This is the third hour of the afternoon class, December the 17th.

We’ve just had a demonstration of Lifting. Uh… I want to point out that I made too big a step there once. And point out that I did a couple of steps without mock-ups between them. And if you were watching there and observing it, you found out that you… that we were getting him just a little bit less action – did you notice that, by the way? I said… suddenly made you pick up four fingers without first making you pick up three fingers.

This is the second hour, afternoon, continuing demonstration of Step One. December 17.

Now what did you feel about that?

LRH: You go through his head?

PC: Just seemed to be solid like.

PC: Yeah.

LRH: That seemed to be a little bit solid. Yeah. We’d gone up to three, you see, four. As it was we just put a little more time on that than should have been. We jumped too big a step. And, of course, that we covered immediately and we were shortly back in the running again. We just went back and picked up the three step, did the three step very thoroughly and then came on to the four step. And the four steps then…

LRH: Find the cotton batten in there?

How’d they feel the second time?

PC: Yeah.

PC: It felt lighter.

LRH: Let’s take this cotton batten out and make it right wherever you are and make a powder puff out of it.

LRH: It felt much lighter, you see.

PC: Yeah.

Another thing is, what did you feel about doing mock-ups in between? Did you keep wanting to get the show on the road? Or what about the mock-ups? What was your reaction?

LRH: Okay. Now let’s go around to the front and change this… let’s change this giant’s face…

PC: Oh, it was good.

PC: Uh-huh.

LRH: Hmm?

LRH: … to a girl’s face and put in that… in that hole that you had up there that you didn’t want to see anything in, that was kind of dim that was just outside the room. Let’s put this whole thing over there, and let’s go over there and put this mock-up there.

PC: It relaxed me.

PC: I have it in that general area all the time.

LRH: Yeah. That’s right, that’s right. Because he’s in there pitching and agreeing with the real universe, instead of the actual universe, and so he takes a look at the actual universe and uh… throws himself some mock-ups there and all of a sudden he says, “Well, not so bad,” and uh… you got release from tension.

LRH: Oh, you have) huh?

So, actually your preclear will benefit if you did two or three mock-ups between every single step. But there is no reason why you should have to do this, to any great extreme. There’s nothing compulsive about this.

PC: Um-hum.

But it just so happens that if you’re making him agree with the real universe, why uh… it just goes faster if you’ll throw some mock-ups in there. He feels a little bit relaxed and he feels a little bit happier about the thing.

LRH: All right, now let’s just take a big dive and get yourself making a noise like a dive-bomber and let’s go right straight through this head again.

So, this process would’ve continued from four fingers, of course to the hand; and then both hands and then would have continued up to the elbows. And the arms, and then we would have wiggled with one foot in one direction and then wiggled with the other foot in the other direction, and then pushed the feet together and then pulled the feet apart and uh… then made one toe tap – just lifted the toe and let it fall a few times. And then we would have hooked a line on and possibly made him pull his foot off the platform edge – anything like that so it would just drop a little bit. And uh… then we would have finally picked it up at the knee and let it swing back – I mean, pick it up so it bent at the knee, you see? And then… you’re starting to look at me fascinated. What’s the matter? Does that sound hard?

PC: Okay.

PC: No. I was getting the idea of how it works.

LRH: Got it?

LRH: Well, there’s nothing hard about it. I mean, as long as you follow the road, it’s… it becomes just ridiculously easy.

PC: Yeah.

Now just exactly where the end of this is, I won’t tell you at this time. I’ll let you find out exactly what happens when you’ve finally got a guy so he can boost his body around.

LRH: All right, now let’s put a big rope on this head…

Nibs said one of these days he’s going to go down the street with his hands together in front of him like this, see. And go down the street about six feet off the sidewalk at about 15 or 20 miles an hour – hands pressed very reverently before his chin, his feet straight together and a very reverent expression on his face, and scooting down the street like mad.

PC: Okay.

Now any time this power… this power action that you’re getting there seems to fail – I won’t say you can’t do that, you know, I’m trying to encourage you in this line. Any time this power action seems to be slacking off, or something of this sort, you’ve just done that fact: You’ve just agreed too long with the real universe, so you sit down…

LRH: Now let’s just… just fly away and carry the head with you.

It isn’t that you draw power, you see, out of the uh… mock-ups or anything strange or peculiar like that. It’s just that concentration on the real universe gets a fellow back below a certain point into flows. And he gets back to obedience of flows because he’s finding flows useful. And he gets back – he wants to use them, therefore he gets rather obedient to them.

(to class)) Processing him over here – finishing action.

And he gets up above a break point, however, and above this point he doesn’t give a damn. But you have to get him just so high before it really has no further effect upon him.

(to PC)) Got it?

I was going to make a little note there. I was talking to you about a wheel. Sort of an “all roads lead to Rome” thing – all roads lead to Rome. And it’s very pertinent when it comes to lifting or turning on perception.

PC: Yeah.

These things, as you well realize, depend upon force. And force is random effort; and effort is directed force. Now you understand, of course, while I was working this… this preclear, that we were using beams. We were still using flows. When I told you, “Get above the break point,” that’s a very specific point. It’s the point where he simply gets way out away from something and he says, “Jump,” and it of course promptly jumps. He doesn’t use a beam, but he makes it jump with a postulate, instead of taking the intermediate step of throwing beams on it. You see that? It’s but easy. And you drill him up along that line until at last they can make a finger lift. You wouldn’t go over and throw a beam on the finger or anything else. You’d just say, “Lift,” and it lifts. It’s fascinating patterns.

(to class)) The end of the cycle.

So, all roads lead to Rome here. And Rome in this case is force. Now force is interpreted by many people to mean rough, mean, ornery, misused material. So, that however… force is merely energy with some direction. And effort is very closely monitored force, that’s all.

PC: No, I’m still flying.

And I don’t care whether you’re pushing a paintbrush over a canvas or anything of the sort, because there’s a great deal of force there. And you get somebody who is very shy of force, because he gets an aberration because people have used too much force on him, and he has used too much force on others, and what do you get? You get a fellow who won’t use force to push a paintbrush over a piece of canvas.

LRH: Good. You got it? How far have you flown?

Too much protest, then, along this line is… becomes aberrative. It inhibits an individual’s willingness to handle energy. When an individual is unable to handle energy, is unwilling to handle energy – same thing, unwilling, unable – unwilling to handle energy, the next thing that comes about is he becomes an effect of energy. The use of force is idiocy; it’s just pure idiocy to accomplish everything across the boards. But if you’re going to handle a material object you are actually handling solid energy. A material object is solid energy. It is made of energy; it is therefore composed of force vectors. And you’re unwilling to handle force, and you’re unwilling to handle energy, you will become shy of handling… just automatically become shy of handling material objects – acquiring them, getting rid of them, placing them around or anything of the sort.

PC: Oh, heading up in space.

And, oddly enough, an individual’s perceptions turn off to the degree that he’s unwilling to handle energy. Now isn’t that cute? See, there’s even energy in mock-ups. You put energy in mock-ups – a very light type of energy. It doesn’t bear much resemblance to force.

LRH: Good. Now let’s change this… let’s change this giant to a devil and still keep on towing him.

