual intensives, twenty-five hour intensives, all persons at the congress who are properly registered at the congress, may have individual auditing at the HGC here in Washington at professional rates, which is to say two hundred and fifty dollars for an intensive, immediately following the congress. I did that because I thought some of you might like a taste of this CCH and so forth, close up. Made it possible to do so.

Thank you.

& Now, more germane to the situation, we will have a report on the validation committee tomorrow afternoon. They more or less have got their findings together now, but I will have them officially by tomorrow afternoon, then we'll know something about what we're doing about the validation program. But according to my first word on this, they have not covered a validation available at the academy. I suppose they felt diffident about covering this and so after a hurried consultation on this, we have decided that two weeks of validation are available, and we have before the congress been charging something like seventy-five dollars a week for the coaching and so forth. That's more or less just to cover its cost and certification and so forth. That's a validation on an old certificate is what we're talking about, and if someone cared to stay for a couple of weeks why we would give him a crack at it.

Well, now you know.

& Now, that doesn't guarantee validation at the end of those two weeks, but it is the way we have been doing it. Now the fastest anybody has made it to date, and these were sharpies who have been with it for a long while anyway, is forty hours, forty hours of hard work to get through this. And these people were pretty well in the know already. So you see there is a possibility that it could be made in a couple of weeks because there'd theoretically be eighty or ninety hours of instruction possible in that period of time. So that is a local arrangement which was going forward which Nibs and John Fudge had been carrying on with before the congress, and if view of the fact the validation committee has not covered this particular ground, that arrangement I guess has just continued and I can announce, and make it official, that it is continued in case you want some of this coaching immediately after the congress.

You always figured that there was something wrong with mayhem and then I show you mayhem and say it's all right. But the truth of the matter is, the truth of the matter is, that any one of these drills actually takes a very long time to really get into good shape.

& Of course the ACC starts at once after the congress and that is mainly devoted to that sort of thing. Of course what we're trying to make in the ACC are people who can instruct and bring up to validation level all auditor certificates throughout the United States. And we're trying to make validation instructors there in the ACC rather than to validate certificates. That would be rather uniform that an ACC attendee would get his certificate validated, that isn't what we're trying for. Now that's as far as they progressed as far as I know, and I get the rest of the information concerning field certificates, validation of, tomorrow afternoon. Now these are just announcements that have been shoved at me and I have a feeling, I have a feeling that you didn't expect entirely a lecture last time, that you would have rather seen a demonstration, however I had a few things to get off my mind and indulged myself by doing so, I hope you forgive me.

The Academy spends a couple of weeks Comm Course and at least one week of Upper Indoctrination before they even let anybody near a process. That's about three weeks before they let anybody near a process. Pretty interesting, huh? And Academy training, by the way, has changed quite remarkably. It is remarkable to the degree that it has shifted just in the last four or five months. But it's been holding at a very high consistency here for some time, but we've been making awful sure that it's grooved.

Thank you.

You know, I've told you „That's it“ an awful lot of times, but all I'm telling you now is that we have hit a plateau. I don't say we couldn't go up from this. But I will say that the Communication Course, these first training steps which you have seen, has - well, it's been difficult to settle it down at times - but it has been consistent for over a year and the processes which are being done right this minute are the processes which were developed in fairly early 1956. It's quite remarkable. You've seen some of these processes before.

Okay. Now, we're going to cover Tone 40 on a Person, right here and now. Tone 40 on a Person should not be confused with Tone 40 8-C. Because Tone 40 on a Person is a drill. It is a Training Drill; it is not a process.

This is a level of constancy. It's just that we're doing it more thoroughly.

Don't confuse Training Drills with processes, by the way. Training Drills are Training Drills and processes are processes. And they are that because they don't work the same way; they're not on the same basis. There's a number of reasons why.

Upper Indoctrination you haven't seen too much of Even the 15th and 16th ACCs did not see too much of these Upper Indoctrination steps. Those begin with simple 8- C and continue through High School Indoc, go through to Tone 40 on an Object and then Tone 40 on a Person. And those are the Upper Indoctrination steps. These are the rougher steps.

Of course, you could consider a Training Drill a process. Anybody who is coach in one of these Training Drills does get some benefit out of it, for sure. He gets a chance to do all sorts of things that he ordinarily wouldn't. But that is not the purpose - that is not the purpose of it.

When a person has passed through those and goes back to the Communication Course he finds out something has changed. He can do the Communication Course now, standing on his head. Funny part of it is, his Instructors very often say, „Well, why, then, don't we start out with Tone 40 on an Object, because people can do these communication steps so beautifully after they've finished Upper Indoc.“ So every once in a while we take somebody and start him out on Tone 40 on an Object and put him through the Communication Course, and he can't do Tone 40 on an Object, or he can't do the Communication Course. So the proper route up is probably more or less as it is right now in the Academy.

For the auditor it's really not processing. It is simply a demand that he break through at once - not not-is and not alter-is anything - but just break straight through and ride right straight up on top and that's that, come on. And it has the answer to something I said in Wichita a number of years ago. I said, „There's no reason why a fellow just can't say, 'I'm Clear,' and be so.“ See? There is no reason. There's just a bank.

Going through the Academy these days is quite an adventure. I think any of the students around here who have been with it for a little while, like the night HCA or day HCA courses, could agree with that. It's quite remarkable as an activity.

But there's a theoretical possibility that a fellow can simply assume this point, you know, and go straight up. And actually a Training Drill permits you to do that. That is the mystery behind the Training Drill. They just say, „Go on, now. Do it!“ And the fellow - flub, flub, flub, pshew! „Do it!“

They have three rooms and one of these rooms takes care of the Communication Course, which are these first few steps, and then the next room takes care of Upper Indoctrination. And that's down in the basement where they can't knock out the concrete walls. And then they have the CCH classroom where they're taught the CCH steps.

„Okay.“

The ACC - which is just about to begin; the 18th ACC - takes these very things which I've been showing you here and which you've been drilling on in the seminars, and takes these things and pushes them up to a ne plus ultra. All ACCs are - they have an experimental aspect. What is learned in an ACC is usually eventually passed on to an HCA. The HCA Course has settled down now at the level of about the 17th ACC or a little bit better.

Lets him get kicked in the teeth and ignores the fact that he is being kicked in the teeth by his bank.

But the 18th ACC - the 18th ACC which is coming up and just starts Monday - will take these same steps, takes exactly these same steps and pushes them through with a thud - with only one purpose in mind; is to find out how arduously people can be trained. There's no doubt now that they can be trained. Now, that is the experimental aspect of the 18th ACC, is how arduously can be trained. Where is the break point in Homo sapiens? We can certainly discover it in Homo sapiens if we can bust up Scientologists. And that is actually, overtly what is going to happen in the 18th ACC.

They are two distinctly different routes. Training Drills tell a person that he can succeed in spite of his bank. And auditing immediately addresses a problem of the bank and squares it up. They are not substitutes for each other either. It's quite remarkable.

I will consider it a complete failure if there's one student in the 18th ACC who doesn't sometime or another during the course blow; who doesn't quit, start out the door, say „It's impossible. Nobody could take this sort of thing,“ and try to go over the hills and far away. Now, that is the... that's the 18th ACC just coming up.

Now, Tone 40 on a Person would look to you at first just like High School Indoc that we were doing this afternoon. That's what it would look like at first. But let me assure you it has no relationship to it beyond the fact that two people are walking around and one is giving orders to the other.

Now, to give you some kind of an idea, I notice a couple of the Instructors down here turn up their coat collars so they won't be recognized.

Now, the big difference here is that it is being done with total intention in the command and the acknowledgment. And actually it's much harder to coach. This doesn't at once become impossible to do. But you take somebody who is pretty good at this and you put him on a coach and have the coach try to act up and do something weird, and the next thing you know the coach goes into session. This is one of the wilder things that you'll observe here. All a sudden you'll see the coach, you'll say, „Well, this is no fun, the fellow is just doing 8-C.“ Believe me, the coach was trying! See, he was trying to revolt. But a good Tone 40 on a Person actually inhibits the revolt like mad.

& But the instructors on that, it's a very deceptive course in that it starts out with Mary Sue, and you know that Mary Sue is very sweet and she is very nice and she is very pleasant. So we'll at least let people into the course that gently.

Now, the auditing commands are the same as High School Indoc and 8-C. The auditing commands are just the same; there's no difference. Except there is intention and this slight difference: any coast off Tone 40 by the auditor in the session is a flunk. Which means too much pressure on the preclear, too strong a grip, too hard a push - those are all flunks. Too much grip on the wrist that hits the wall - that's a flunk. Falling off from Tone 40 with the auditing command; the intention is bad - that's a flunk. Getting complicated, isn't it?

& Upper Indoc is taught by Ken Barrett and Ken Barrett has not yet learned how hard he can press. Then the two CCH units, there are two CCH units there, one is taught by Jan Halpern and the other is taught by Dick Halpern, these are old time experts at putting on the pressure.

Now, you've watched this up here all the way through from Training 0 and you've experienced a lot of these lower ones yourself and each time we're using the last step combined into the new one, right? And now we're up to the point of where a slight smile, just a flicker of the fact that he knew the preclear spoke, is a flunk. Got that? You saw some of these people today; they kind of grin for a moment at the preclear... at the coach, you see. The auditor would kind of say, „That was a good try;” you know, or sort of give him a tiny little nod as he spoke, something like that. Those are all flunks on Tone 40 on a Person.

