And continuing this morning some material on subjective processing.

We've just made, in experimentation here, a rather astonishing discovery that a fellow can put it on a null and then by fixing his attention on the point where the probe is in, that the moment his attention goes through he gets a beep regardless of where he puts it on his body. In other words, it registers communication contact.

You're going to get so confoundedly tired of subjective processing when you get through that the next time you sit down to figure you'll say, "Uh-uh. No, let's just blow the circuit instead and then do what's right."

Where you have no communication contact you get a null on the machine. In other words, this machine has been tested out on Homo sapiens who is practically null all over - he is numb all over.

Yesterday four were run, very particularly on subjective processes. What happened to you?

And this would tell you, then, that you would just go over a pc - this possibly could measure all sorts of things; such as how anesthesed is your pc.

Male voice: A few somatics and one time I had a tinge just a twinge, rather, of nausea, but it didn't last long, not even long enough to say something...

Male voice: I might mention there that it seems to be a strict theta contact that turns it on because you can feel it through the body nerves after the null.

Mm-hm.

Mm-hm. It's a theta contact all right; although the machine isn't terribly sensitive to it. I had the probe here and the can and I was connecting the two together with a couple of beams and I was having a rough time with the electronic flow that was coming off of it. But I did get a couple of momentary contacts and then I got no beep.

Male voice: ... and it was gone. And once I felt my body was awful tired but that didn't last but a second or so. And all the time I was running it, I was kind of excited.

But on a preclear who is in good - well tuned up on the same wavelength you are, you see, I was turning it on a pc a moment ago here. I don't know how much you were withholding your attention but it was going on at the instant I made contact. And I knew the instant it was going on and each time you did that. You put it on your shin, then you couldn't put it on; you couldn't make it go on, I couldn't make it go on; shin was a very anesthesed area. So he's been - he complained about this and that's - I guess his complaint is based upon the fact that he's out of contact with that area. So it seemed to be there is a traumatic condition in that area. A traumatic condition demonstrated through a null of the machine, not its noise. The machine is backwards.

Mm-hm. Okay. And what happened to you, Bill?

Now, the goal of the machine, as advertised, as written up, as intended, and so forth...

Male voice: Well, I got rather sick. No heavy somatics, some twinges. And felt pretty relaxed last night when I went to bed.

Male voice: Would put the preclear in apathy.

Uh-huh.

.. would - would - yes! To try to get the pc down to a point where he's numb all over. And the poor pc has got some sensation left - he's got some sensation left in one spine spot or something like that - you're going to take it away from him and make that numb, too! You theoretically, from the experiments we've done here very cursorily - I don't experiment on this kind of results - but I mean, just looking it over as to what you'd work on - I would work experimentally to find out: One, if it registered really only - I mean if it registered only on live areas and if its nulls were anesthesed areas and then would turn it up so that I was looking for a null.

Male voice: Feel better this morning.

And then having found a null, process the preclear to get off the dead energy in the area so that it was live energy and then see whether or not the preclear felt better if this area was freer.

Good.

What we got here was a lot of live energy across the first pc's lips and then as we processed it, it finally got all over his face. And I don't know now - does your face feel more dead or more alive?

One comment here: One thing you've got to be very, very careful of in such a thing as a subjective process at this case level. Bill had it all figured out, if you don't mind my mentioning this, that you ran it around the perimeter, like an automobile tire dropped over the preclear or something; you just ran it around the perimeter. He didn't get the idea that you ran it in a 360-degree sphere.

Male voice: It feels much more alive.

As long as he was running it on a horizontal line, like the rings of Saturn - as long as he was running it in this fashion - of course, less than nothing happened. Because when he st- but when he started running it on a 360-degree sphere, then something happened. But he ran it for two hours on the rings-of-Saturn principle. And now, naturally, this wouldn't produce very much, because this is the most able place where a fellow stops and starts things - in the horizontal plane immediately around his body. So what he did was pick up his area of best ability. Although I think if he replayed this - the morning lecture of yesterday morning, he would find shells and 360-degree spheres all over the place.

Feels more alive. This could be called a life meter: it cries when it finds you alive. This is true of nearly every electronic gimmick which has drifted my way now for many, many years. The thing was rigged up to make more MEST - on its explanation - but if you reversed it, somehow or another you could get someplace with it.

Now, that is nothing like - on an omission, something of this sort, that would just be a completely natural impulse to pick up your area of the largest defense on the ring-of-Saturn business; you see, a fellow's got his hands in a plane out from his body, and so forth.

Now, I was talking to you a little while ago about speed of drill. I was doing a little exercise with Millen, just before the lecture and I'm just going to give you a very, very brief resume' of it. And we will see what happens with her now as I process on this.

Whereas, as a matter of fact, the area which is most subject to this sensation - I mean, where it's most subject to the process - is under the feet. If you start running lots of nothingness underneath somebody's feet, and so on, sooner or later he's going to get upset because it'll throw in all the braces he's put against falling and the body has lots of them.