So the breakpoint, of course, is up above the level of the use of force. No state really can survive from the moment that it begins to employ broadly and without much direction, force. The use of force as the sole method of accomplishment of an end, ends in death. Because it brings about a dependence upon force, but at the same time there doesn’t seem to be, at this time – and when there is… when there is, we’ll find it, if there ever is – a shortcut on force. The road out is the road through.

PC: Okay.

When you’re below that level, unwilling to handle force, you could become subjected to force. And as you come up the line you will find it easier to handle things in terms of energy. And handling things in terms of energy then brings you about 19 times up the tone scale. This is the fastest way I know to increase tone, you see. Increase perception. You notice…

LRH: Change him to a blue devil.

How were you feeling there about halfway? All right?

PC: Yeah.

PC: Yeah.

LRH: Green devil.

LRH: Yeah. All right.

Now stop where… where ever you are and take this mock-up and take this rope and just start swinging it round and round and round your head. So this thing is really going around in big circles. Got it?

PC: I noticed quite a difference.

PC: Yeah.

LRH: You keep bringing a guy up the tone scale, bringing him up the tone scale. Sometimes in his… you’ll notice his tone change. He’ll start to demonstrate some new strata on the tone scale and so forth. Just feed him some mock-ups on it if he looks kind of angry or something of the sort. So you say, “Oh, good. Let’s make him do something destructive. Let’s make him hold on to something, let go – in a mock-up.” And that shifts his tone again. He could be jammed somewhere on the tone scale in the use of force.

LRH: All right, change it into a yo-yo. Put it under your feet. Come down and put it under your feet personally.

All right uh… we don’t have to do that – I mean, it’ll work out automatically.

PC: Okay.

So… so unfortunately force is the barrier, the sinister barrier. And the trick is to get up above the level where you accomplish things without the use of force or what we commonly call ‘energy’ or ‘flows’. And in order to get to that point where you can handle things made out of energy without handling, then, with your manufactured energy, you of course are above the breakpoint. And that’s the point… well above that point is the Operating Thetan. He hangs up as long as he depends on flows.

LRH: Got that yo-yo?

So we see this thing called force here. Let’s see how many things go through force; and here we have the first and foremost that interests us: irresponsibility, is first manifested by an abandonment of force. “I am to blame” is an abandonment of force. It means, “I used force for the wrong thing and therefore I’m to blame. And I’m bad cause and we don’t want to be bad cause so we’re gonna abandon that,” and the next thing you know the fellow’s very irresponsible.

PC: Yeah.

‘Cause what’s responsibility, when it comes down to that? It’s willingness to own or act of use or be – and lower on the tone scale all those things have to go through the band called ‘force’. That you could also call ‘Effort band’ of the tone scale. A person gets below that effort band, no matter… they can still think and still act and so forth, but they are not willing to handle material objects and they become irresponsible for ‘em, things around them start to become rather enMESTy.

LRH: All right, make the yo-yo sing ‘Old Black Joe’ as you roll it up and down now.

And so we go through force and we get responsibility. And over here an individual who is having a serious time with causation, and is responding to any kind of a flow. You see, these fellows have got everything packed in – Step Four – the kind we’re trying to resolve with Step Four? They’re… they’re just so subject to flows that what they get they can’t get rid of; what they have gotten rid of, they can’t get. They’re obeying flows, and so they’re in effect.

PC: Yeah.

And we have this up here through force, and out of force, and we get cause. Cause, responsibility, actually are not on a parity; cause is, if anything, higher than responsibility. I’m just drawing this in any old way here.

LRH: All right, change it into… this yo-yo into a very, very solid giant, but very tiny) and keep going up and down with the yo-yo.

Now because knowledge and data is contained on energy and is as forceful on an individual as the individual is unwilling to face facsimiles, then data becomes composed of force. Facsimiles, pictures, pictures of force. If he can’t handle force, he can’t handle the pictures. If he can’t handle the pictures, he can’t handle data. And if he can’t handle data, he gets into that state known as ‘unknowing’. And there’s nothing worser than the ‘unknown’, if you’ve postulated there’s something you ought to know and you can’t – and it’s contained in a facsimile, that is to say, a memory of some sort. so you get ‘I know not’ here and that goes where? That goes right straight into force. And coming out of force, gets what?

PC: Okay.

Voice: “I know.”

LRH: Got it?

LRH: I know. Interesting, isn’t it?

PC: Yeah.

Now, of course, an individual becomes as individual as he is high on the tone scale. And he is as individual as he can act by his own self – determinism; and he is only as individual as he can act by his own self – determinism. But if he can be made into an effect, if he can be made into an object, if he can be solidified somehow or other in space and given a label, he is identified. And being identified, of course, he becomes an object. And an object is an individual, and that of course is the state called ‘I am not’ and ‘I am not’ led through force comes up here to, of course, ‘I am’. Very simple…

LRH: What’s happening?

Now because every MEST object is interested in identification and is not Interested in differentiation every one of these objects – why of course – you get the ability to be everyone is on the upper side of this wheel; and being in sort of everybody’s valence is on the bottom side of the wheel. So we get the fact he’s really nobody. The best identified person, the most amental person is a nobody. Really, that’s true.

PC: The… the solid giant doesn’t have too much…

So we get that ‘nobody-everybody’.

LRH: Well, mock up about six more giants and put them into that little tiny giant.

Now let’s look around on the tone scale again and what other ones do we find? We find down at the bottom of the scale ‘Succumb’ and that comes up through and becomes of course ‘Survive’. Now how does that do that? Well, that’s because when an object is interested in survival, it is not aware of the fact it is immortal. And if it is not aware of the fact it’s immortal, it is because it obeys what? Force. And if it obeys force or obeys force laws it naturally can be made to succumb. By what? Force. And so force has this corrosive effect upon the individuality which brings it down at last into the individual identity, so-called. And it finally corrodes in and you get that.

(to class)) Same statement as ‘You can have lots of giants’. When something is unsubstantial, it’s just because a person doesn’t have enough of it. It’s ‘too scarce’ to have body.

Now from this you could assume that force had something to do with time, couldn’t you? And of course that’s true. Force does have a lot to do with time and… and has also – force as they overlook most often, has a lot to do with space and when you have force and space, or energy and space, you get an object and naturally you have Have, which comes up here on the tone scale. We’ve got Have coming up here now and Have comes up along the line, and of course force is energy and it goes up through energy and comes up here to what naturally would be… all through force again.

LRH: Got that? Is he more scare… I mean, is he more uh…

Now an object can’t perceive. It can have perceptions engraved on it, but it can’t ‘look’, and so we get, down at the bottom here, of course, ‘No Perception’ and up at the top we get ‘All Perception’ – just to that degree.

PC: Yeah.

So we get thinking here being done in terms of energy where the force level is. Down here we get it done in terms of ‘for you’. And midway between those two points it is done in terms of looking at old facsimiles. Just above energy at force here, we have the thing operating on a more or less of a postulate basis sort of thing, and we get memory.

LRH: … solid now?

So up here above force, of course, is the gradient scale of facsimiles, and here is remembering more or less by flows or pervasion by flows. And up here he is just simply… good memory.

PC: Umm-hmrn.

And this again goes through what? Over here – up here. That’s a wheel.

LRH: Now let’s fly up to that point in space where you didn’t want to see something.