We think it is possible to clear people in six weeks of instruction if enough hard thumbs are used. Do you see that? And that is the goal of that 18th ACC.

It's got to be Tone 40 straight out. And that means the exact amount of effort necessary, the exact amount of intention necessary and a complete carry-out of the process, letter-perfect, from beginning to end. Otherwise it's a flunk. Now, that is Tone 40 on a Person. And a rough one it is.

& HCA isn't quite this rough. The Indoc there is conducted by a very very fine indoctrination instructor, Fernando Estrada. And once more we let them in fairly easily, we have very pleasant, very charming Marcia Estrada on the comm course. And John Fudge takes the upper CCH activities and processes as director of training. They are very definitely a going concern these days. Boy, it certainly doesn't even resemble an academy course of a year ago.

Now, I'm going to show you some people doing this. Okay? Audience: Okay. Fine.

You know, it's taken us seven years to learn how to do this sort of thing. And the bulk of our information, to you, is apparently Scientology, its developments and so on. And you see how this subject has developed and get some subjective reality on what it can do. You believe that that is the research sector of Scientology. Well, that research sector is more or less handled by myself and it is even slightly independent in its own courses. It takes place in ACCs, it takes place in the workaday world. But the organization itself wouldn't agree with you that that was the upper reach of what has been learned. The people in the FC Central Organization would tell you what has been learned has been organization - what is organization?

All right. Now, it's a little hard for me to put together exactly how we would go about this. But I think Ken Barrett auditing Dick Halpern should finish up this hour.

As soon as we found out that an organization ain't, we had it made. We just found out then that there were certain duties to be performed and each of these duties had to be performed by a person, and that person had to be informed of what these duties were and to have a purpose for those duties. And after that, why, we're not straining at it.

& [Last names above were removed in the clearsound version.]

These poor people that go around trying to make organizations. Listen, organizations aren't; they don't exist. And the people... Dick Stevens would tell you that's the most we have learned; that'd be his viewpoint on the thing.

& Come on Mr. Barrett, where is you at? He didn't expect that, I gave him no warning at all, either of them. This is Dick Halpern, and Dr. Barrett.

& [Clearsound version only has Dick with Stevens removed from the above paragraph]

I would say it'd be best if you took off your coats. Also be best if I dragged this microphone back here out of the road. You'll notice here, at once, that this isn't anywhere near as rough or as athletic. The only thing that keeps it from being is simply the fact that the intention, willy-nilly, keeps getting through. Preclear goes on doing it. He doesn't want to but he does.

And the other thing that we've learned would be, from the viewpoint of the remainder of staff - they would say, well, what we have learned is how to train people, how to make people, how to build up an entirely new person with training skills. And they'd say that is what we have learned how to do. And these things actually have been learned by the people in the organization. It's quite a remarkable gain all by itself.

All right. Now, coach, give your auditor his proper instructions.

I was talking to somebody the other day and he says, „You know,“ he said, „I just ache to get hold of an infantry company and put all their hats on as to what they're supposed to do and train them so that they can control MEST, so the officers can handle men and the men can handle weapons, and so they can communicate with one another and so that they could engage upon their individual activities as they were supposed to.“ He said, „I just ache to do this.“ He said that they'd at once throw away their weapons. They'd find out that the least useful thing they possessed was a weapon.

Coach: All right. You're going to run me on Tone 40 on a Person. The commands are „Look at that wall,“ plus an acknowledgment;

Ah, but you say, „Well, you can't talk the enemy into surrendering.“ I'm not so sure; I'm not at all so sure.

„Walk over to that wall,“ acknowledgment;

For instance, I'll give you a difference of attitude that can take place in one man.

„With your right hand, touch that wall,“ acknowledgment; ''

Fellow says he's having an awful lot of trouble with his boss, can't talk to his boss and his boss nags him all the time without any cause or reason. He just always gets nagged and he's always being mean and ornery. Auditor sat down and ran this person - problem of comparable magnitude to that boss. Nothing else happened. There were no other changes. And this mystic, odd thing occurred: His boss at once stopped nagging him, not because he was being more or less efficient, because the boss couldn't observe that well. But he just stopped nagging him, stopped giving him a bad time, and the problems in the real world folded up the moment they folded up in that fellow's skull. When the present time problem was flat he didn't have any problems with these other people.

„Turn around,“ ''and an acknowledgment.

But do you get what I'm striving at here? The people were the ones who were causing the problem, and when the preclear had Problems of Comparable Magnitude run flat, then these people out here who hadn't been processed ceased to give him the problems. Mystic. Mysterious, isn't it? Sort of like how do you influence things at a distance and all that sort of thing. And yet that has occurred rather repeatedly. Some people haven't tried to observe this.

Okay? You are to give me these commands with full intention, Tone 40. If you go off Tone 40, I'll give you a flunk. If you fail to use the proper amount of force, that is if you use too little so that I don't execute the command or if you use so much that it overwhelms me, and below 40, I'll flunk you. Understood? Okay I'll say only two things to you: „That's it,“ which will mean that's the end of the process you're running, and „Flunk.“ Okay

I'll give you an idea on this. One day I was having a lot of trouble with the only office which I think should be purchased back by the British people. The British people should take up a collection and buy this office back, and that's the aliens office, and - the aliens office of Great Britain - and they've taken their cue from the Immigration Office of the Department of Injustice and they're pretty ornery.

Auditor: Start?

Well, I'd been having trouble with them and trouble with them and trouble with them and trouble with them, and one day sat down with an auditor and I was getting a session, and the auditor all of a sudden says, „You know, this is a good idea. Let's see, now.“ It wasn't quite a proper process, because the aliens office is not strictly speaking an object. But he said, „Give me a problem of comparable magnitude to the aliens office,“ and I ran through the gamut of no problem, problem too horrible to face, so what. Problem of comparable magnitude to the aliens office would be a fleck of dust settling on that light bulb, and the problem would be how to blow it off the light bulb, you see? See? Nothing to it.

Coach: Start.

And the aliens office called me up a couple of days later and said they had my passport straightened out and I haven't had any trouble with them since. Rather fabulous.

Auditor: Look at that wall. Thank you. Walk over to that wall. Thank you. With your right hand, touch that wall. Thank you. Turn around. Thank you. Look at that wall.

Now, what did my running the process, and not again talking to the aliens office, have to do with the aliens office treating me that way? See, nothing, obvious.

Coach: Oh, sure!

Now, a fellow has a big lot of trouble with his business and so forth - run problem of comparable magnitude to his business - problem of comparable magnitude to his business.

Auditor: Thank you. Walk over to that wall. Thank you. With your right hand, touch that wall.

It's very funny. I get a lot of auditing, by the way. I just finished about a twenty-hour intensive before this congress. And the ... I've got to tell this - I've got to tell this now, because the staff will think it's funny. This is one on the staff; they don't know this.

Coach: I can't! You're pressing it too... against my side.

The auditor ran me on problems of comparable magnitude to the FC staff. You know, they're always coming in with a horrible wreck that just wrecked and dumping it on my desk and saying proudly, „What do I do about this?“ see? And various things are colliding in one way or another in the organization; it runs pretty smoothly, by and large. But she ran me - Problem of Comparable Magnitude.

Auditor: Thank you. Turn around.

Well, I had a pretty big problem out of this, you know, and ... driving in my anchor points and so forth, and ... The only person we've had any trouble with since that was run has been a person who wasn't on staff at that time. That's right, isn't it, Dick? The only trouble which has occurred has been from a person who wasn't on staff at the time this was audited. And nobody’s brought in any problems to me at all; I don't know why this is. They used to think this was the only way they could get to talk to me would be to have a big problem. Staff is terrific, just absolutely terrific. They actually are no great problem. But it was rather amusing when I looked back on it and found out that the person who wasn't present when I audited that, did cause later some trouble, and there was no other trouble caused of any kind.

Coach: You're getting awfully mean about this.

So, this factor we don't have our fingers on. But we could theorize and say that the person himself carries along the restimulative factors which set commotions into action in his vicinity. In other words, that an individual carries with him the enturbulance which restimulates others and causes them to react against him.

Auditor: Thank you.

Now, we can see that mechanically, theorizing on it one way or other, and we do have some supportive evidence. It's quite amazing. Every time somebody who is stark staring crazy comes near the organization or is brought in, lugged in one way or the other, by the relatives or something ... We don't ... we're not in this business, you see, but once in a while this happens. Somebody gets dragged in and they're going „Du-uu-uuuh, what wall?“ you know. And there is always a commotion going on just as though you'd thrown a brick in the middle of a millpond, see. Thud. Plunk. And there go the waves of commotion. Person gets audited, no more commotion. This is weird, isn't it?

Coach: It hurts.

If one continued to specialize in psychos he could always expect the immediate vicinity of the psycho to enturbulate, not because the psycho has anything to do with it. This crazy person doesn't have, really, any knowing effect on his environment, but he does have an effect on his environment. There is some sort of enturbulative, confused machinery which restimulates the confusions in others and they get this reaction.

Auditor: Look at that wall. Thank you.

Now, a Scientologist who can handle confusion is generally not very confused about this. But sometimes the pieces of paper start flying up in the air and he's quite amazed at this amount of commotion.

Coach: Think of all the people out there.