There is no reason why you have to sit out front here, Millen.

Now, did anybody get the dwindling - perimeter effect? That is to say. Did you get that? It was getting closer and closer to you?

Let's go through this, let's be - I don't care - a long distance from yourself. You got it?

Male voice: No. I - mine was out against the edge of the limit, beyond which there was not even nothing.

PC: Okay.

Mm-hm.

LRH: Okay. We're not showing you off in any fashion whatsoever, we're just talking about auditing.

Male voice: And the explosions would only come inward, because there wasn't...

PC: All right.

You couldn't get out... Oh! Well, now, here we're getting this thing sorted out.

LRH: All right. Be over the Walt Whitman Hotel.

Male voice: The uh ...

PC: Okay. LRH: Be near the sun.

Did you get the dwindling-sphere effect? That is to say, the sphere getting smaller and smaller and smaller.

PC: Okay.

Male voice: Yeah.

LRH: Be near the moon.

Oh, you got that.

PC: Yeah.

Male voice: It was harder to make them smaller.

LRH: The Walt Whitman Hotel.

But now, wait a minute. How about you? You say you didn't get that effect? Well!

PC: Okay.

Female voice: Alicia tried it on me last night and I got that effect.

LRH: Saint Paul's Cathedral.

And you got that effect.

PC: Yes.

Male voice: Yeah, I got it too.

LRH: The sun.

That's right.

PC: Okay.

Male voice: Just before lunch. Alicia ran it and ...

LRH: The moon.

Mm-hm.

PC: Mm-hm.

Male voice: ... on both of us while she's running Bill.

LRH: Earth. PC: Yeah.

Male voice: I got sort of the opposite effect the first couple of times ...

LRH: What's happening here?

And where were you throwing this material? You were saying that there was an interior perimeter.

PC: Slowup. That slowup is still there.

Male voice: Well, first when I started out, there was - as far as I could think, I put a shell there. It seemed to be as far as I could think. And after I'd run about two cycles on that, I came to the realization that there was space beyond there.

LRH: That slowup.

Who was auditing him?

PC: Mm-hm.

Male voice: And I was looking at it from the outside and he said, "as far as you can think" again, so I pushed it out to the edge where there wasn't any more outside.

LRH: Fascinating, isn't it! We'll keep on with this.

This is not Perimeter Processing. You just think it outside toward in, from as far out as you can think. And what you were doing was throwing a shell out there and bouncing them against the interior of the shell and you did not, at any moment, abandon your exterior force screen. He was audited straight through with his screens up. Whereas the whole process is simply designed to get outside the furthest sphere and think inward toward the preclear. And that is the process - 360-degree sphere. We get that now? Do you see how that could be?

Earth.

Male voice: Yeah.

PC: Yes.

All right. Now, you do this for me, just where you are there.

LRH: Moon.

Think out as far as there is anything and have the thought come back toward you and explode.

PC: Okay.

You do that? Difficult?

LRH: Sun.

Male voice: Seem to. I got the limiting sphere again and then had to...

PC: Okay.

All right. Well, now, put one outside the limiting sphere and have it bump.

LRH: Nearest star.

Male voice: There was one. It came in and exploded on the outside of this sphere first or something.

PC: Yeah.

See? Now, we understand something about this. You're making the guy go outside of his last defense ramparts and blow himself in. And he didn't get the dwindling-perimeter effect.

LRH: Earth.

Now, there is the test of this process. If the preclear isn't doing it right, if the preclear isn't doing Perimeter Processing, he doesn't get the dwindling perimeter; it gets smaller and smaller and smaller and smaller.

PC: Okay

Now, did anybody... What's the matter?

LRH: Sun.

Male voice: Mine collapsed a couple times.

PC: Yes.

Sure. Sure.

LRH: Saint Paul's.

Female voice: Then it got bigger, didn't it?

PC: Okay.

Male voice: Yeah.

LRH: Walt Whitman Hotel.

It also got bigger?

PC: Okay.

Male voice: Well, it didn't get bigger steadily. It collapsed; then sometimes I'd be working along for a while with it kind of, more or less, one size, and then it'd get suddenly bigger and then it'd collapse.

LRH: This room.

Well, now, if you had a picture of this thing, you would get the most outside one - this is just a highly stylized picture; this isn't what it looks like - it's an irregular blob, not a sphere. And when you get all the way outside, you would say, "Here's a sphere." Now, the preclear is in the center of the sphere - you didn't put him there; he just is there - irregular blob.

PC: All right.

All right. Now, he throws a thought out there, simply the idea or the concept, that there's - way out there beyond anything he can contact - there's an explosion. He's got the idea, see, just the idea there's an explosion out there. Then there's the idea all the way around him, there's explosions out there. That's all - just the idea.

LRH: Earth.

Now, those explosions, the idea is that they're coming back and hitting the blob that he's in.

PC: Okay.

Male voice: It's not necessary to get clean mock-ups of it?

LRH: Moon.