There are a lot of other things on that wheel, but the main thing that’s on that wheel is what I will draw now which is this big curve over here on the right side, and this big curve is Cycle of Action. It starts up here with Be, goes through energy and ends with an object, or starts with Stop… starts up there and ends with Stop, has Change in the middle so force brings about change. When force is employed it always brings about change of one sort or another, which inevitably ends in a static.

PC: Yeah.

There actually is a picture of your wheel that has to do with all the things, more or less, that we have been talking about as we went through this whole course – this picture.

LRH: Now let’s take this thing and swing it round and round your head…

Now, there are two ways those arrows can fly. I instinctively put them in that direction. You can take these same factors and put ‘em in the other direction. When you put ‘em in the other direction you get the MEST universe. When you put ‘em in this direction you get freedom.

PC: Yeah.

Those things which people instinctively resist, really, will eventually wind them up being an object – an identity. And fighting force or using force as a sole means is no good. But because that road leads through force, leads through energy, you make sure that your natural instinct to avoid it does not persuade you as a preclear to inhibit the efforts of your auditor just out of the chatter to rationalize about force. He’s not trying to make you into a single force object or something that uses only force. There isn’t any ethic on a force level. It’s almost shot.

LRH: … round and round. Now let’s let it blow up in size until it fills that entire space.

And as an auditor, boy, DON’T YOU EVER LET YOUR OWN WILLINGNESS TO AVOID FORCE INHIBIT YOUR RESTORING TO AN INDIVIDUAL HIS RIGHT TO BE FREE. There is the picture, and the stable point that we’re gonna mark up here with a great big ‘S’ is in this area. On that big ‘S’ is an Operating Thetan; and there you’ve got it.

(to class) I call to your attention to… ‘chin pull’! He’s out more thoroughly. A preclear who is really out, starts to get ‘chin pull’. You’ll see his chin sink back in toward his neck. You get one out that’s still got some lines on him, and so forth, you always get ‘chin pull’. If you kept lines on a body all the time) and you were outside all the time, you would – if that were possible because the line makes it impossible – the guy would sure look awfully funny. He’d look like some of these aircorps cadets that go around, „Put seven wrinkles in that chin, Mister.“

Now, someday somebody’s going to pick up a wheel like that and they’re going to say, “This was a mystic symbol which was used” – they find this old universe floating around and you just explode a few pieces of it or something of this sort, and uh… it’s still got pieces floating around in little chunks of space that sort of drift around. And you’ll… probably somebody is still trying to argue with somebody else that we ought to go back and remove these navigational menaces, in case anybody started thinking in terms of ‘You use force in order to create objects, which you then rule, and the best way to do it is to create objects out of live, living, thinking beings’. And anybody starts on that line, why, he is in bad shape. But somebody will be explaining why somebody might get going again on this thing.

(to PC) Got it?… Did you get that done?

On anything, when you see the vector go down anywhere on these wheels, when you see that vector go down – rocks and shoals. On this lower portion, from force down, when you see that vector turn around, you’re going to wind up with Succumb, Effect, Irresponsibility, Have Not, I Am Not, I Know Not. When you turn the vector around and start to use force on the preclear, he winds up at Succumb, I Am Not and so forth. Of course, it’s a little bit different using force on him than simply using a postulate on him. You say, “All right, let’s go through this and let’s be still about this whole thing. All right, let’s take it easy now.” You’re not using force; you’re appealing to his reason. He knows you’re not going to take a gun to him.

PC: Yeah) I got it real good – way out there.

But at first he’s only quivering because he’s afraid you will take a gun to him – so much force has been employed against him.

LRH: Really?

And the road out there is the road through energy. And I marked ‘force’ up here, not because we ought to call it force, but simply to point up that a force is a railroad tie across the track, and one which must be removed from the track of the preclear, because it’s a dividing line.

PC: Yeah.

Now, somebody else could look at that graph, by the way, and he could say, “Now you see, what you do is you’re all those lower things and to get better you start using force. And if you use force that brings you up into a beautiful state of ‘I am’ and ‘Be’ and all that, and therefore the best way to do this is to use force on everybody and accomplish it all by force.” Heil Hitler!

All right. Now move him and the space he encloses over about a mile.

And then, as I said in the book, I heard a rumor lately that Adolf Hitler was dead.

PC: Okay.

Because the ruse – you’ve got to… you’ve got to be able to handle it and willing to handle it, and willing to buck through it and willing to employ it and find out what it will do. And this is a major point: How do you get a preclear to handle something that falls in the ‘can’t’ category on the machine? You make mock-ups of it and he can handle it. You can use… actually make mock-ups of force till you can handle it.

LRH: Got it?

But control and handling of anything which is the thing which bars the road, is the modus operandi out. It isn’t, at this moment at least, a rocket ride over all of the obstacles. You pick ‘em up and you throw ‘em off the track. Only you don’t – but the preclear does. You just tell him to, and he’ll make it.

PC: Yeah.

Fear of force will keep him depressed. Actually, when a person is able to throw his body around, his fear of force lessens very markedly, and his fear lessens very markedly. Let us ask him, just off-hand.

LRH: All right, blow him up and the space he encloses.

(to pc) “You feel any attitude shift?” You don’t have to. Do you feel any attitude shift? I mean, as a result of this… of this lifting we were doing?

PC: Okay.

PC: I don’t recognize any…

LRH: Did you do that?

LRH: You don’t feel an attitude shift. Did it make you feel any better about anything?

PC: Yeah.

PC: Yeah.

LRH: All right. Now let’s look around and see if there’s any other space around that you’d hate to find something in.

LRH: Did it give you any hope?

(to class)) This amount of randomity in auditing is… is really not necessary in an auditor. You just do the most routine job that does have the… the more randomity or color that you put into auditing, the more the preclear remains interested in what you’re doing. It follows that level of interest and aesthetic I was talking about the other day. You don’t have to be terribly interesting.

PC: Yeah, it uh… it showed me that I’d been out for quite a little while and didn’t realize it.

(to PC)) Got it?

LRH: Yeah?

PC: I don’t see any.

PC: Yeah.

LRH: You don’t see any?

LRH: How do you mean that?

PC: No.

PC: Well, one summer while we were processing, the first thing we used to do is put each other against a wall and then run a… you know run through the… through that, when you get there that “What to Audit” – it said that the best place was outside, so we decided to do that. So uh… after a while uh… at first I used to walk wrapped all around the body and then after I’d been processed a little more I decided I didn’t have to wrap around the body, just be around it.

LRH: Well, let’s come down in the room here and be about in the center of the room. Do that easily?

LRH: Umm-hmm.

PC: Yeah.

PC: Um-hmm. And then it slipped, you know. I didn’t realize it. And now suddenly it all came back.

LRH: Let’s look down below you and turn all these people into just seething masses of humanity) roaring, seething masses of humanity.

Umm-hmm. How would you feel if you could pick your body up by the scruff of the neck, about a foot in the air?

PC: Yeah.

LRH: You don’t, huh?

LRH: Let’s put ‘em all in hell.

PC: No.

(to class)) Work out some of these overt acts, while we’re at it. That, by the way, doesn’t accomplish a new overt act. That actually works out old overt acts.

LRH: Oh, no.’ Good.’

(to PC)) Did you put ‘em all in hell?