There's always tremendous numbers of problems. You'd think just dragging somebody in the front door and saying just „Go to the auditing room“ - you'd think this'd be a fairly easy action. And the people who'd run High School Indoc could accomplish this with the greatest of ease. But the funny part of it is, is the commotion is no longer caused to us by the psycho. We can take care of the psycho, but the restimulated relative comes around and gives us a bad check, you know, has to have another liaison with something or other, has to have a couple of favors over this way. And the next thing you know it's this person who is enturbulated.

Auditor: Walk over to that wall.

And the only thing the front office of the organization has never gotten wise to is the fact that they have to run Tone 40 8-C on anybody connected with a crazy person. Just take in the whole environment, doesn't matter what or who: husband, wife, parents, aunts, uncles, and the psychiatrist - if you've got to get that low. Just take the whole works, and you just have to run Tone 40 8-C on the whole works. Otherwise you get this tremendous enturbulance and confusion and meaningless pieces of paper flying around.

Coach: Think of all the people out there. Don't be nervous.

I could always tell when one has walked in the front door, because the dispatch lines of the organization momentarily treble, and then damp down again. It's very interesting. Dispatches coming through - you all of a sudden get a tremendous lot of dispatch from an area that you hadn't noticed before, you see. It'll be some person connected with this person who has just been brought in and they will be causing some other oblique commotion which probably has nothing to do with the psycho. Do you see this?

Auditor: Thank you. With your right hand, touch that wall.

So, if we just stacked up a bunch of bowling balls here, one after the other, you know that if you hit this one, that one theoretically moves out and the rest stay still. Well, that is a beautiful experiment. I don't know what it means. I learned it. It's a very nice experiment, but it tells us nothing.

Coach: Much better. You're more relaxed now.

If we kick Private Alpha, then Private Zed does not fly off the other end of the line. I point that out to your attention. We stack a bunch of men up here and we kick this man, this man doesn't say „Ouch.“ See? Human beings do not run according to physical laws. But if we take this stack of men and we enturbulate this fellow, we'll get a confusion passed on to this one, a confusion to this one, a confusion to this one, and it gets damped out rather rapidly, but you get a concatenation or a definite contagion of confusion. And that's about all that happens in the physical side of man's nature. These confusions are contagious.

Auditor: Thank you.

It's very funny. The - huh! - The psychologists, I mean. I don't know what these fellows were doing for fifty, a hundred years. They must have been doing something. They've noticed mass hysteria, and they talk about mass hysteria and mass hysteria. But there is no mechanics, no description of mass hysteria or how it starts. They study it, they say it is, they study it. They notice a whole room full of people will suddenly become very hysterical. And they don't think that the bank has anything to do with it. They don't know the bank exists, that it'd have some mass. And you get the idea? They just - there isn't anything there. They have noticed that suddenly somebody gets hysterical and a lot of other people around him get hysterical at the same time, see? They've noticed this occur. And this is mass hysteria.

Coach: Think I'm going to get away from you or something?

Well, I don't know that there is such a thing. I don't know, see? I have never myself witnessed the perfect case, which I think is a Southern mill where all the women went hysterical at the same time. I don't know. I don't think anybody observed whether they went hysterical at the same time. And I don't think it was either... ever accurately observed, because if you've got that much confusion going from person to person where they all apparently simultaneously blew off into space, the person watching it was restimulated, and therefore was not a reliable observer.

Auditor: Look at that wall. Thank you. Walk over to that wall.

So we wouldn't know too much about this mass hysteria. We do know about this other factor. And we get this contagion, contagion, contagion, contagion, and gradually people get hysterical.

Coach: I'm going. Thu don't have to keep crowding me.

Now, it's true that an army evidently starts running, but that's quite apparent. A soldier is standing there and he finds out the soldier to the right of him and the soldier to the left have already left. Makes him feel alone and he leaves. We don't need any esoteric explanation of that. But we do need one about this contagion. We do find out that people who can handle problems with relationship to any particular sphere, these people do not get involved in the same type of problem again. See, that's interesting. In other words, these are the only accurate facts we know, that people do restimulate in the vicinity of restimulated people and that Problems of Comparable Magnitude run on these people then make them immune to this restimulation, which is quite an amazing thing to know that much and know it positively and well.

Auditor: Thank you.

Now, what the mechanics are, that's something else. That's not too easily done. If you made people mock up confusions and become habituated to confusions of one kind or another, you say that would do it. Well, I have no evidence that it does, and that is the only reason why I make a cautious statement on it.

Coach: All right.

You get a postulate going around, however, that everybody ought to go and act like they're mad, and you generally will get people going and acting like they're mad. That's enough to know about it.

Auditor: With your right hand, touch that wall.

So an auditor - now we get up to this drill again - an auditor must be able to handle the confusions and motions and enturbulations to which he is subjected in auditing preclears, otherwise he will restimulate. Don't you see?

Coach: Mm-hm.

Well, these drills run this out. It's actually a sort of a process, see? His confidence comes up. He finds out that he doesn't have to stop and be controlled by all of this confused motion.

Auditor: Thank you. Turn around. Thank you. Look at that wall. Thank you. Walk over to that wall.

Now, you saw these people up on the stage here in this last hour. They were doing a drill. If they did that drill to where they could do it perfectly, just that sort of thing, they would have very little trouble from people. That's High School Indoc.

Coach: Okay. You look.

But supposing these people, by their own postulate, cutting through all confusions, could influence MEST or people with no more than a postulate. Ahhh. Now we know why we're talking about Tone 40 auditing.

Auditor: Thank you. With your right hand...

Not only would they themselves have to be at a place where they were no longer confused every time they saw a confusion in their vicinity, but they would also have to be able to cut through any confusion of their own or any confusion of anyone else and make the intention and postulate go through and stick and be executed.

Coach: It's dusty up there.

Now, the next two steps of Upper Indoc are devoted to that. It was all very well for an auditor to continue to audit somebody in spite of the efforts of that person to stop him. That was all very well, and a very necessary step. But how about this next one, to get an intention to cut directly and cleanly through any confusion of his own and any confusion of anyone else's, straight through to the person at the bottom of all this and get an execution and action. And that is the goal of the Tone 40 processes. Now, actually you knew about High School Indoc before, you knew about a lot of these other things, but I had not publicly or broadly talked about Tone 40. Now, that's what Tone 40 is all about.

Auditor: ... touch that wall.

A person not only gets the confidence that he can continue to perform in the vicinity of people who are confused, but also gets the confidence that this confusion does not stop his intentions, directions or his attainment to his own goals.

Coach: Sure.

That child who said, „I want to be a painter,“ and was arrested and stopped by the confusion of the environment from attaining his goal, was unable to make an intention stick. Isn't that true? He just wasn't able to make it stick. And he becomes disabused of the idea. He finds out ... he feels that he can't. Because he himself didn't know exactly what he was trying to do with this intention or through what it had to go, he himself could be defeated by these counter-confusions. Don't you see?

Auditor: Thank you.

Well, then don't consider it odd that a person who works on an object, on Tone 40 on an Object, and gets to a point where he can make a clear, clean intention go through his own bank to a MEST object, then improves in his ability to handle his own life and his goals. He's doing what he tried to do when he was a kid and wanted to be a painter, but now he can do it, and right in present time.

Coach: Awful dusty.

We ignore cutting through any bank. We ignore going through any confusion. We ignore the confusion. We don't not-is it. We just drill the person until he discovers that it is incapable of stopping him or varying his intention. And when he has learned that, the funniest things happen. Psycho walks in, going all sixes and sevens, very, very confused. The auditor says, „Sit down in the chair,“ and the psycho sits down. „Tell me your name, rank and serial number“ The psycho tells him his name, rank and serial number. Nobody else has ever been in communication with this person. Well, we're not then studying purely communication. We're studying something else, which is the interchange of intention. We're studying something else. It's nonverbal. It is an intention which goes through perfectly clean and clear and independent of.

Auditor: Turn around.

And you're seeing here in Tone 40 auditing the first actual result which came about from nonverbal processing, which we were attempting to do in Phoenix in 1954-55. Remember that? Non-MEST processing. We were trying to bypass the comm lines, one way or the other.

Coach: All right.

Well, today we can do this and do this rather easily because we have some Training Drills which promote a person up to doing it.

Auditor: Thank you.

Now, I haven't the foggiest notion of how high these drills go. I haven't the least notion at all. I don't know but that an intention cannot go up to a point where a piece of MEST will disobey natural law and obey the auditor. I do not know that this will not happen. Do you understand that? I do not say this will happen, but I do not know that it will not happen. In the first place, there is historical record on the fact that there have been people in the immediate background, not eight hundred years ago, in accurate record, who were able to make MEST fly through the air simply by intending it to. And I'm not trying to oversell this idea, or I'm not trying to raise your hopes, saying, well, all you had to say to the automobile, „Be five feet in the air,“ it's five feet in the air „Change the tire,“ and ... I'm not trying to tell you that that would occur But I am also trying to make it very clear that I'm not saying it will not occur. Do you understand that?

Coach: Okay.

I don't know what would happen if somebody drilled on this for eighty or a hundred hours, because I don't think anybody has ever drilled on it that long. The maximum length of time is probably in the vicinity of twelve, fifteen, twenty hours for most people. And I think the longest it's ever been run - oh, I think thirty hours; twentyfive or thirty hours. Fellow was having an awful lot of trouble with it at the beginning.

Auditor: Look at that wall.

But how about the fellow who didn't have very much trouble with it at the beginning? Supposing he had run it eighty to a hundred hours? Well, would it happen or wouldn't it happen? Well, this we're not going to try to answer. No reason to answer that question. An individual can answer that question himself.