No. What you're operating with, with a preclear who can get clean mockups and yet who is practically in an insulated mass - what you're operating with there is he has a zone of operation which he has established for himself In order to blow up this zone of oper- in order to get the case anyplace, you got to blow up this zone of operation. And so you just get outside the zone of operation.

PC: Okay.

And the way you do that is, as far as you can think out there that there could be an explosion, and that this explosion is not necessarily, but probably is, coming back this way. You see? As far as - in his viewpoint he's seeing a lot of this current coming back this way - pam! - as far as he can think of an explosion happening. You see? Now, as you do that, then, you get a dwindling perimeter.

LRH: Sun.

Now, it goes on a little experience in this line, there is another one in there that will quite often crop up and this one is a tough one, because it's kind of the center of the whole works, and that is blanks. You get the pc putting blanks out like that, as far as he can think that there might be a blank out there. See, you're not asking him to be certain there is a blank but you're asking him to be certain that he thought there was a blank out there. Get that last little line; that's the way you get the certainty into it. "Are you certain you thought there was one?"

PC: Yeah.

"Yup!" See? He can be certain there's a concept sitting there.

LRH: Nearest star.

You throw these explosions around, then you think - he thinks of nothing being out there. Every once in a while it'll occur to him, "Well, hell yes. There's nothing but space out there. We're already thinking beyond the limit of Earth. And there's nothing but a vacuum out there. Sure, there's nothing out there. Well, no, that isn't really nothing. That's a kind of a vacuum; that's different. Huh." And it'll get him figuring a little bit on the thing. But you're not interested in whether he figures or doesn't figure, you just keep him working.

PC: Yes.

So he puts nothing there, a 360-degree sphere and then he puts black explosions as far as he can think of a black explosion happening. Of course, he gets very puzzled about whether a black explosion is a black explosion. But you ask him, "Now, what would happen if it was perfectly dark and you couldn't feel anything and there was a black explosion occurred? It had no light in it and it was - happened in complete darkness and you weren't asked to feel it?" Fellow said, "Well, sure. Ha-ha! A black explosion, of course."

LRH: Sun.

You say, "All right, that's a black explosion as far as you're concerned."

PC: Yes.

A little bit later these things get quite uproarious. But he could get a black explosion at that level and be content that he has said there was a black explosion there. He's happy about it. He's quite certain he said that there was, and of course, is observational, why, there must have been because he couldn't observe it. Simple.

LRH: Nearest star.

Now, the next thing you'd get on a 360-degree sphere, in the same way - outside the sphere coming back in - is nothing.

PC: Okay

And the very next thing you get would be vacuums - 360-degree sphere of vacuums - vacuums out there! And this time he suddenly gets the idea "You know, there is a vacuum out there." And "ruh-ruh," he doesn't like that.

LRH: Sun.

And you get somebody who has been all mixed up in space opera and he has a picnic promptly. Because he possibly takes off twenty-five space helmets and throws them away. And he's trying to hold himself into spacesuits but the smell is bad in the spacesuit - so you don't want to be bad in a spacesuit, and he wants to throw it away, and... He's all confused. Because the instant that a hole occurs in a helmet or a spacesuit - sorry to ring in space opera on you so often, but this is where it occurs. The second that you let a hole get in one - somebody shoots a hole in a helmet - why, space goes thuuup! And here you have a contest whereby the fellow is trying to hold the energy in and space is trying to take it away. And that's why a fellow is afraid of ridicule, because space will take all of his energies away. All right.

PC: Okay

And after you've done that you can throw in vacuums and then nothing again. And then throw in blanks and then throw nothing in. And you've just about done it with the whole thing. But he'll get the distinguishing factor, the difference between nothing and the blank.

LRH: Nearest star.

What's a blank? Well, that's up to him. Actually, I'll tell you what a blank is: A blank is just a translucent "I'm not here. And I don't want any”. The postulates "I'm not here," "I don't want any," "Nothing can come in," "Go away," and so forth, all come under the heading of blank. See, "I don't want any"

PC: Okay

And of course, that is a primary characteristic of anybody who is in an occluded state, is "I don't want any." "No buyer here!"

LRH: Sun.

And you ask him to run a process - and he knows he'd like to get out of this mess - but you ask him to run a process that has to do with anything vaguely resembling the MEST universe and away we go, promptly. He isn't going to buy anything.

PC: Still hard for me to do that.

You start running this thing called a blank, outside the outermost sphere which he could possibly manage to hold on to, and here we'd have it, you see - blanks. He finds out a blank is different than nothing.

LRH: Nearest star.

The component parts of this universe happen to be black clouds, white clouds, which is black particles, white particles, no particles, vacuums and nothing - just nothing of nothing.

PC: Mm-hm.

Now, this translates, of course, in terms of actions, into white explosions (or colored explosions), black explosions, vacuums and nothing. But the thetan has an extra one - blank. The closest thing you see to a blank here in this universe is plastic, white plastic. That's probably why you don't like that funny, crinkly white plastic they very often put out as bed sheet, bed covers and things like that; it's a blank.