All right, now in this second half hour let’s go – or what little is left – let me go right straight through into, when I say beams. He’s using a beam there. I want… anybody around here ever look inside his head and see the front of his forehead? Who’s looked around and seen the front of his forehead? Hmm?

PC: Yeah.

Voice: …

LRH: Well, now, while you’ve got all those in hell, select out one particular body, mock it up, put a pitchfork through it and put it on the toasting coals.

LRH: You’ve seen the front of your forehead? You’ve been out, though.

(aside to class)) I wonder who it is.

Voice: Yeah.

(to PC)) Got it?

LRH: Okay. Who’s seen the front of his forehead and hasn’t been out? Take a look right now: Can you see the front of your forehead? Can you… I’m not talking about this side. I’m talking about this side – the back side – the inside. Can you see the inside of your forehead? Have you been out?

PC: Yeah.

PC: No. I’m not sure.

LRH: Really got it there?

LRH: All right, sit down – sit down. This is Step Two.

PC: Yeah.

All right, let’s just take a look at the inside of your forehead there. Got it?

LRH: All right, change it to a frankfurter.

PC: Not very much reality on it…

PC: Okay.

LRH: That’s all right. Well, you’d rather look at it? Well, I’ll tell you what you do? Let’s mock up right there on the inside of your forehead a dragon.

LRH: Now, put it on a big table out in front of the class, carve it up very carefully, and demonstrate and say to them how this demonstrates that you can destroy.

PC: Okay.

PC: Yeah.

LRH: Now, get him licking his chops…

LRH: Now mock up everybody looking scared stiff.

PC: Okay.

PC: Yeah.

LRH: Now make him get some uh… very effeminate mannerisms as he licks his chops.

LRH: Mock ‘en all up rushing from the room.

PC: Okay.

PC: Yeah.

LRH: Now get him getting very lady-like about licking his chops.

LRH: Got that? Now mock them all up being destroyed by federal marshals the fac… the second they come down the step. Get the guns going there.

PC: Okay.

PC: Umm-hmm.

LRH: Now get him turning pink.

LRH: Now get how serious these federal marshals are as they deliver their dying speech for their country and are trampled beneath the crowd.

PC: Urn-hum.

PC: Yeah.

LRH: Now get the difference he conceives between himself and other dragons.

LRH: All right. Take their guns and blow their brains out.

PC: Okay.

(aside to class)) I’ll get rid of some of these overt acts myself! Mock it up.

LRH: All right, now let’s take him and hang him out there about, or maybe a foot to the right. Turn him blue and hang him about a foot over to the right there.

PC: Okay.

PC: Okay.

LRH: Hmm? Got that?

LRH: Got him out there?

PC: Yeah.

PC: Um-hum.

LRH: Oh, well, now that they’re all safely dead, let’s put ‘em in hell. Put a sign up in front of hell ‘US Hell’, ‘US Department of Hell’. Got ‘em?

LRH: Well, let’s turn him upside down and hang him his tail on a nail.

PC: Yeah.

PC: Okay.

LRH: Now get these fellows trying to come out and give a dying speech for their country again. Throw ‘em back in.

LRH: Okay, got him there?

PC: Okay.

PC: Umm-hmm.

LRH: You got that?

LRH: Okay, now right inside the forehead there, let’s put a great big mousetrap. Got it?

PC: Yeah.

PC: I’m not sure where it’s located.

LRH: How do you feel about it?

LRH: Not sure where it’s located? Well, just plaster it on the inside of the forehead. Stand it up on edge and make it scowl at you, that’s probably better…

PC: Pretty good. I was just going to cook up something real good for ‘em.

PC: No luck.

LRH: Huh? You were what?

LRH: You don’t like that mousetrap? Well, put it way out on the other side of the room out there.

PC: I was going to cook something real good for ‘em.

PC: Okay.

LRH: Oh, really? Well, let’s get a special spit there in hell

LRH: Now put one just this side of it.

PC: Yeah.

PC: Okay.

LRH:… on which they slowly rotate.

LRH: And one just this side of it.

PC: Uh-huh.

PC: Okay.

LRH: Set that up, mark it ‘Eternity’. Got that?

LRH: All right. Now make the one you just put down snap hungrily.

PC: Yeah.

PC: Okay.

LRH: Mark it ‘Eternity’. Now bring it to an end.

LRH: Now make those three of them jump up and eat up all of these seats and all of the students.

PC: Okay.

PC: Okay.

LRH: You got that? All right, now take them off of these spits and put them in another quarter in two Iron Maidens.

LRH: Got them? Now get them getting a stomachache. Get them explaining to each other it’s because the gods have affected them.

PC: Yeah.

PC: Okay.

LRH: Mark that ‘Eternity Number Two’.

LRH: And get them lying down and dying. Now have three mice come in and grab the mousetraps and lug ‘em off to the other side of the room.

(to class)) The old process for this case stuck so let’s… let’s… let’s bash eternity in the head one way or the other.

PC: Umm-hmm.

(to PC)) Got that?

LRH: Now make those mousetraps just huge and the mice very tiny.

PC: Umm-hmm.

PC: Uhh-hmm.

LRH: Okay, now let’s roll all of that Hell and Iron Maiden and the old spits and everything else, and these signs, up into a little ball about the size of a golfball.

LRH: All right. Make the mousetraps even bigger, and the mice even smaller.

PC: Yeah.

PC: Okay.

LRH: Keep it for two ‘Forevers’ …

LRH: All right. Now get the mice eating the mousetraps.

PC: Okay.

PC: That’s quite a strain. I’ve got traps here the size of the room and the mice the size of peas.

LRH: Throw it away.

LRH: Okay, okay. That’s all right. Have them eat them up. How do you make them do it? Do they say they can’t do it?

PC: Okay.

PC: No, I’ve got one of them gone already, but how it’s done, I don’t know.

LRH: Got that? All right, mock up another golfball.

LRH: All right – all right.

PC: Yeah.

PC: Okay.

LRH:… keep it for four ‘Forevers’ …

LRH: Okay. Now take those mice and turn them into thetans.

PC: Okay.

PC: Okay.

LRH: Take a billiard cue …

LRH: And have them come swinging over and going round and round your head.

PC: Yeah.

PC: Okay.

LRH:… drive it through a croquet wicket.

LRH: Have one of ‘em take a saw and saw the top of your head off.

PC: Okay.

PC: Okay.

LRH: Move it up from where you have it 20 feet.

LRH: Look inside to see if you’re there.

PC: Okay.

PC: Okay.

LRH: Turn it into a ball of fire, and knock it through another croquet wicket.

LRH: Have him tell you „Hello.“

(to class)) Handling energy …

PC: Okay.

PC: Okay.

LRH: Put the top of your head back on.

LRH: … accustoming him to energy.

PC: Okay.

(to PC)) Now, move that about 80 feet to the right.

LRH: Now have them go away.

PC: Yeah.

PC: Okay.

LRH: Got it there?

LRH: Mock up another thetan and put it in yesterday.

PC: Yeah.

PC: Okay.

LRH: Turn the croquet wickets into hoops of molten electricity that are going ‘zong-zong-zong’.

LRH: Okay, take a look at the inside of your forehead. Look at those horrible eyes staring in at you.

PC: Yeah.