Coach: Look at that wall.

Now, here's the oddity: On Tone 40 on an Object - on Tone 40 on an Object - we are only trying to put the intention into the object. We're not doing the same as that lower communication drill which you did.

Auditor: Thank you.

You do want to know some more about these drills, don't you? Audience: Yes.

Coach: Thank you.

All right.

Auditor: Walk over to that wall.

Now, the lower drill there is Dear Alice. Well, you're supposed to get the intention, the phrase and so forth across to the preclear and it's supposed to go across to the preclear, and you'd say offhand that's more or less the same thing. No, it isn't at all. You have flattened it to some degree on a person. And a person isn't MEST. This is MEST. And you'd be surprised at the reactions of people trying to command MEST directly. Remember, people haven't been in good communication with MEST. They haven't been telling it to do things for a very long time, just telling it to do things and it did them. And the backlog of this sort of thing, these failures and so forth, tend to go into restimulation when we run Tone 40 on an Object. You see, that's the essence of the drill.

Coach: Walk over to that wall.

Now, all we want to have happen is that the individual gets across to this thing... Of course, he tells it to sit down, but it can't hear. He says, „Sit down,“ and the intention for the thing to sit down definitely must arrive in the object, and the object must in itself be permeated with this intention to sit down. And when the object is down, the individual must now permeate it with the idea that it will accept or the willingness that it will accept his acknowledgment. See, this thing has got to be in a receptive mood. That's the intention that goes through for the acknowledgment to come through. Do you see that? And then the acknowledgment goes through. These are just two steps. That's one cycle, is „Stand up.“ And we say to this thing, „Stand up.“ Pick it up with a hand and say, „Thank you.“ That's all.

Auditor: Thank you.

So the drill is composed simply of this, and this is idiotic in its simplicity.

Coach: Thank you. Thank you!

The reason we don't use Tone 40 commands on it is that the individual would have a tendency then to just groove these commands, you see. You know, he'd get used to them and he'd say that's fine, and he would be Tone 40 as long as he was using 8-C commands. Well we give him some other type of command, that it doesn't much matter, but this is the command of the drill. First „Sit down. Thank you. Stand up. Thank you.“ That's all there is to the drill. Silly, isn't it?

Auditor: Thank you.

Dick Steves, come up here.

Coach: You're welcome.

& [The last name, Steves was cut from the clearsound version.] This is a dirty trick, you know.

Auditor: With your right hand...

How about standing right over there on that edge of that chair and giving these folks a good example of this, huh?

Coach: All right.

All right. Now, he's just going to run Tone 40, and I am the coach. Got that? Again we have a coach.

Auditor: ... touch that wall.

& I'm the coach. That's alright, that's alright. Look at that string. OK. This is Dick Steves in case you don't know. He's the fellow chiefly responsible for all this good order and discipline that's made this a good congress. The one that's responsible for all of the good music of course is Mary Adams. The one that's responsible for all of your somatics is myself.

Coach: Yeah. Just did.

Now, I'm the coach and I'm simply going to ask him to run this.

Auditor: Thank you.

LRH: And will you please run this badly for me.

Coach: All right.

Student: Mm.

Auditor: Turn around.

LRH: Okay. He's going to run this very badly, just to show you how we begin. But I'm going to coach him.

Coach: That wall means something.

Now, what I want you to do - this is called Tone 40 on an Object - and what I want you to do is to tell this thing to stand up and then thank it for having stood up. And then tell it to sit down and thank it for having sat down. And use your hand to assist it to move. Okay?

Auditor: Thank you.

Student: Mm-hm.

Coach: You're getting my shirt dirty. You're getting my shirt dirty!

LRH: And that's what I want you to do. All right. Now, you do that, would you please.

Auditor: Look at that wall. Thank you.

Student: Thing, stand up. Thank you.

Coach: All right.

LRH: You think that's Tone 40, huh?

Auditor: Walk over to that wall.

Student: Oh, definitely.

Coach: You're welcome. All right. Okay. Don't grab me so hard. I'm going. What's the matter with you?

LRH: Well, let's get better than that, now. Come on, let's go. All right.

Auditor: Thank you.

Student: All right. Thing, sit down.

Coach: You're welcome.

LRH: The commands are wrong. You just say, „Sit down.“

Auditor: With your right hand...

Student: Oh. Sit down. Thank you.

Coach: Thank you.

LRH: All right. Now have it stand up.

Auditor: ... touch that wall.

Student: Stand up. Thank you.

Coach: Thank you.

LRH: He's having a hard time. He couldn't do this wrong if he had to. He's too good at it.

Auditor: Thank you.

Student: You want me to do it real wrong?

Coach: Thank you.

LRH: Huh? Yeah, do it good now.

Auditor: Turn around.

Student: Oh, do it good?

Coach: Thank you. Thank you.

LRH: Yeah, do it good.

Auditor: Thank you.

Student: Oh, all right. Sit down. Thank you.

Coach: Good. Good!

LRH: Go on.

Auditor: Look at that wall.

Student: Stand up. Thank you.

Coach: Good.

LRH: Good.

Auditor: Thank you.

Student: Sit down. Thank you.

Coach: Good.

LRH: That's all.

Auditor: Walk over to that wall.

That's all there is to that. That's really all there is to the drill. But he knows and his coach knows whether or not he's reaching it.

Coach: Okay Good! Good! All right!

Now, give it a very bad one and maybe the audience can tell when you are and when you aren't. Give it a real sour one. Talk to your shoulder or something.

Auditor: Thank you. With your right hand, touch that wall.

Student: Stand up.

Coach: Sure.

LRH: Go ahead.

Auditor: Thank you.

Student: Thank you. Sit down. Thank you.

Coach: You're welcome.

LRH: Okay. All right. Now, in order to do that wrong, though, he'd had to talk to other things than this, because he's too good at it. Got the idea?

Auditor: Turn around. Thank you.

Now, that's all there is to the drill. That is all there is to that drill. That's quite remarkable, isn't it? It's simple as that for somebody to have to spend a couple of days on it, long days too, in an HCA class, and probably have to repeat the Upper Indoc Course too, in the bargain, with two more days on it, something like that. It's pretty wild. Two days are assigned to that. So it must have some validity for it.

Coach: You're welcome. Good.

& It's all, it's all very difficult, but you know this was wound [found?] by E. M. Baird. That's what it says.

LRH: That's it!

Well, now this particular item, or a colored ashtray, but not an invisible, clear glass, would be anything that you would use. A colored ashtray is the preferred, without anything in it.

Thank you. Thank you very much.

Got that?

& Thank you very much Dr. Barrett, thank you very much Dick Halpern.

All right. Do it right a couple of times, full cycle, then, Dick.

There wasn't much chance of a flunk there. Both of these gentlemen are Instructors in the ACC. Both of them have this thing as cold as ice.

Student: Mm. Stand up. Thank you. Sit down. Thank you. Stand up. Thank you. Sit down. Thank you.

& And there probably isn't anybody around that can flunk Barrett on this. But if anybody could have flunked him it would have been Dick Halpern. I was thinking under the stress of all this why, we might have gotten a mess up of one kind or another, but apparently, apparently his poise is not to be destroyed that easily.

LRH: That's it. Thank you. Thank you very much, Dick. Well, that is Tone 40 on an Object.

& Well now, who else are we going to get up here, huh? Who else are we going to get up here? It would have to be somebody that was pretty smooth on this, pretty smooth on this. Just to give you another example of this, only let's give you some randomness concerning this. Let's give you something here with a few more flunks. Let me see, let me see. Well, we had a good boy up here today with Richard Green, Richard Green, come on up here Richard. Now we're going to pull an awful dirty trick on John Farrell. Alright.

Now, you say, „Well, now, we ought to make it more complicated than that.“

& Student: I've never run this one.

No, that's the trouble with you. The attainment of that much simplicity requires sheer genius.

& Never run this, that's all right, come up here. He hasn't come up to this yet. That's fine, that's why you're here, take your coat off and put it up here, come on here Johnnie. OK. You betcha. Now, John I want you to audit Dick Green here, and

„Stand up. Sit down. Stand up. Sit down.“

Dick I want you to coach him through this. So, you just coach him straight through, give him his instructions right where he is so the audience can hear you, and it doesn't matter whether you do it right or wrong, that's not any possibility, but make sure you flunk him every time you get him off on anything, see?

People are just going around through the bank on complexities, see. To do it simply is something.

& Coach: OK.

Come here, Joyce & Barrett.

& Alright. Let's go.

& Student (Joyce Barrett): Hm-mm.

& Coach: The commands are first, „Look at that wall,“ and, „Walk over to that wall,“ both acknowledged when I look at them. Then I'm going to walk over to it and acknowledge it, then, „With your right hand, touch that wall,“ and acknowledge it, then, „Turn around,“ and acknowledge that, then, „Look at that wall,“ and so on.

„Mm-mm,“ she says. I want to show people a little bit more about coaching this. Come on. She'll never forgive me for this.

& Student

& This is Joyce Barrett, she's ...

Auditor: Good.

She really has a very great acquaintance with MEST. She can make it sit up and look like things. She's a sculptress. So she shouldn't have any trouble with this at all, which is why I picked her. But I want to show you how you coach this sort of thing.

& Coach: You're to run this Tone 40 and then ...

All right. Now, this is Tone 40 on an Object.