LRH: All right. Be halfway between them.

And, of course, it's - they've put it out so as it's a safety cover over mattresses and over things like this which is letting the mattress say, "I don't want any."

PC: Yeah.

Now, you understand this a little bit better? Now, the subjective reality on this is all that you get; it's all we want.

LRH: All right. Let's take a look at yourself where you are there and around you and see what is this about slowing down. The more we do this the more you slow down. All right, let's take a look at yourself What are you doing? Whatcha packing?

Now, did anybody get the passing idea, while this was being run on him, of what he might be in? I'm not asking that you shouldn't adjudicate it. Did you get any better idea of where you were?

PC: Hmm. It's easy when I'm on my bicycle riding off in all directions. Between that, this place and the Earth, it's not so easy, and back here - I slid.

Male voice: Well, I already knew about that.

LRH: Mm-hm. You packing something that the gravity of things attract, or something? Let's take a look at yourself Shift your wavelength around; different visios of yourself of what your mass is. You must have something to do with mass for sure. I mean, I'm saying this complaint about the gravity pulling. See anything?

You already knew about that. Did it confirm it?

PC: Yeah.

Male voice: Sure.

LRH: What do you see? Pcs are awful reluctant to tell you this, by the way. They think you're asking for their home universe or something. Whatcha looking for?

Mm-hm.

PC: I'm trying to look - make sure I'm seeing what I'm looking at.

Male voice: In that in that twenty minutes, the whole thing came right into my body.

LRH: Hm? PC: Just making sure I'm seeing what I'm looking at.

Mm-hm.

LRH: Okay. Duplicate what you're looking at.

Male voice: And I went into home universe.

PC: Well, what it looks like is a black - layers of black - I don't...

Mm-hm.

LRH: Okay. Duplicate it.

All right. Just as I say - Perimeter Processing - it has a great many variations, any type of process like this. But remember, the central idea of it is that there's a center of a thinking machine; your pc is in the middle of what he thinks is necessary as the thinking machine. And he's trying to chew himself out from the center to the edge; you see, the pc, who is occluded, is trying to chew his way from the center of this mass of energy out to the outside. He can't do that any more than a man who is in the middle of a cave-in can dig himself out. Because every time he digs he just gets more particles on him, see? So the best way to make him take it apart is to go outside and work in toward himself. This was a great surprise after a while. This is a long process; but it's a short process, sometimes, in terms of dividends.

PC: Close to the Earth.

He goes outside the mountain and blows the mountain down. And the next thing you know, why, he's out of the cave. Simple. All he has to do is remove the mountain from the outside, and he, in the cave, is out of the mountain. But if you leave him in the middle and process what's in the middle, you'll only process thoughts and concepts and keep caving everything in on him.

LRH: Duplicate it.

Now, people right here have enough reality on running concepts to know that concepts can change a person's mind, make him more sane, straighten out things with him and do a lot of things like that, but they just don't seem to get rid of any energy. That's true, isn't it?

PC: I don't like to get that close to it.

Well, nobody had an idea of what the character of this thing was that he was sitting in. Did anybody get an idea of that while he was running Perimeter Processing? Nobody did?

LRH: Well, just duplicate it.

Male voice: I got a funny visio of - like the impression that I got was that here is my whole track and leading all the way into the center.

PC: All right.

Mm-hm.

LRH: Blow up the duplicate.

Male voice: To me it's like two oyster shells.

PC: Mm-hm.

Mm-hm.

LRH: Duplicate it again.

Male voice: Kind of terraced.

PC: All right.

Mm-hm.

LRH: Blow up the duplicate.

Female voice: He said he was in the middle of an explosion.

PC: Okay.

Male voice: It was - I thought it was at first - it was a sphere, but I know it's not. And it's not - I'm not in the middle of it, either.

LRH: Duplicate it again.

What do you suppose you might be in, with all that occlusion there? What do you suppose - what do you suppose you might be in?

PC: Mm-hm.

Female voice: I had a warm feeling myself

LRH: Blow it up.

Male voice: Some people might call it ...

PC: Okay

Female voice: A peace feeling.

LRH: Put up four duplicates.

Male voice: Some people might call it Earth, kind of.

PC: Okay.

Yeah. What do you suppose it is?

LRH: Blow them up.

Male voice: Well, uh ...

PC: Okay.

You see, it's a very simple thing; it's just a geographical location of a thetan. Where is the item? The item: one mass of energy in which he is enclosed. Where is it?

LRH: Four more.

Male voice: Where is it?

PC: All right.

Yeah, where is it? Not what is it. It's just a mass of energy, but where is it? That's the main idea.

LRH: Blow them up.

Male voice: Right here.

PC: Mm-hm.

Right here. Your conviction that it was right here with you became greater as you ran it?

LRH: Okay. Now, let's be near the sun.

Male voice: No. Sometimes I'd have a hard time maintaining a viewpoint as being in the center of it.

PC: Sure.

Mmm.

LRH: Let's be close to the corona.

Male voice: But I stuck with it.