(aside to class) Every once in a while a preclear will tell you, „I don’t see anything but I keep feeling like these horrible eyes are peering at me.“

LRH: Now reach over with a mocked-up thumb and forefinger and snuff them out.

PC: I get one. Pardon me, I get one purple spot…

PC: Okay.

LRH: You get one purple…?

LRH: Got it? All right. Now move this whole thing about a hundred feet to the left… Whatever you got there.

PC: Just back on the forehead there.

PC: Okay.

LRH: Oh, yeah. Well, let’s examine that purple spot real good. Is there another purple spot there?

LRH: Now let’s turn everything you have into a column of howling electricity – make it howl, by the way. Got it?

PC: No, it seems to be concentric circles and they merge in.

PC: Umm-hmm.

LRH: Oh, yeah? Make it into a pool of water. Got it?

LRH: Really?

PC: Well, not very good.

PC: It roars, it doesn’t howl.

LRH: Well, turn it blue. Turn it red. Turn it green.

LRH: Well, change it to a howl. Make it go ‘Ow-ow-owooo!’ Still got the roar? Or did you make it howl?

PC: Okay.

PC: Okay.

LRH: Got it better now?

LRH: Did you howl… make it howl now?

PC: Green, okay.

PC: Umm-hmm.

LRH: All right. Now turn on a tap over by the radiator and let it run, and drain the pool.

LRH: Now make it howl ‘Auld Lang Syne’.

(aside to class) I’m using much more mock-up than you would use in Step Two.

PC: Okay.

(to pc) Got it going?

LRH: Now jump right on to the top of it and squash it flat. Stop it.

PC: I’ve still got my purple spot.

LRH: Stop then?

LRH: Okay. Still got a purple spot. Good. Can you turn it red?

PC: Umm-hmm.

PC: It’s more red than it was.

LRH: All right. Start it up again. Got it going again?

LRH: Okay. Turn it white.

PC: Umm-hmm.

PC: No luck.

LRH: Okay. Now move it about 18 feet up.

LRH: You don’t like that – to turn it white? Hmm?

(to class)) Completely random, of course, which direction you move things and how. If you run ‘em too long in front of a guy’s face or behind his back, why – of the body – it will start flows going too consistently in that direction.

PC: No, it just doesn’t turn.

(to PC) You got that?

LRH: Hmm, well, it turns red.

PC: Umm-hmm.

PC: Kind of. It’s a little more red than it was.

LRH: All right, now get it roaring again. Now increase the roar. Now decrease the roar. Now stop the roar. Can you do that? Where are you, by the way?

LRH: All right. Now let’s turn it black.

PC: I’m not too close to here.

PC: It gets rather dark purple. There’s a black now. Now it’s purple.

LRH: You’re not too close, huh?

LRH: Turn it black… Now turn it purple.

PC: No.

PC: Good.

LRH: All right, let’s increase this… let’s start the roar up.

LRH: Now turn it purpler. Make it more purple than it is?

PC: Yeah.

PC: It seems to shift a little bit between kinda red and green.

LRH:… and stop the roar. You got that?

LRH: Well, is that more purple?

PC: Yeah.

PC: Can’t seem to settle on the purple. Okay, I got it.

LRH: All right, now start the roar up again and start it up and make it go like this: ‘roar-roar’, and then get it doing a sort of a… of a crescendo: an increase and then a decrease and an increase and a decrease and an increase and a decrease. Got it?

LRH: Okay. Now just let it be what it will.

PC: …

Uh… let’s uh… let’s just go to what you would do as an auditor if we said the following. Now let’s just go right straight through the steps of SOP Issue Five, and let’s be two feet back of your head. Where’d you go?

LRH: All right, now make it stop with the sound of brake lining squealing.

PC: No, I wouldn’t be sure where I was.

PC: Okay.

LRH: You wouldn’t, huh? All right. Let’s just put a beam straight against the inside of your forehead there and just put a beam in there and just give it a shove. Shove that forehead there a couple of feet forward.

LRH: Now make it start up with the brake lining squealing.

PC: That purple spot’s about two feet ahead of me, but…

PC: Okay.

LRH: Purple spot’s about two feet ahead of you.

LRH: All right, make it lie horizontally with still that sound going.

PC: Yeah, but where I am, I don’t know.

PC: Okay.

LRH: Uh-huh. Okay. Did you… did it go away from you two feet?

LRH: All right, now make the sound go ‘bum ba-da dum-bump-bum-bump’.

PC: Yeah, it’s about that far away.

PC: Okay.

LRH: Well, make it one foot ahead of you.

LRH: Okay, what’s happening?…

PC: Okay.

All right. Stop all action in that mock-up.

LRH: Make it three feet ahead of you.

PC: Okay.

PC: Okay.

LRH: Now take the mock-up and press it very flat and thin until it’s a pie plate.

LRH: Now let’s be two feet higher than it.

PC: Yeah.

PC: Kind of a sensation of looking down at it, but not very good.

LRH: Put a preclear in the pie plate.

LRH: Okay, now be two feet lower than it.

PC: Yeah.

PC: I’m getting kind of an odd idea of it being above me.

LRH: Mock-up a huge icebox.

LRH: Okay. Now let’s be a little bit further away from it.

PC: Yeah.

PC: Hmm… I guess I’m probably about six or eight feet away.

LRH: Put the preclear in the icebox, and then bring him out fully baked.

LRH: Okay. Things getting any plainer to you? I’m not asking you to look at the surroundings; I mean just do you have any more feeling of certainty?

PC: Yeah.

PC: Well, I’m not sure of whether that white spot is pushed out that-a-way or whether I pushed that-a-way.

LRH: Got that? Now get him singing… singing ‘Auld Lang Syne.

LRH: Oh, is that what’s mixing you up?

PC: Yeah.

PC: I don’t know.

LRH: Okay, now take this pie plate and turn it into a flying saucer, put it in a catapult from Roman times…

LRH: Why don’t you just push yourself now? Push yourself out a little further.

PC: Okay.

PC: Kind of an odd feeling of being unsupported.

LRH: Now stretch the catapult out and fire the thing way out into space.

LRH: Oh, yeah?

PC: Yeah.

PC: And I don’t know where the hang I am yet.

LRH: Now you get on the catapult and stretch it way out and fire yourself way out into space.

LRH: Well, let’s mock up somebody falling.

PC: Yeah.

PC: Okay.

LRH: Got that? Okay. Change yourself into the shape of a flying saucer as you fly along there. Got it?

LRH: Now let’s mock up a cat falling.

PC: Yeah.

PC: Okay.

LRH: Okay, now move out of the flying saucer and change it into a drum.

LRH: A dog falling.

PC: Okay.

PC: Okay.

LRH: All right. Take three turtles, mock them up into uh… 1776. Give one the drum, fife – have ‘em march… Whatcha got?

LRH: A bird falling.

PC: I’ve got them rigged up like the …

PC: Okay.

LRH: Okay, good.

LRH: A cow falling.

PC: … Union guys.

PC: Okay.

LRH: Good. Now make that fife sound like a pipe organ.

LRH: Have a horse fall upward.

PC: Okay.

PC: Okay.

LRH: Now make the drum… make the drum sound like a bell. Every time it’s hit a bell rings.

LRH: Have him fall downward. Have him stop falling.

PC: All right.

PC: Okay.

LRH: Got it? Change them all into three marines.