& Audience: Could you do that louder?

Student: All right.

& Coach: OK. Tone 40 with full intention, and a smile or any recognition of what I'm saying or doing will be a flunk.

LRH: And I want you to - just feel that and get accustomed to it. Good.

& Student: OK.

Now, I want you to tell this to stand up and then take your hand and make it stand up, and then say „Thank you.“ And then I want you to tell it to sit down and then with your hand put it down, and then thank it. Now, you just do that. Go ahead.

& Coach: OK?

Student: And do I tell it to stand up before...

& Student: Yup.

LRH: Just tell it to stand up and then pick it up.

& LRH: Fine.

Student: Stand up. Thank you. Sit down. Thank you.

& Coach: OK. Start it.

LRH: All right. Do it some more.

& Student: Look at that wall. Thank you. Go over to that wall. Thank you. Touch that wall.

Student: Stand up. Thank you. Sit down. Thank you.

& Coach: OK.

LRH: Does this feel peculiar?

& Student: Thank you. Turn around. Thank you. Look at that wall.

Student: A little bit.

& Coach: Which wall? Oh, thank you.

LRH: Feels a little bit peculiar, huh? What's your idea of that?

& Student: Thank you. Go over to that wall. Thank you. Touch that, touch that wall.

Student: Well, you know, I believe that if I really thought that would do that on my command, it would.

& LRH: Flunk him.

LRH: You're so right.

& Coach: Yeah, flunk. I should have flunked you on the 'Go over to that wall,' and I want to count that as one. And 'Walk over to that wall.'

Student: But it's just my getting to the point where I think it will.

& LRH: Yeah. He mucked the command.

LRH: Well, this time I'll ask you to run it with a total nonverbalization so we can get the idea of intention. Now, without saying a word - this is part of the drill. This is really just standard coaching I'm giving her... giving you, and I'm trying to give you an example of how you coach this. You got it? An example of how it is done. And this would be one of the things done.

& Coach: Yeah, on that one too. Yeah.

Now, I'm not going to ask her to flatten these things one after the other, because that would take time. But I'm going to give you the standard steps here.

& LRH: Yeah.

Now, I want you to put the intention in it and just not say anything. And then take your hand and put the thank you in it and then put the intention in it to sit down and then the intention in it to receive your thanks. That's all I want. Okay, now just do that.

& Coach: It should have been 'With the right hand,' ... Take it from here, that last command.

Student: Okay. (pause)

& OK, now do it again.

LRH: Did you?

& Student: Touch that wall.

Student: Mm-hm. But it could be better.

& Coach: Good.

LRH: Oh, you yourself now have some inkling of how good it is or how bad it is. Isn't that interesting? That is interesting, though.

& Student: Thank you. Turn around. Walk over to that wall.

Student: Yes.

& Coach: Look at that wall.

LRH: And this is one of the weird things about Tone 40 on an Object, is the person doing it is always his worst critic. He knows he's doing it or he knows he doesn't. I've never seen anybody yet fake this. If he did, the coach could also tell. The coach gets quite perceptive on this.

& Student: Thank you.

Let's do it silently a couple more times.

& Coach: OK.

Student: All right. (long pause) You know what? It sometimes takes a little time to get that intention in it.

& Student: Go over to that wall. Thank you. With your right hand, touch that wall.

LRH: That's right. That's right. Always in the early stages you generally find that MEST has entered into it to the degree that time is added.

Thank you. Turn around. Look at that wall.

But I thought you were doing that right well, as a matter of fact. It was better than the first time you did it, wasn't it?

& Coach: OK.

Student: Yes.

& Student: Thank you.

LRH: Quite a bit, huh?

& Coach: You're welcome.

Student: Yes.

& Student: Go over to that wall.

LRH: All right. Now I want you to say „gobbledygook.“ Put the intention in it to stand up but substitute for that the words „gobbledygook.“

& Coach: Look at all those people there.

Student: All right. (mumbles)

& Student: Thank you. With your right hand, touch that wall. Thank you.

LRH: Can't you make gobbledygook mean „Stand up“?

& Coach: With my left hand.

Student: Well, that's the difficulty.

& Student: Thank you. Turn around.

LRH: All right. Well, do it.

& Coach: Look, this is my right hand.

Student: All right. Gobbledygook. Same word?

& Student: Thank you. Look at that wall.

LRH: Gobbledygook.

& Coach: OK.

Student: Gobbledygook.

& Student: Thank you. Go over to that wall. With your right, thank you.

LRH: Good. Tell it to sit down. Gobbledygook.

& Coach: Flunk. You got that out before you...

Student: Gobbledygook.

& Student: Good. With your right hand, touch that wall. Thank you. Turn around.

LRH: She did it, too.

& Coach: Turn around.

Student: Gobbledygook.

& Student: Thank you.

LRH: All right.

& Coach: Thank you.

Student: Yeah, but what I do is something else.

& Student: Look at that wall.

LRH: What do you do?

& Coach: Look at that wall.

Student: Well, I...I...I really... mentally saying the word first.

& Student: Thank you.

LRH: Yeah?

& Coach: I did look at that wall.

Student: And then I substitute the verbalization.

& Student: Good. Snap! You smiled at him. You acknowledged the fact that he's got one more coming. Alright. Look at that wall. Thank you. Go over to that wall.

LRH: Yeah That's interesting, isn't it?

& Coach: Go over to that wall, go on. That's walk over to that wall.

Student: Yeah.

& Student: Walk over to that wall. Thank you. With your right hand, touch that wall.

Well, we won't try to flatten that. I will go further on this and I will ask you to do this now; I will ask you simply to repeat the drill cleanly. Now, tell it to stand up. Thank it. Tell it to sit down, and thank it.

& Coach: Touch that wall.

See, in normal coaching, why, we'd go right ahead and make her flatten that until the word „gobbledygook“ could mean „Sit down.“

& Student: Thank you. Turn around.

Student: That'd take a while.

& Coach: Turn around.

LRH: That'd take a while, that's right. Okay.

& Student: Thank you.

Student: Okay. Stand up. Thank you. Sit down. Thank you.

& Coach: Thank you.

LRH: All right. Where did that last thank you go, Joyce?

& Student: Look at that wall.

Student: Boy, that was wild. It sure didn't go into that. I could feel it just all over.

& Coach: Look at that wall.

LRH: That's right.

& Student: Thank you.

Student: It wasn't there.

& Coach: Thank you.

LRH: All right. Okay. Now, I tell you what. I'm going to ask you to misemotionalize. Remember, we're going to do this at Tone 40. So I want you to get used to the idea of the words expressing some sort of an emotion, but the intention being at 40. I'll give you an example.

& Student: Walk over to that wall.

(apathetically) Sit down. See?

& Coach: Walk over to that wall. Thank you.

Student: Uh-huh.

& Student: With your right hand, touch that wall.

LRH: Stand up. Thank you.

& LRH: Snap! OK, thank you very much Johnnie. Thank you. Just wanted to give you an idea.

Misemotionalize it. Any emotional tone you can think of; but you express that with your words. But your intention we want at 40.

I'm going to fish Bonnie [Barnie?] out from behind the curtain over here. I'm going to show you the exact steps by which this should be run. Because there are exact auditor positions. This is Bonnie.

Now let's see you do that.

& Bonnie Turner.

Student: Mm. Stand up. Thank you. Sit down. Thank you. That's real hard to put the intention into it... into it when you've got an emotion mixed in with it, though.

[clearsound transcript says Bonnie, might be Barnie, hard to tell and LRH says „him“ below - Ed.]

LRH: Yeah, isn't it?

I'm just going to use him here just to show you the exact positions. We're not running Tone 40 on a Person. I just want to show you the positions. Okay, Bonnie?

Student: That's worse, yeah.

Now, when I say, „Look at that wall,“ from this side of the preclear, I will then continue to walk on this side of the preclear, won't I?

LRH: All right. Now exactly what am I trying to do with her now? Exactly what am I trying to do? I'm trying to disassociate words and lower-toned emotions from the intention. Got it? I'm trying to get these things split apart so they are no longer the same. You got that? You got that as the purpose of that particular stage of the drill, hm?

And when he gets over to the wall - watch. With your right hand, touch that wall. Now, where do I go to get this right hand, see? See, so I'm on the wrong side of the preclear. So the auditor always walks and directs from the right side of the preclear. It's done in this fashion. There's a very interesting shift of feet in Tone 40 on a Person, which makes it very valid. All right.

Well, now I want you to just do it straight a few times. We'd flatten that one, too, but we're not going to. Go ahead.

With your right hand, touch that wall. Thank you. Turn around. Thank you. Look at that wall. Thank you. Walk over to that wall. Thank you. With your right hand, touch that wall. Thank you. Turn around. Thank you.

Student: Stand up.

You see that?

LRH: Okay.

Audience: Yeah.

Student: Thank you. Sit down. Thank you.

Now, exactly what is happening here? I'll walk to this side and say, „Look at that wall.“

LRH: Go ahead, do it some more.

I'm on his right side. Right?

Student: Stand up. Thank you. Sit down. Thank you.

And when he comes over here he then touches - I tell him to put... „With your right hand, touch that wall.“ And he touches the wall.

LRH: All right. How is that now?

Then I step behind him as I turn him. Now, get these as two simultaneous moves. You think this doesn't amount to much but, believe me, I'll show you the trick here in a minute.

Student: It's better.

We turn him.

LRH: Getting better.