PC: Mm-hm.

Mmm.

LRH: Let's take a look at it. What's the longest plume you see?

Male voice: And-uh-the reason is because I wouldn't - I tried it once or twice...

PC: Hm. Oh, yeah.

Yeah.

LRH: Got it?

Male voice: ... and then I kind of felt, well, now, if I can get it out in front of me that's all very well as long as the body goes with it. But it didn't, so I...

PC: Mm-hm.

Oh! This thing and the body have to coincide.

LRH: Okay. Let's go up and sit on the top of it as it flicks in and out.

Male voice: No, they don't have to coincide. But the...

PC: All right.

If the - if the body went with it, that was all right.

LRH: Okay. Let's slide down toward the sun.

Male voice: Yeah, that would be all right, because then I would truly be on the outside of it.

PC: I like this one.

This is in the body.

LRH: Okay. Let's slide back up. Slide down. Slide up.

Male voice: No, it's not; it's in front of the body.

PC: Mm-hm.

This mass?

LRH: Get near the moon.

Male voice: The edge of it is right here.

PC: Okay.

Yeah.

LRH: Back side of the moon.

Male voice: It's over here.

PC: Mm-hm.

Did solutions for this or thoughts that you might do this and that about it come through while you were processing?

LRH: Whatcha see?

Male voice: No.

PC: Back side of the moon.

Didn't process up toward a solution.

LRH: What's it look like?

Male voice: No, I ...

PC: Like this - front side.

.. on this?

LRH: Okay. Let's take a good look at it.

But there was an impulse that if you get out of it that you're stuck with it. Is that right?

PC: Mm-hm.

Male voice: No. I figured this way; I did this much figuring: That according to what you said in the lecture, you're supposed to run it from the center; that is, be in the center of it and have the explosions all around a 360-degree sphere. That's what I did.

LRH: Let's look at the other side of the moon.

Mm-hm.

PC: Mm-hm.

Male voice: But there was - for a little while there it was something of a struggle to maintain that viewpoint. I caught myself when I would be - supposed to be making explosions, etc., behind me, well, I'd be looking at them out in front of me, so to speak.

LRH: Let's compare the two sides.

Mm-hm.

PC: Mm-hm.

Male voice: If I could've seen them, I'd have been looking at them; I mean, I'd get this kind of vision out in front of me instead of in the back.

LRH: What differences?

That's right. Well, that's the ultimate effect of the process. Let's not forget that. That's the ultimate effect of the process, is simply that that happens.

PC: Not quite the same.

Male voice: Gee - whiz! That happened in fifteen or twenty minutes.

LRH: Not quite the same.

Okay.

PC: Uh-uh.

Male voice: Yeah, the same way with me.

LRH: All right. Let's just be on the front side of the moon.

Mm-hm.

PC: Front side.

Male voice: I got the feeling a couple of times of looking down on this going on. I'd have to put myself back in the center.

LRH: Got it?

But as you ran it a great deal more this stopped happening?

PC: Mm-hm.

Male voice: I made it stop happening.

LRH: Back side of the moon.

Okay, now you can unmake it stop happening.

PC: Yeah.

Male voice: Well, that's easy; that's real easy.

LRH: This side of the moon.

Okay. Because that's what you're trying to do.

PC: Yeah.

Now, here we're running up against a problem. The problem is where instruction and processing cross and interfere with each other. You see how this is?

LRH: The other side of the moon.

Your instruction is to have the pc run it from the center of the thing and there was no further instruction as to what might happen, you see, because that would be a prediction of what would happen for the pcs it was being run on.

PC: Mm-hm.

Now, the pcs being very - being under instruction on a thing, of course, make the same process continue to happen sort of with a force of will.

LRH: This side of the moon.

The automaticity which ensues on this process is, as the more they run it - it doesn't matter, because it's - you can't damage this process; if it's run right, you just can't damage it. So whether the fellow changes his mind back or not, if he just kept running it, his force of will to stay in the center of it would get less and less sensible to him and he'd just blow.

PC: Yeah.

I've had people all of a sudden wake up to the fact that they had been in front of themselves for a long time and wake up to the fact that they - it was almost impossible to operate this thing. And I've had a PC say very complainingly to me, "Well, it's impossible to be in the center of that and operate those explosions outside of it. It's not impossible, but it's almost impossible! And why can't I just stay on the outside of this and blow it up! What you're telling me to do is nonsense now!"

LRH: Other side.

And I have, just as a test - have said, "Well, now, no, no, no. Now, you stay in the center of that thing, and you keep running that that way." And the fellow finally said, "Well, damn it! There's nothing to be in the center of!" Well, I said, "Why don't you be in the center of your head then?" Well, that's all right. But that didn't seem sensible either. That wasn't a good place to be.

PC: Mm-hm.

All right. That's Perimeter Processing. The way it works - the same manifestations.

LRH: Earth.

Well, the number of hours that Perimeter Processing has to be worked on somebody is not forecastable. I could give you, approximately - order of magnitude-it'd be somewhere in the neighborhood of ten, fifteen, twenty hours for your real rough, rough, rough, rough case.