LRH: Okay, mock up a green wall.

PC: Yeah.

PC: Okay.

LRH: … three angels.

LRH: Mock up a body.

PC: Yeah.

PC: Okay.

LRH: … six angels.

LRH: Change the color of the wall.

PC: Yeah.

PC: Okay.

LRH: … eight pallbearers

LRH: Change the color of the body.

PC: Okay.

PC: Okay.

LRH: Put them around the coffin. Open up the coffin lid. Get in.

LRH: Throw ‘em out the window.

PC: Okay.

PC: Okay.

LRH: Mock up a big cigar …

LRH: Okay. Now uh… how do you feel about it?

PC: Yeah.

PC: Good.

LRH: … then sit there and go riding off to the funeral parlor.

LRH: Feel good? You got any better idea of location? Do you… you have any little tiny faint or partial visio on anything?

PC: Okay.

PC: No… Well, there’s that purple spot.

LRH: All right. Mock up the funeral parlor. Get out of the coffin. Put the undertakers in the coffin…

LRH: You’ve got that purple spot. Why don’t you turn it into a golfball and knock it way away.

PC: Okay.

PC: It doesn’t knock.

LRH: Put the ballbearers in the coffin …

LRH: It doesn’t knock, huh?

PC: Yeah.

PC: Nope. It doesn’t turn into a golfball either.

LRH: Put the class in the coffin.

LRH: It doesn’t? Okay, I tell you what we’ll do. Tell you what we’ll do. Turn it red.

PC: The what?

PC: Got it pink.

LRH: The class.

LRH: Okay, deepen the pink. Lighten the pink. Deepen it. Now keep it from being scarlet.

PC: Okay.

PC: Now that requires effort.

LRH: Turn it into a flying saucer.

LRH: Really? But you then managed it?

PC: Okay.

PC: Uh-uh! It got scarlet on me.

LRH: Wind it up with a big crank.

LRH: (to class) Uh… I’m going to throw another step in here just for the hell of it. It’s in Standard Operating Procedure Issue One and Two.

PC: Yeah.

(to pc) Try not to be a foot back of your head. What happens when you do that?

LRH: Point her straight up and let her go.

PC: Well, I put forth a little effort, feel a little tension, but nothing else.

PC: Yeah.

LRH: Uh-huh. Okay. Now let’s try to… just pick up a point out in front of your body.

LRH: When it gets way out there, make it blow up.

PC: Okay.

PC: Okay.

LRH: All right. Hold it still.

LRH: Got it? Okay. Now, be two feet back of your head.

PC: I seem to get a kind of odd visio, looking at my leg.

PC: I’m over there somewhere.

LRH: Oh, yeah? All right, what’s this spot there? You got the spot?

LRH: I know. Be two feet back of your head.

PC: That jumped out when I told you about my leg.

PC: Okay.

LRH: Well, let’s put it back there.

LRH: Can you see the back of your head?

PC: It’s doing a fair job of sticking around in the vicinity.

PC: Yeah. I was… that’s what I was checking. Looking around. Checking collar and hair.

LRH: It’s doing a fair job of it, huh?

LRH: Umm-hmm. Look familiar?

PC: Uh-huh.

PC: Yeah.

LRH: Okay. Is it holding completely still?

LRH: Change it into green hair.

PC: Not completely. It’s awfully hard to get it down to a precise spot too.

PC: Yeah.

LRH: Let’s not worry about it.

LRH: Okay. Now let’s look at it again. Got it? What’d you do?

PC: Okay.

PC: Just waiting.

LRH: Uh… you had an impression to look at your leg suddenly, huh?

LRH: Hmm?

PC: Kind of.

PC: Waiting.

LRH: (to class) You know, once in a blue moon you don’t find the preclear in the head. Now this is outside the mock-ups which I was doing there, throwing in some randomity. And outside of introducing negative exteriorization, which you don’t have to know anything about. But it’s a technique. Now this is standard so far, and I’m not doing it to invalidate him because I could actually work him on any of these steps until he was exterior. But I just want to keep going.

LRH: Waiting?

But the easiest, fastest way to do it is Just go right on through the steps.

PC: Yeah.

(to pc) Let’s take the old homestead now.

LRH: Oh, I was waiting for your ‘Yeah’. Okay. Now uh… I want you to take uh… your hand and put up there on your knee. Now from where you are, back of your head, make your body lift the right arm and drop it. Tell the body to lift the right arm out and drop it… Can you do that from outside easily?

PC: Okay.

PC: Well uh… what kinda beam do you want on there?

LRH: All right. Let’s make a whole ring of them all the way around you, about 20 feet away from you.

LRH: Oh, no beam. You re… you’re jumping way ahead. I mean, just tell the body to lift the right arm. That’s right, now tell it to lift the left arm. Tell it to lift the right foot. Left foot. Okay. Now let’s swing around over the top of the left hand.

(to class) That’s faster, because he got ‘em fast. That’s faster. And that’s more of them than you would normally ask for.

PC: Yeah.

You got a few?

LRH: Got it? Take a look at the index finger of the left hand.

PC: Yeah, kind of dimly but I’ve got ‘em.

PC: Yeah.

LRH: All right, now this – are they in back of you too?

LRH: Now, you want to lift these with anchor points?

PC: Yeah.

PC: Okay.

LRH: All right. Let’s start taking them then, from in back of you and start sticking them in – stacking them into yourself.

LRH: Okay, let’s put a couple of anchor points up on the ceiling.

PC: Okay.

PC: Yeah.

LRH: Stick ‘em in. One after the other.

LRH: Now let’s string a line down from one and around the index finger to the left hand, up to the other one.

PC: Okay.

PC: Yeah.

LRH: Got ‘em all?

LRH: Okay, now let’s go up and just push those anchor points apart – and keep that line taut, and lift that finger…

PC: Umm-hmm.

Okay, that’s good. Turn it loose. That’s fine. You have any difficulty?

LRH: Well, why don’t you rig up another ring of ‘em? Now let’s let one just drift out there about five or ten feet in front of you. Does it show any tendency to do anything?

PC: Yeah, it was hard. Yeah, it was very hard.

PC: Yeah, it flipped over on its top easily.

LRH: Huh? All right. Mock yourself up panting. Got it? All right. Now while you’re outside, get the beautiful sadness of how hard it is to work. Now put that on the body. Now mock up a little dancer. Got her?

LRH: Toward you or away from you?

PC: Yeah.

PC: Umm it’s just rolled over…

LRH: Now let’s put the j… emotion ‘joy of dancing’ into her and feel it back out of her. All right, pick that emotion up and put it on yourself.

LRH: Towards you?

PC: Yeah.

PC: Yeah, toward me, I guess.

LRH: Send her away – the body away.

LRH: Well, what do you know? All right, now let’s just stack all of those you just put out there, and stack ‘em in. Just pick ‘em all up and just stick ‘em in.

PC: Yeah.

(aside to class) I’ll go right on now with a Step Four. I’ll do this much more rapidly than you would ordinarily do it.

LRH: Let’s move over this index finger now and let’s mock up a GREAT big hand – horribly big hand – there in place with huge iron gloves on it.

PC: Okay.

PC: Yeah.

LRH: Is it getting easier to do?

LRH: All right. Let’s get enormous machinery, blocks and tackles, and mock them up there

PC: Yeah.