Now where are you going to go, Bonnie?

Student: Mm-hm. It gets better.

You see that? Now, as a matter of fact here, we've got a shift which blocks the preclear from going anywhere. And in view of the fact that Tone 40 on a Person is not for high-toned preclears... Did you realize that? Tone 40 on a Person is about eight miles south of simple 8-C. Very, very low process or a medium-range process. It doesn't matter, it's one that goes a lot of all the way, see? But this is the one that you would run on somebody if you wanted very fast results just on an ordinary preclear, or one that you'd run on a psycho. Therefore, you have the same foot pattern as otherwise. When he turns around here and puts his right hand on the wall, we turn him always counterclockwise and step in front of him and pin him with our two hands lightly, then step off here and point to the other wall. See that? That is the proper way to do it.

LRH: Now, part of this drill would also be the coach opening up on her... (You're going to have to forgive me for doing this to you but I'm going to.) The coach opens up on her in this fashion. Now, she's doing a little bit better here now, and if she were a lot better than this, this is about what the coach would do. He would start to run a sort of a High School Indoc attitude on her, see?

Now, you missed the piece de resistance this afternoon when Nibsy and I were doing this and I was the coach, because I actually got out of this. He was doing this to me as the auditor. You remember when I suddenly moved out of it? I was only able to do that because he had relaxed the pressure of one hand. The second he relaxed it I simply went out from under. In other words, he had me by this shoulder very securely, but not by this one. And I just simply went that way.

All right. Let's do it some more.

So when you turn the fellow around - the preclear around - you take hold of both his shoulders, don't you see? There he is. Now, you step off this way still with this shoulder. But because you've appeared here and steadied him with the turn-around, any impulse to blow that he had evaporates. You see this?

Student: Stand up. Thank you.

Now, I might ask you what advantage there would be to being on the left-hand side. And there is none whatsoever. In the first place, the stronger side of most people is the right side. They tend to bolt to the right if they're going to.

LRH: Joyce, you know that wasn't Tone 40. You just know it wasn't.

Let me show you something else about this. I want to show you something quite incidental to this. We walk over here and put a hand on the wall. We have come up against a barrier, haven't we? And actually this process is running stops into the case, and the case lets go of backtrack stops. And that's one of the reasons 8-C works. Got that? Stops in engrams and things like this evaporate because he's getting plenty of stops in present time. Remember what I told you in that last hour about you give him enough kicks in the shins? Well, he thinks a lot of stops are necessary. You run him on this process and he finds a whole bunch of new stops and he says, „Well, I'll let the old ones go“ - and he does.

Student: Okay

Okay. The proper way to run it then is very simple. Turn him around (here, over here).

LRH: You do, huh?

Look at that wall. Thank you. Walk over to that wall. Thank you. With your right hand, touch that wall. Thank you. Turn around. Thank you.

Student: Yeah.

Thank you, Bonnie. Thank you.

LRH: Well, don't be so agreeable. Go on, do it some more.

So we get this various phenomena of being able to carry on with this.

Student: Sit down. Thank you. Again?

It's a very funny thing, you know, you'd think the army, or something must have been therapeutic if people were marched. Entirely different intention in it. But the funny part of it is that sometimes marching is more therapeutic for low-level cases than not marching. As I've already remarked to the 17th ACC during a lecture, Israel's total campaign of bringing sanity back to the various peoples who have come from beleaguered areas of Europe where they were persecuted by the Germans, and so on, by the Russians... They have come into Israel there, they have to be taken care of; there's no adequate psychotherapy available so they throw them in the army.

LRH: Go ahead, do it some more. You haven't done it yet.

Well, now they don't know why this works. But actually somebody is controlling their time and motions. And after about a year these madmen turn sane, which is quite interesting. They have a much different purpose in their army than this - the US army has purpose, I'm sure.

Student: Stand up. Thank you.

Here though, we do see this technique as being - old 8-C was responsible for some very large percentage. By the way, we have a book back there called The ACC Preparatory Manual. It has quite a bit of data in it. The ACC Preparatory Manual is rather a misnomer. It's got a lot of data on assists which would be of interest to Book Auditors; it has some lists of books and tapes which are quite interesting. And in addition to that, it has the summary research project results. Some of the auditors remember a mimeograph sheet that I sent to them a long time ago and asked them to fill out. And when all of these were accumulated from auditors all over the world they were compiled into the summary research project report, and that is in the ACC Manual. You ought to get yourself a copy of that because you'd be interested in it.

LRH: That went right there, didn't it?

But amongst the various things which are in this summary research project is the dominance of 8-C. It ranked right up there; it compared quite favorably with Havingness itself. In other words, just an older, less workable process than the one you are seeing right here at this moment was responsible in the majority for the releases from alcoholism and psychosomatic illnesses galore. All kinds of things it did for people - just this drill all by itself.

Student: Mm, yeah, sort of

Now, Tone 40 8-C goes much lower and advances much higher than old simple 8-C. And all we've done is refine this old process. And this process is very old, clear back to Camden, ACC Number 1. Now, it wasn't practiced much until ACC Number 2, but it existed then. That was a long time ago, wasn't it?

LRH: Well, yeah. Well, let's get it in this.

So you'd think that marching somebody around like this might or might not do something for them, but you'd be surprised. You'd be surprised - the regularity of the command, the obedience of the command, the communication that goes in it, the exceeding amount of control that goes into it, the fact they're walking into barriers and getting stopped. It works on fairly low-level cases.

Student: Yeah, I'm kind of aiming right around here.

Don Breeding, monitoring the tape recorders back here, tells me of a session he ran of 8-C on a puppy. And he ran 8-C on a puppy. And he had a awful time. He was very glad when it flattened, because he himself was so exhausted he couldn't have gone on another motion.

LRH: All right. Let's get it in there.

But he actually took this puppy and walked the puppy, with all commands and everything, through 8-C, see? Put his puppy's paw on the wall and so on. He no more than started this than the dog started to scream. And continued to scream practically from there on out, nothing but the most ear-splitting, piercing screams. Sounds weird, doesn't it? And because Don Breeding got exhausted it didn't get through to a stage of clearing the dog. But I think it changed the behavior pattern of the dog from what I'm told.

Student: Okay.

Nobody has run this experiment because I wouldn't know what a dog thetan was unless a dog thetan was a thetan. And I don't see why a dog shouldn't respond to this as well as a psycho, as well as a normal person. See, I don't know that these things would respond any differently from one person to another. This is an experiment maybe some of you will try sometime.

LRH: Permeate the whole thing. We don't want it in just one little spot in there. We want it through the whole thing.

It certainly works on a little child. A little child that can walk a bit and so on can be run on this with considerable success.

Student: All over the thing.

I'm going to give you a whole talk tomorrow on Child Scientology. That's not for now. Thank you. I'm merely trying to show you right now what this process is and how it is done.

LRH: Yeah, that's right. All in it, not all over it.

All right. All right. We need two victims. We need two victims here. And as I look over the bright and smiling faces of people, it's very hard to find victims for Tone 40 on a Person for this excellent reason: the person really should be well drilled through all of the lower Indoc steps; should be pretty well drilled. Let me see. I think that Jack Horner should run Winkle.

Student: Oh, inside. Okay. Sit down. Well, that went in.

[The last name Horner is omitted in the clearsound version.]

LRH: Better. It went right there.

Hi, Jack.

Student: Thank you.

Male voice: How are you? Senor Winkle.

LRH: That went there. Come on, let's do it.

Male voice: Tanto gusto.

Student: Stand up.

All right. Now, I want you to coach him on Tone 40 on a Person. Have you been through that in school? All right, that's good. And just give him the regular coaching on it and, flunk him for the reasons that you would flunk him on that.

LRH: Now, don't get mad about it.

Coach: Okay. LRH: Good.

Student: I'm not!

Coach: Well, the commands are „Look at that wall.“ „Walk over to that wall.“ „With your right hand, touch that wall.“ There's an acknowledgment each. „Turn around“ - acknowledgment, and the same thing again. And, well, I think almost everything will be a flunk.

LRH: Don't get 1.5. Okay. Tone 40.

LRH: That's encouraging him, of course!

Student: Thank you. Sit down. Thank you.

Auditor: Is the „Flunk“ and the „That's it“ still consistent?

LRH: Run it some more.

Coach: No. „Flunk“ is flunk. And „That's it“ is that's it.

Student: Stand up. Thank you.

Auditor: All right. Fine.

LRH: You're getting it accidentally from time to time.

LRH: In other words, those are the only two statements he can make that are valid.

Student: Thank you. Sit down. Thank you.

Auditor: Right.

LRH: They don't want it around here. Now, you get it right in there. Just try that „thank you“ again.

Coach: If I say flunk, if - you go on and you don't stop because I say „Flunk.“ You just know you flunked.

Student: Thank you.

Auditor: Right. Okay Look at that wall.

LRH: Do better than that. Get it in there.

Coach: Yeah.

Student: Thank you.

Auditor: All right. Walk over to it.

LRH: All right. Now, get your... get its intention to receive your thanks. Just do that without saying „thank you.“ Get an intention in there to receive your thanks.

Coach: Hey, do you know the joke about three ants? Too bad.

Student: Okay.

Auditor: Good. With your right hand, touch that wall. Fine.

LRH: Was that receptive to your thanks?

Coach: Flunk.

Student: Yeah.

LRH: Flunk.

LRH: All right. Now tell it „thank you“ and get the intention in it that it's thanked.