PC: Yeah.

We've got a case whose ridges are black and of about the same constituency as glass. There is one kicking around. He is the champion PC of all time. He is a capitalist. But boy - he's not a capitalist; he's probably a cross between that and entrepreneur but he's - boy, that guy - that guy had a couple of the best auditors we had chipping away on him with - I guess three, all told - with concrete busters and drills and dynamite and so forth. And it was just chip away, chip away. Well, now this process that I've just given you is an intensely workable process for such a guy.

LRH: Walt Whitman Hotel.

Now, you can make the process complicated if he starts getting bored with it, just as a process, and you can start mocking up hordes of people underneath all this mass admiring what he's doing as he does all this. And, of course, you get a double-barreled shot at it. What's he sitting in? Technically, what we know about the mind and about the manifestations of energy, what is he sitting in?

PC: Mm-hm.

Male voice: A ridge.

LRH: Sun.

A ridge. When a PC is flying around and having a good time for himself and throwing explosions around, every once in a while you take somebody who exteriorizes at about Step III or Step II, and oh whee! Everything is fine, see? And this fellow isn't yet settled on the subject of the energy he has or can use. And he will run into an explosion. And he will simply go immediately into apathy and he will stay there for days if you don't process him.

PC: Yeah.

You see, he wasn't made into a Step I, he was just exteriorized at II or III, worked a little bit at this and then not worked very well, you see, afterwards. And then he starts flying around on his own; the next thing you know, he runs into a ridge or something which explodes. And that explosion carries enough force at him so that he sinks into apathy about the whole thing. And you'd swear to Pete you had just run into a very resistive V when you start to process him again. And Perimeter Processing will fish him out of it because all he did was run into one of his own ridges.

LRH: Saint Paul's.

Now, his own energy is much too thick and heavy for him to handle, so he starts running in and out of his head, you see? And he - this time when he backs out of his head it's all just fine but he's still very prone to use beams. And the more beams he uses, the more trouble he is going to get into, because when he starts using beams inside the body, the beams themselves are too short.

PC: Yeah.

A very short beam used against the body, of very heavy energy, brings about the manifestation that we Call degradation. That's just too close up to look, you see? So he's using effort. And it's so low on the effort band that it's a sort of an effort apathy. Do you get the idea? And that's degradation. He'll really get that sensation.

LRH: Find Jupiter?

Sometimes you'll get the happy notion "Well, gee-whiz, there's the fellow sitting right in his head there; why don't we just ask him - he's got a bad heart or something - we'll ask him to reach out from the center of his head and have him patch up the heart. See, we can't get him out of his body, but he has some sort of an idea of what this is all about. Just reach down and patch up what's wrong with the heart there." He will! And all of a sudden go nyuh! Nuhh-rahh!

PC: Sure.

"What's the matter?"

LRH: Okay. Look at the side of Jupiter away from Earth.

"I don't know. I just feel awfully degraded."

PC: Yeah.

See, you've asked him to put out energy on too short a distance. And he put out the energy on that short a distance and it's just like glue or it's like - it's something horrible, to him. And the wavelength of it is very bad and he's just completely miscalculated it and he goes into degradation.

LRH: This side of Jupiter.

Now, you won't get that fellow to emit another beam of energy till you've turned around and run something on the order of Six Steps to Better Beingness or Perimeter Processing on it. Fish him out. See?

PC: Mm-hm.

Now, the fellows every once in a while will run into the ridge and stick. That's actually all a theta trap is.

LRH: Other side of Jupiter.

Why do you suppose fellows put up ridges around themselves full of glue and pastry? Hm? Protective mechanisms - he's afraid somebody else will pick up the body.

PC: Yes.

People have gotten quite leery of picking up other people's bodies with great ease. And some of your mystics and faith healers who start exhibiting energy and very early in the game were flying around very madly and they were doing what they describe in a book, "astral walking," which is some kind of an impression of being someplace.

LRH: This side of Jupiter.

"Astral walking" is putting up a - astral walking is being at A, putting a viewpoint at B and then moving B into the vicinity of a scene C. Oh, you could draw that on a piece of paper; you'd see what it is. It's being at A, putting up a viewpoint at B, in order to view a scene C. And sometimes it's even more complex than that; they will sometimes read the mind of the person who is being at A, the astral walker is making somebody else do the astral walking and is then getting the impressions of the astral walker. Do you see that? Ah, this is elementary witchcraft - elementary magic. Huh?

PC: Okay

Male voice: Is it complicated?

LRH: Other side of Jupiter.

It is; it's very complicated. But astral walking hasn't any great clarity either; you can get the faintest, little impressions and somebody says they're astral walking.

PC: All right.

Now, you can make your Pc astral walk anytime you want. You can take a resistive V and tell him to drag scenery under him, and half the time he's dragging facsimiles. And he just gets tired finally of drag - that whole process depends upon the fact that he gets tired of dragging the facsimiles under him and eventually drags the real thing under him. If you never call it to his attention what he's doing he'll eventually figure it out. It's only valid as long as he figures it out.