LRH: … blocks and tackles. Now let’s put about an… oh, about a 2,000 horsepower diesel engine there, working winches.

LRH: Why don’t you throw ‘em all out there in a circle again and turn ‘em purple?

PC: Yeah.

PC: Okay.

LRH: Now fasten that down around the right index finger of that huge hand and have it lift. And look at the workmen panting and straining. Get how hard they’re panting?… Got it? All right. Take that whole thing out and throw it down in the drink.

LRH: All right. Put cowboys on each one of ‘em.

Okay, let’s move in over that right hand… left hand, rather. Move in over the left hand and let’s fasten a line on it – just fasten a line on it this time. And let’s see if you can move it just by moving upwards and pulling with a tractor beam. Make the tractor beam contract right from where you are. Just park yourself above it there) see, and make the tractor beam contract… You’re getting it. Do it again now.

PC: Okay.

Give it a little yank and cut it loose.

LRH: Change the cowboys to Indians.

Okay. Now was it easier with that single tractor beam, or with the two anchor points?

PC: Okay.

PC: It was easier with the tractor beams – still faster.

LRH: Now have the houses develop legs and gallop in a wide circle around you.

LRH: It was? All right. Now let’s put another tractor beam on it, and this time all we’re trying to do is just give it a yank up in the air and cut it loose. Let’s develop a little facility here – I mean, for speed of cutting loose, not for anything else…

PC: Okay.

How is it making out? Did you get… did you cut it loose? Gettin’ tight?

LRH: Now speed up the gallop.

PC: Yeah.

PC: Umm.

LRH: Okay. Now let’s move in over that. You’re doin’ fine. Let’s move in over that and let’s pick up the middle finger there of the hand, just to give that other one a vacation. Let’s pick up the middle finger of the hand and turn it yellow, turn it blue, turn it pink.

LRH: What’s happened?

PC: Yeah.

PC: Well, they were going around me and they gradually shifted and they’re going around out there.

LRH: Got that? Mock up a log of wood.

LRH: Now let’s put them out there where they belong.

PC: Yeah.

PC: Over here? Okay.

LRH: Okay. Get this log of wood with a lumber crew working on it and get it all sawed up… Got it?

LRH: And let’s bring ‘em in on your lap. Let’s pile them all in on your lap now.

PC: Yeah.

PC: The mock-ups are rather dim and not very substantial, but they’re… they’re there.

LRH: All right. Let’s turn each slab of wood there that you’ve got sawed up into a bomb.

LRH: You’ve got ‘em on your lap?

PC: Yeah.

PC: Yup.

LRH: All right. Let’s throw each one of those away and have it explode when it gets a considerable distance from you.

LRH: Okay. You’ve got ‘em on your lap. Condense them into one house.

PC: Every once in while I get a black spot show up when I do that …

PC: Okay.

LRH: Yeah?

LRH: Got it? One house?

PC: … in the center.

PC: Umm-hmm.

LRH: Well, do it. Just… did you finish them all?

LRH: All right. Let’s take this house and turn it into a castle.

PC: Not quite yet.

PC: Okay.

LRH: All right. The next one you throw out there, make sure you get a white spot instead of a black one… Make that?

LRH: And put it way out on the other side of the room.

PC: Yeah.

PC: Okay.

LRH: Okay. Now let’s move in over that hand again and let’s take a look at it. Let’s pick up the middle finger. Put a tractor beam on it and give it a pull up into the air. And see if you can pull it up and really, really hurt it. I mean, pull it up enough so that it hurts… A little pain on it?

LRH: Put it in yesterday.

PC: No pain. It just feels solid like.

PC: Okay.

LRH: Hmm. All right. Now let’s just practice cutting it loose quick. Well, good enough for you. You’re doing fine – doing fine.

LRH: Mock up a woman.

All right, let’s sweep in over that hand now, and let’s take the finger and mock it up just ENORMOUS. Get that finger just enormous, lying clear across this whole room. And all the students sort of helping the thing to be braced there across the room.

PC: Okay.

PC: Okay.

LRH: Another one.

LRH: Got it?

PC: Umm-hmm.

PC: Umm-hmm.

LRH: Another one.

LRH: Now have God put down a huge tractor beam and get Him straining and sweating, and lifting the trac… get Him lifting that finger just a sixteen-thousandth of an inch, and get all the students cheering madly. Get it?

PC: Okay.

PC: Yeah.

LRH: Another one. What are they doing, by the way?

LRH: Okay, now get the finger falling and breaking into pieces because of this treatment.

PC: Just standing…

PC: Yeah.

LRH: They are?

LRH: Hang the fragments out on the car line…

PC: Yeah.

PC: Yeah.

LRH: Well, have them turn around and walk away from you.

LRH: Change them all into doughnuts… Got it?

PC: They have a tendency to walk out and then slip back about three feet.

PC: Yeah.

LRH: All right. Take ‘em one after the other and just throw ‘em into your body.

LRH: Now change the doughnuts into rolling hoops of electricity, and have ‘em go snapping and howling down the road after that streetcar to punish it.

PC: Okay.

PC: Yeah.

LRH: Uh… have any difficulty with that?

LRH: Get the streetcar promising to be more quiet…

PC: No.

PC: Yeah.

LRH: All right. Now just mock up all the women you have… just mock up… we don’t care how sloppy. We’re not interested in identification of ‘em at all – uh… no matter how sloppy – just mock up every woman you ever knew on the whole track for the last 74 trillion years, and just pick ‘em up in big circles and start throwing ‘em into the body, and if just a moment before they come in they seem to stick, turn ‘em red or blue – or turn ‘em red and blue and they’ll slip in.

LRH: Now just get the street blowing up extravagantly – just get it blowing up in large geysers and spurts and snaps.

PC: Is this to be done individually or as a whole mess of ‘em?

PC: Okay.

LRH: And just at any time, any moment that you get one out here who doesn’t want to come in, make three more like her. And the last one that you made will probably snap in. Now let’s… let’s just uh… go at it… this and s… the last you made will snap in and then take in the other two. I’m not trying to set this up on an automatic basis. I’m just setting it up as a routine. You’ve got a lot of dames to handle here. Now we don’t want to waste any time with these dames. Because dames, after all, are dames. And uh… let’s mock these things up in a huge crowd standing behind you and in front of you and on each side of you.

LRH: Got that? Now rebuild it and give them a golden street out there.

PC: Okay.

PC: Okay.

LRH: Now let’s put a great big balcony and so forth above you – full of ‘em.

LRH: Okay. Turn it to normal and come back in. Come over this finger. Put a tractor beam on it and give another boost up into the air, and then drop it for speed. You got that?

PC: Umm-hmm.

PC: Yeah.

LRH: Now a huge square of ‘en below you, full of ‘em.

LRH: How does that make you feel, doing that?

PC: Okay.

PC: A little easier.

LRH: All right. Start pulling them in from all sides and descriptions, one by one, or ten by ten – I don’t care. Let’s get ‘em all.

LRH: Feel a little easier, huh?

PC: I get them as far as… no personal identity there at all. I couldn’t pick out one of the group if I tried to.

PC: Yeah.

LRH: Did you get ‘em all?

LRH: Well, what do you know? Now let’s see if we can get a faster release on that before we go on any further. A little faster release.