Auditor: All right. Turn around. Good. Look at that wall. Walk over to it. Audience: Flunk.

Student: Thank you.

LRH: No acknowledgment.

LRH: All right. That's it. Now, you did that better that time.

Auditor: All right. With your right hand, touch that wall. Good. Okay. Turn around. Good.

Student: Uh-huh.

Look at that wall. Good. Walk over to it.

LRH: All right. I want you to do it a few more times.

Coach: Flunk. „Walk over to that wall.“

Student: Stand up. Thank you.

Auditor: Okay.

LRH: You know, it's right here. We want the intention to go into it right here.

Coach: Flunk.

Student: Yeah, I know.

Auditor: Good. All right. Turn around.

LRH: All right.

Coach: You don't have to push me. I heard you.

Student: Sit down. Thank you. Stand up. Thank you. Sit down. Thank you.

Auditor: Good. Look at that wall. Good. Walk over to it... Walk over to that wall.

LRH: Will that bite?

Coach: You don't have to get nervous. I'm doing this, I'm walking.

Student: No.

Auditor: With your right hand, touch that wall.

LRH: It won't?

Coach: Flunk.

Student: Uh-uh.

Auditor: Good.

LRH: Well, let's do it. Let's do it. Let's just hit it at Tone 40 now. Come on.

Coach: Flunk.

Student: Stand up. Thank you. Sit down. Thank you.

Auditor: Good. Turn around.

LRH: All right. Now, that is simply a rattling tactic. There is the coach furnishing the counter-emotion. Now, you got this? So that we first get her fairly good so that she could cut through her own emotion and enturbulance and so on, and then we get it so that she could cut through even though the coach was throwing stuff up into here, see? Now, that can be stepped up almost infinitely. You can even throw mock-ups in the road and knock their intention silly. It's quite odd. I wasn't doing that to you.

Coach: Are you smiling?

But I'm doing this very rapidly. I'm just showing you the necessary stages of it. The reason I am using Joyce, by the way, is she is very, very accustomed to handling MEST, as a sculptress would be. And you notice she isn't stumbling around on it. And I know that I couldn't rattle her. Probably couldn't rattle her with a brickbat on a roll of string.

Auditor: Good. Look at that wall.

Now, I could, however, embarrass her with some praise, which is the only thing that's wrong.

Coach: Are you smiling?

So do it again and I'll show you that's true.

Auditor: Good. Walk over to that wall.

Student: Stand up. Thank you.

Coach: Are you smiling?

LRH: You're doing very well. That was very good, that last one.

Auditor: With your right hand, touch that wall. Good. Turn around.

Student: (laughs) Stand up.

Coach: Good.

LRH: See?

Auditor: Good.

Now, you see?

Coach: Okay.

Good, Joyce. Now, you just do it a few times and I'm not going to nag you. I'm going to give you a little opportunity to flatten this out.

Auditor: Look at that wall.

Now just put the intention in it to stand up, then thank it. Intention in it to sit down, then put it down and thank it. Now, you just get those two intentions going and you're real good here.

Coach: That wall?

Student: Mm-hm. All right. Stand up. Thank you. Sit down. Thank you.

Auditor: Good. Walk over to it.

LRH: Some more.

Coach: The same wall?

Student: Stand up.

Auditor: Walk over to that wall. LRH: Flunk.

LRH: Go on. Some more.

Auditor: Good. With your right hand, touch that wall.

Student: Stand up. Thank you. Sit down.

Coach: With your right hand, touch that wall.

LRH: Now, Joyce, I'm going to show you a little trick.

Auditor: Good.

Student: Thank you.

Coach: Okay.

LRH: Just for this time, and this isn't the way to do it. I'm just going to show you a trick that'll help you overcome something here.

Auditor: Turn around. Good. Look at that wall.

Student: All right.

Coach: That wall.

LRH: Put your intention around and hit it in the back. Put...

Auditor: Good. Walk over to that wall.

Student: Oh.

Coach: That wall? The left one.

LRH: ... your intention around and hit the back.

Auditor: Good. With your right hand, touch that wall.

Student: Instead of trying to go through it?

Coach: I can do this with the same right hand?

LRH: Yes. Just stop trying to go through it.

Auditor: Good. Turn around.

Student: Okay.

Coach: You see... but your right... but your right...

LRH: And hit it on the other side. That isn't the proper way to do it. This is just part of a drill that would gradually get her to permeate directly.

Auditor: Good.

Student: Stand up. Thank you. Sit down. Thank you.

Coach: ... How do you know which is my right hand, see?

LRH: Go ahead. Do some more.

Auditor: Look at that wall.

Student: Stand up. Thank you. Sit down. Thank you.

Coach: That wall?

LRH: How are you doing with that now?

Auditor: Good. Walk over to that wall.

Student: Well, yeah, that's rather odd.

Coach: The same wall?

LRH: It is odd, isn't it? Hm?

Auditor: Good. With your right hand, touch that wall.

Student: Yeah, it is.

Coach: This wall?

LRH: Are you doing this better than you were originally?

Auditor: Good.

Student: I think so. I think so.

Coach: Okay.

LRH: Well, do it a couple more times until you're a little more sure that you're doing better.

Auditor: Turn around. Good. Look at that wall.

Student: Oh, I could do this a lot better; but it'd take a while.

Coach: That one?

LRH: You could do this better. You see that there's some possibility of improvement in this?

Auditor: Good. Walk over to that wall.

Student: Yes.

Coach: That wall.

LRH: You see where you're going.

Auditor: Good. With your right hand, touch that wall.

Student: Mm-hm.

Coach: Okay

LRH: And using you as an example up here hasn't ruined your future ability, has it?

Auditor: Good.

Student: No.

Coach: Are you married?

LRH: No.

Auditor: Turn around.

Student: Probably helped it a lot.

Coach: Are you married?

LRH: Well, will you do something for me?

Auditor: Good. With your right... Walk over to that wall. Good. With your right hand, touch that wall. Good. Turn around.

Student: Sure.

Coach: How long does this go on?

LRH: Will you just take a colored ashtray or something of the sort and do two or three hours of that for me. Hm?

Auditor: Thank you. Look at that wall.

Student: All right.

Coach: That wall? Okay.

LRH: By yourself

Auditor: Good. Walk over to it.

Student: Mm-hm.

Coach: Flunk. „Walk over to that wall.“

LRH: You know?

Auditor: Good. With your right hand, touch that wall.

Student: You know what? I'll have that ashtray standing up there too.

Coach: You got to scratch your nose first?

LRH: Okay. I'm sure she will.

Auditor: Thank you. Turn around. Good.

Thank you, Joyce.

Coach: Are you nervous?

Quite amazing, the simplicity of the drill. But what I have told you about it is essentially the material that is used in coaching. And that is the way it's coached.

Auditor: Look at that wall. Thank you. Walk over to that wall. Good. With your right hand, touch that wall. Good.

Give you a little story about this drill. There was a girl on the London staff When I went over to London in April, I took with me CCH and these various drills and I started checking through the entire London auditing staff on these drills and bringing them up. Started it at that time. For one week one of the staff auditors there, a very pleasant girl, and usually a very good auditor, was auditing a preclear who was stark staring mad. This auditor, for some reason or other, was going all to pieces over the idea of auditing this girl. Evidently it was quite restimulative in some fashion or another, and she was being given a change of pace in auditing and this upset her, too. She was using a technique with which she wasn't familiar. But it was very upsetting.

Coach: Look at that wall.

Well, this person still had two weeks to go. So I said to this auditor, having listened to some of her auditing, „You tell a rag doll at home to stand up and thank it, sit down and thank it. You practice it going back and forth to work. You do it at home. And you get that flat so that you can get an intention in there.“

Auditor: Turn around.

She did it over the weekend. She came back, picked up this psycho by the scruff of the neck and for two weeks audited with no restimulation at a terrific level of accomplishment. Same auditor. The only difference - there had been no processing - the only difference had been that she had run for many hours Tone 40 on an Object on an old Raggedy Ann doll. Now, that was the sole difference there. Was quite a remarkable change for one auditor. She did it uncoached, did it without very many directions or very much know-how. She simply did it. Now, that's what can be done with that.

Coach: I turned around, but this way.

I have no idea what would happen if it were ran eighty or a hundred hours. I have no idea what would happen if the ultimate in coaching was used on it and each part of it was flattened. But I rather think, just as Joyce said, that all the MEST would be standing up on end.

Auditor: Thank you.

Thank you.

Coach: You're welcome.

Auditor: Look at that wall. Good. Walk over to that wall.

Coach: Which wall? That wall?

Auditor: Good. With your right hand, touch that wall.

Coach: With the right hand, touch that wall.

Auditor: Thank you. Turn around. Thank you. Look at that wall. Good. Walk over to that wall.

Coach: That wall.

Auditor: Good. With your right hand, touch that wall.

Coach: This wall?

Auditor: Good. Turn around.

Coach: Turn around?

Auditor: Thank you. Look at that wall.

Coach: That wall?

Auditor: Good.

Coach: Okay. I will.

Auditor: Walk over to that wall.

Male voice: Act like you do down in the basement.

Auditor: Good. With your right hand, touch that wall. Good. Turn around. Thank you. Look at that wall. Thank you. Walk over to that wall.

Coach: Some people looking at me; I'm shaking. Male voice: Make him laugh.

Coach: Make him laugh?

Auditor: Good. With your right hand, touch that wall. Good. Turn around.