LRH: Go into an orbit around Jupiter.

"Well, you know, I..." he said, "you know, very early while I was doing this I wasn't dragging Saint Paul's Cathedral under me; I was dragging picture postcards of it, really, what I realize now. But at first it was awfully real; I really thought I was dragging that under me. I realize now that I wasn't, because I'm hanging on, right this minute, to the cross at Saint Paul's Cathedral, and it's cold up here." See?

PC: Here we go.

All right. When we get into exteriorization, people are afraid of having other people come along and swipe the body, so they just hang up masses of glue, and so forth. And then one fine day you, as an auditor, come along and say they ought to be out of their head.

LRH: Go into a perihelion around Jupiter now. Now, let's get this perihelion going so that you get a real fast swoop back around Jupiter.

Well, this is a terrible overt act on their own part to set up things and trap thetans and protect themselves this way, and so forth. And so, they say, "Well, let's see. All right, I will do that." And they start to move, and "Oh! Wait a minute." They're stuck in a ridge, that's all. They're somewhere around the body or in the head or someplace or another.

PC: Mm-hm. One more time now, here we go. Uh-huh.

But sometimes they are not in the body. Sometimes they are at inverted 7 or inverted 8 and you start running them and they're caught in an actual theta trap someplace else and projecting themselves here and running the body here.

LRH: Well, okay. Sun.

Now, get the analogy between this and astral walking.

PC: Oh! All right.

Now, you know how faint and flimsy and unreal astral walking might be if you were kind of poor at putting up viewpoints and looking with them? I mean, you put up an anchor point out here eight miles. You can do this right now; you can put up an anchor point out here on the highway and see the state of the traffic. Just put an anchor point over the highway out here and take a look at it.

LRH: Moon.

But if a person isn't doing too well, that's pretty flimsy to him and it has no great reality. Now, you want to know what this feeling of unreality is which comes over your pcs? They're walking around and they're going through life and they're doing all this and all that but it's sort of unreal. And the walls don't look quite real and the floors not quite real and they don't think their emotions are very real. And they're - everything is kind of artificial and they feel detached from everything and they can't get any real emotion about anything. They're on the inverted level to such a degree and so forcefully that they're doing this trick with the body. The body is an anchor point which they have put out which is looking at scene C. See? You want to know what unreality is; there's the mechanism behind it.

PC: Mm-hm.

They are at A, without being able to admit, even to themselves, they're at A, and they've got a body at B, carrying one of their anchor points, which is the anchor point, and it is looking at scene C. And that is what - you look at a pc and sometimes, very amusingly, you will think that he is there and that he is functioning and he is looking at things; and he is not at all. He's projected out of some cave up on Arcturus or he's being - he's projecting himself from the middle of some theta trap that he knows he can't get out of.

LRH: Earth.

And once in a while you'll start to run Perimeter Processing on somebody and he sighs deeply and says, "Well, I'll try." And he chips and pounds away and pounds away. And if you just notice he's just having a hell of a time of it, you can be sure of something: he's trying to knock together a theta trap from the outside.

PC: Yeah.

But this technique knocks theta traps apart. If carried on long enough, it will destroy a theta trap. So it's a very handy one to know, isn't it?

LRH: Still feel that pull?

The next time, if you were sailing around and you got stuck on a post or you got stuck up in a theta trap someplace or another, you just start banging away on the perimeter of the widest outside zone that you can find and you'll come off the theta trap.

PC: No.

If you continue to exude energy from where you are, at the post you're stuck to, it is merely fixed up as an echo, so it echoes every wavelength that you put out.

LRH: Well.

Well, if you're making sure that you're postulating wavelengths which are a long way from the post, you will come off of the post, because you're not activating it. The only reason you're staying on the post, you see, is because you're using energy to push the post away from you.

PC: No more.

They have on the whole track - para-Scientology - you have, on the whole track, many instances of posts. And you have a post. And this post is sitting on the - on something or other, and here it is, just as nice as you please. And it has for its call-up or something like that, it'll have some sort of a - of a beacon or something on it. And you'll say, "Gee, that's pretty. I wonder what that is?" Or as you pass by it, it will catch some sort of an echo from you and you'll say, "Gee, I know somebody over there. Must be a friend of mine," something like that. And so you put out a beam which is inquiring. And then the next thing you know, you hit this beam out again, and gee-whiz, it sort of kicks a beam back at you, and you say, "Well, that damn thing!" And you kick another beam at it and it kicks a beam at you and you kick a beam at it and it kicks a beam at you and you kick a beam at it and all of a sudden pong! There you are; and you're right straight on top of a big metal post or into a metal basket.

LRH: Good. Okay. Walt Whitman.

And every time you put out any energy or a beam to give it a shove, you're putting it out at too close a distance, so that you feel degraded. There isn't any degradation on the post at all. You just have this emotion of "Well, my energy is too thick," because it's echoing back at you, you see; it's mockery.