PC: Well, I… They’re still stuck out here.

Slide down in the chair a little bit further. Is that better? All right, now let’s come in over the index finger this time, and let’s see if we can work for just a slightly faster cut-loose…

LRH: They’re still stuck?

Good! That was a good fast one. Good. Swell.

PC: Yeah.

All right. Now let’s uh… mock up… let’s mock up you on a ship and the roaring tide is carrying this thing in the wrong direction. Get those hausers going out there. Get ‘em singing and tight. Got it?

LRH: Turn them all green.

PC: Yeah.

PC: Okay.

LRH: Now spit on the rope and have it part.

LRH: Turn them all blue.

PC: Yeah.

PC: Okay.

LRH: Okay. Throw that mock-up over about eight blocks from here and let it blow up over there.

LRH: For every one of those, make two more.

PC: Okay.

PC: Okay.

LRH: All right, let’s move in over… now, let’s take the other hand for the moment, and let’s… let’s move in over the other hand and pick up the index finger of the other hand…

LRH: For every one of those, make two more.

Good.’ Good! That’s very good. All right. How does that make you feel?

PC: Okay.

PC: Okay.

LRH: It’s getting to be quite a few, huh?

LRH: Why don’t you slide down just a little bit further in the chair and make yourself just a little bit more comfortable? Okay?

PC: Quite a few.

All right. Now let’s… let’s mock up your right hand out on the floor.

LRH: Turn ‘em red.

PC: Yeah.

PC: Okay.

LRH: Got it? Well, let’s move it over to the left side.

LRH: Turn ‘em blue.

PC: Yeah.

PC: Okay.

LRH: Move it below your feet.

LRH: What’s the matter?

PC: Yeah.

PC: I’m having trouble keeping ‘em blue.

LRH: Turn it purple

LRH: Oh, you’re having trouble keeping them blue? Well, turn ‘em back to natural color.

PC: Yeah.

PC: They’ve moved a considerable distance away from me. A mile or so, at least.

LRH:… green.

LRH: Oh, they have moved away from you?

PC: Yeah.

PC: Yeah.

LRH: Above your head.

LRH: No kidding? Well now, pick them up and stuff them into the body. Let’s get going on this. There are quite a few dames there.

PC: Umm.

PC: Okay.

LRH: Get it throwing sparks.

LRH: Is it working okay?

PC: Yeah.

PC: I think they’re inside.

LRH: At this point, paint a real mean face on the ball of each finger and have them s… have them glare at you.

LRH: You think so? Well, let’s pack them down…

PC: Yeah.

PC: They’re not there, anyway.

LRH: Okay. Now let’s throw the hand out in the street.

LRH: Huh?

PC: Yeah.

PC: I haven’t got them out there – and I felt them coming in.

LRH: All right, let’s move over any two fingers on the right hand and pull ‘em together with a beam. Okay, got it?

LRH: Okay. Now let’s pack ‘em into the body a little tighter.

Okay. Now let’s pull those two fingers apart with a beam. Okay. Good. Good. Let’s pull them together with a beam, now. Good. Now while they’re together there, wrap a beam around the two of them and lift them up in the air…

PC: Umm.

Okay. Good enough. Let’s move over now to the left hand and let’s move any two fingers together…

LRH: Kind of crowd ‘em down.

Okay. Let’s just go through that. Let’s move the four fingers together and then apart – just sep… spread them all.

PC: Yeah, they were just packed and then they went out and then I pushed them in again.

Good. Good. Now let’s move two fingers together on that hand and pick ‘em up.

LRH: Yeah. Let’s get them in there real good now.

Good. That’s fine.

All right now, the dickens with those. Let’s… let’s… let’s mock ‘em all up again. Get ‘em out there around you – mock ‘em all up again.

Now let’s move over there to the right hand and move all of those fingers together and pick up four fingers.

PC: I can pick ‘em out as individuals much better then I could before.

How do you feel about that one?

LRH: Oh, yeah?

PC: Strong.

PC: Yes. It’s pretty good – more detail.

LRH: Oh, boy! All right. Let’s mock up that hand… let’s mock up that hand now and let’s hide it… let’s hide it in a green box.

LRH: Put ribbons flying over their heads.

PC: Umm.

PC: Okay.

LRH: Got that?

LRH: Now, make a couple more for every one you’ve got there.

PC: Yeah.

PC: That doesn’t seem to come too good.

LRH: Now let’s stuff the green box down the mouth of a cannon and fire it.

LRH: Making more of ‘em?

PC: Yeah.

PC: No.

LRH: Okay. Now let’s move over the… the uh… left hand; let’s close up those four fingers there – and then pick ‘em up…

LRH: Why, were you too… so interested in them becoming suddenly individual?

Okay. Now, let’s move over to the uh… right hand and close three fingers together – just three – and pull the fourth one separate. Lift the three – pant as you do so.

PC: Well, they’ve lost that again and become a mass.

That was fine.

LRH: Oh, and this is not quite as desirable?

Now just for speed, let’s pull three fingers together there on the left hand and pull the fourth one separate, and let’s put a beam on those three fingers now and lift ‘em up uh… just… just for speed of cut-away.

PC: I don’t know.

(aside to class)) I’m rushing him doing it.

LRH: We’ve got ‘em all mocked up there as a mass. Now just turn ‘em red.

(to PC)) And let’s lift those three up and see how quick we can cut em.

PC: This mock-up is just loosing a lot of its uh… detail and… reality

Good! Good. How do you feel?

LRH: Oh yeah?

PC: Tired.

PC:… as it goes on.

LRH: You’ve got tiredness? All right. Mock up your body way out there in the street. Put your body out in the street. Look at it real close. Got it?

LRH: It’s getting sort of red, though?

PC: Yeah.

PC: Umm, kind of, yeah.

LRH: All right, now let’s get it getting very old and worn. Let’s put a huge toboggan behind it with something marked ‘CARE’ on it as a package, and have it go trudging up the street.

LRH: All right, now just uh… let ‘em be whatever shade they want to be and stuff ‘em in. Get ‘em in there.

PC: Okay.

PC: Okay.

LRH: All right. Now let’s take that body and that mock-up, let’s mock up a whole lot of people down in the street, and let’s pick up that body and throw it down on top of ‘em and make ‘em practically explode.

LRH: Pack ‘em down.

PC: Okay.

LRH: All right, move that crowd further down the street and mock up another body and pick it up and make it just GLOW with molten electricity, and throw it down on their heads and blow ‘em all to pieces.

PC: Okay.

LRH: Got it?

PC: Yeah.

LRH: How does that make you feel?

PC: Huh?

LRH: How does that make you feel? Okay?

PC: Yeah.

LRH: All right. Now let’s take the four fingers of your left hand, pull them all together and give them a little boost up into the air.

Good! How did you feel about that?

PC: Okay.

LRH: You feel that’s okay?

PC: Okay.

LRH: All right. Next take the four fingers of the other hand and give them a boost up into the air. Put them together and give them a little boost up into the air. And this time let’s get speed of cut-loose. When you’ve decided to cut them loose, let’s see how fast you can cut them loose right after you cut them.

Okay?

PC: Umm-hmm.

LRH: How do you feel about that? Hmm?

PC: A little better.

LRH: A little better? Why don’t you do it again.