Coach: You flunked on that. Thu didn't have to use force on me to get.

Auditor: Thank you. Look at that wall.

Coach: Yeah.

Auditor: Good. Walk over to that wall.

Coach: The same wall? That's not a wall. That's a piece of wood down here.

Auditor: Fine. With your right hand, touch that wall.

Coach: You flunked on that, man. I didn't put my hand on there.

Auditor: Good. Turn around. Thank you.

Coach: You're welcome.

Auditor: Look at that wall. Good. Walk over to it.

Coach: I didn't put my hand up, so don't get rough. Okay? When you tell me to touch...

Auditor: Good.

Coach: Flunk. Flunk! Thu didn't give me the command to put my hand up there. I flunked you. Thu never told me to put my hand up there. You haven't told me to put my hand up there!

Auditor: With your right hand, touch that wall.

Coach: Okay. I touched it.

Auditor: Good.

Coach: Just tell me, I'll do it.

Auditor: With your right hand, touch that wall. LRH: Flunk.

Coach: You flunked.

Auditor: With your right hand, touch that wall.

Coach: Flunk. Flunk.

Auditor: With your right hand, touch that wall.

Coach: Flunk. We went over that already Turn around is coming. Flunk. Flunk. Flunk. Flunk. I did it already. You thanked me for it, remember? Are you an auditor? You know what you're doing? Hey! You gave me that command already. You gave me that command. You told me that already. Flunk!! I told you, „Turn around“ is coming. I touched the wall. I won't touch the wall. I touched the wall already. I touched the wall. I told you we weren't on that. The hand one is done.

LRH: (laughing) Okay. That's it.

Auditor: Thank you very much.

They shouldn't make me laugh that hard.

Ah, dear! Wow! Okay. Well, we won't have any candidates after that I'm sure.

So I think, though, we have a moment for Jan Halpern to run Margee McCormick.

& Hi ya, Margie. Somebody's briefing her back there. Hi ya Jan.

& Jan: Hi.

& Dr. Jan Halpern.

Okay now. Why don't you just run her; and you coach her with your inimitable style.

Female voice: Oh, you're going to be coach, Margee?

LRH: Hm-hm.

Female voice: You'll be so loud and clear.

Coach: Now, Jan, you're going to run me...

Female voice: Louder.

Coach: You 're going to run me on 8-C.

Auditor: Okay.

Coach: The commands are „Look at that wall.“ „Walk over to that wall.“ „With your right hand, touch that wall.“ And I'll acknowledge... I mean, you'll acknowledge that.

Auditor: Okay.

Coach: You'll acknowledge each one of these as I do them, too.

Auditor: Okay.

Coach: And it's to be run on... in Tone 40.

Auditor: Uh-huh.

Coach: With good intention.

Auditor: How about „Turn around“?

Coach: Yeah. Afterwards, you'll tell me to turn around.

Auditor: All right.

Coach: Then we'll run it on the other wall. Same way

Auditor: Okay.

Coach: Okay?

Auditor: Yes.

Coach: And the only things that I will say are „Flunk,“ see...

Auditor: Yeah.

Coach: ... if you've done something that doesn't fit with these requirements.

Auditor: Yes.

Coach: Or „That's it.“ And that will be the end of... end of the demonstration.

Auditor: Okay.

Coach: This is a demonstration.

Auditor: I understand.

Coach: Okay.

LRH: Oh, that's no fair. It isn't a demonstration. This is for blood.

Auditor: Look at that wall.

Coach: What wall? I don't see any wall.

Auditor: Thank you. Walk over to that wall. Thank you. With your right hand, touch that wall. Thank you.

Coach: I do.

Auditor: Turn around. Thank you. Look at that wall.

Coach: All right, listen to me, Jan. Honest, I do like using that. Please can't we use this? Please.

Auditor: Walk over to that wall. Thank you. With your right hand, touch that wall. Thank you.

Coach: You're welcome.

Auditor: Turn around. Thank you.

Coach: This is really sad. I've been wanting you to run 8-C...

Auditor: Look at that wall. Thank you. Walk over to that wall.

Coach: God, you're fast! How did you do that?

Auditor: Thank you. With your right hand, touch that wall. Thank you. Turn around.

Coach: Thank you.

Auditor: Thank you. Look at that wall. Thank you. Walk over to that wall.

Coach: Hello, Ron.

Auditor: Thank you. With your right hand, touch that wall.

Coach: Is this part of the wall? That would be...

Auditor: Thank you. Turn around. Thank you.

Coach: You're welcome.

Auditor: Look at that wall. Thank you. Walk over to that wall.

Coach: All right. Did you see how good I did it? And I've just had a three-weeks' intensive from your husband.

Auditor: Thank you. With your right hand, touch that wall. Thank you. Turn around.

Auditor: Thank you. Look at that wall.

Coach: I won't!

Auditor: Thank you.

Coach: I refuse! I will not look at that wall.

Auditor: Walk over to that wall. Thank you. With your right hand, touch that wall. Thank you. Turn around. Thank you.

Coach: You know, I really am nervous.

Auditor: Look at that wall. Thank you. Walk over to that wall.

Coach: I haven't been on the stage for centuries. I'm scared to death.

Auditor: Thank you. With your right hand, touch that wall. Thank you. Turn around. Thank you. Look at that wall. Thank you. Walk over to that wall. Thank you. With your right hand, touch that wall. Thank you. Turn around. Thank you.

Coach: I can't find a thing to tell you to be flunked about.

Auditor: Look at that wall. Thank you. Walk over to that wall. Thank you. With your right hand, touch that wall. Thank you. Turn around. Thank you. Look at that wall. Thank you. Walk over to that wall.

Coach: This isn't fair! You've had experience.

Auditor: Thank you. With your right hand, touch that wall. Thank you. Turn around. Thank you. Look at that wall. Thank you. Walk over to that wall. Thank you. With your right hand, touch that wall. Thank you. Turn around.

Coach: You're sure particular aren't you?

Auditor: Thank you. Look at that wall.

Coach: Hey, that's a cute dress.

Auditor: Thank you.

Coach: You know, that's a real cute dress.

Auditor: Walk over to that wall.

Coach: How many buttons you got on it? One, two, three, four, five, six.

Auditor: Thank you. With your right hand, touch that wall. Thank you.

Coach: Did you hear that?

Auditor: Thank you. Look at that wall. Thank you. Thank you. Walk over to that wall.

Coach: There's somebody in this auditing room. There's somebody standing here, Jan.

Auditor: Thank you.

Coach: Honest. Look. If you'd just look back there, you'd see there's somebody...

Auditor: With your right hand, touch that wall. Thank you. Turn around.

Coach: Hey, friend, look.

Auditor: Thank you. Look at that wall.

Coach: There's somebody standing here.

Auditor: Thank you. Walk over to that wall.

Coach: Right there. Can't you see him? If you'd just touch him.. too!

Auditor: Thank you. With your right hand, touch that wall. Thank you. Turn around. Thank you. Look at that wall. Thank you. Walk over...

LRH: That's it. That's it. Thank you, Margee. Thank you, Margee. Thank you, Jan. You betcha.

Well, that's really hardly fair; you've had two ACC Instructors up here...

& ... in ... three of them; you've had Ken Barrett and Dick Halpern and Jan Halpern up here on this.

That's just mostly because they can do it, you know.

Actually this is a very easy one to get a flunk on, as you'll notice there.

Now, it's quite remarkable that auditing at this level you actually don't get the same ability on the part of a coach to kick back. You understand that, don't you? And you noticed how wild High School Indoc was. You know? Well, Winkle was restraining himself just a little bit, but not very much.

As a result of the Tone 40 intention and so on, people have a tendency to stay pretty close to it and to more or less stay in session fairly well.

And in coaching it, why, you should realize that - that you're liable to go into session and simply make a rather extraordinary effort. Instead of taking it milder, try to take it wilder than High School Indoc. You got the idea?

Now, we have always known that bodies would simply walk around if we told them to. We've known that in many cases the auditor has simply been monitoring the other person's body. We've known this for some time that this was possible. But we didn't know how to do it rather invariably. You see? And that's what we have worked up to here with these Training Drills. We can do this rather easily.

It's quite interesting; after you've been at this for a while some old lady steps off the curb - she shouldn't step off the curb - you just simply throw the intention at her to step back up the curb and there's nothing she does about it at all - she steps back up on the curb.

Funny part of it was, is the reverse would not particularly work. Whereas you throw a clear-cut intention for her to throw herself under the nearest truck - nonfunctional. Why is it nonfunctional? Destruction is not Tone 40. Okay. Now, you've seen this Tone 40 on a Person. And with that you have seen all of these Training Drills. Now, the trick is simply to be able to do them smoothly, to do them every time, to do them invariably and to be able to get a complete win across the boards. That is the trick. Now, that's not much of a trick. About, maybe, oh, an HCA Course is about all that stands between you and being able to do it or an ACC or several weeks of coaching or something of this character. You understand that?

These things are doable. I have shown you all of them. And really there are no magic tricks in between. It is the ability to do it. And the beauty of it is the people know whether they can or not.

Well, I've had an awful lot of fun today. I don't know whether you have or not.

Tomorrow we're going to take up several things. And I will try to show you some of CCH all in a rush - a number of the steps - and give you some discussion of this. I'll try to give you some data on Child Scientology.

And we have finished, right now, the third day of the congress. I'm enjoying it. How about you?

Good night.