PC: Yeah.

You put out one; it puts out one. You put out one; it puts out one. You put a very short beam out; it puts a very short beam out. So your heaviest power and force and the most condensed energy that you can level at it is all for naught and you're stuck on the post.

LRH: Now put a beam between the Walt Whitman Hotel and Saint Paul's.

So, what's the answer? As you sit there contemplating your sins, you should be able to recall there are methods of getting off theta traps. And the way to do it is Perimeter Processing, explosions and nothing, and black explosions and nothing, and vacuums and nothing, and blanks and nothing, and explosions and nothing.

PC: Mm-hm.

Where? Run by you from way outside the widest sphere which you can contact, from outside this sphere in towards you.

LRH: Got them? All right. Smack the beam together.

And it will give you enough motivators of people bombarding you for you to come up Tone Scale and admit that you have a right to get off the post; this is what it amounts to.

PC: Okay

The next thing you know, however, you'll be drifting some distance from the post. Well, there's no reason to be afraid of the post, because fear itself is a method of dispersing. And so you start dispersing and this post will start dispersing; you'll think this would throw you off of it. No, no. This just keeps you connected electrically with it.

LRH: What happened?

I hate to give you the impression that you're a flock of electric eels. But you're worse than that; you're electric eels without any bodies.

PC: Got an explosion halfway between.

And when you - when you run into ridges - if you have trapped a lot of thetans - and you put this ridge up with the full intentions of trapping "any goddamn thetan that comes in here and tries to take this body. You aren't going to take this away from me."

LRH: Okay. Was it a big one?

See? This keys in at a moment of loss. You've got - you had a janitor for a long time. You're very attached to this janitor because he kept the floors so clean, and so forth. And all of a sudden the people next-door, or something, stole this janitor. You didn't have the janitor anymore or something like that. He goes away.

PC: Yes.

Well now, this, on a tiny, little gradient scale, is you have lost a body. Somebody took it. Well, this makes you very defensive and your immediate reaction is to say, "Uh-uh. Nah. They're not going to take my body too!" So you promptly throw up an occlusive screen around yourself, and then, you darned fool, you walk into it!

LRH: Satisfactory?

But it had an overt purpose, so immediately the motivator must follow. When you have lost a girl, a guy, a car, anything to which you were dearly attached - get that word attached - anything to which you were dearly attached, your next thought, immediately after that - if you care to lock-scan slow motion on pcs someday you'll find this very easily; lock scanning slow motion is a wonderful method of recovering intent. What is the actual intent? You just have them go over it and now scan it slowly and scan it slowly and scan it slowly and you get the actual intent.

PC: Beautiful.

All right, the actual intent, then, is to preserve yourself from being lost too. Because you don't have any deed, no bill of sale, there isn't anything registered down here at the courthouse which gives you the actual right to this body. The body has all the rights and the deeds and the bills of sale and the stamps and the fingerprints; you don't have any. And the fact that it's identified doesn't mean that you are the owner.

LRH: Okay. Now let's put a beam between Earth and the moon.

And you have the idea that it's very easy for this body simply to walk off - for you to walk out and it to walk off and then somebody else will be going down the street saying, "My name's Sullivan," and look around and use what ridges are there and activate these ridges and put up a terrific show of this. And what do you know, there's actual instances of this occur every time you turn around.

PC: Mm-hm.

Some fellow by the name of Bill Jones all of a sudden is missing from his home. And we find him two months later having married and living with some girl called Agnes Sharp. Okay. Living with Agnes Sharp, married, and so on. But he was already married. But he says his name now is Smith. And everybody says, "Well, it's a case of amnesia undoubtedly brought about by a blow." Sure. Some thetan slides in and revives a dead body for that effect.

LRH: Now let's smack it together.

Somebody is unconscious - maybe he gets knocked unconscious, see? Well, this makes it possible for him to be knocked unconscious, so he exteriorizes. He - or it's a dental operation, or it's a surgical operation or it's an electric shock or it's something, you see? So he exteriorizes. The thetan who owns the body says, "Poor old body; it's dead! To hell with it anyhow; it's awful boring in Mobile, Alabama," and simply goes back through the screens.

PC: Mm-hm. Mm-hm.

Well, there's the body; it's not dead. But it hasn't got a spirit in it. Another thetan will sail into it and say, "Boy, oh, boy! Oh, boy! Oh, boy!"

LRH: Okay. Let's put a beam between Earth and the sun.

Well, he doesn't quite - when he isn't able to pick up the proper answers out of the bank immediately, the best thing for him to do is simply load it - find out if there's some money in its pockets and load it on board a bus and take it to another town or some place, and quick. And give it any name he thinks of and engage it in any kind of a business or skill he can suddenly give it. And get it married in a hurry or do something with it. And you get this terrific shift.

PC: Okay

Well, now this goes on in other fashions. This goes on otherwise. It's a spooky universe actually. This can go on and is the - probably the only reason why there is - once in a blue moon or a green moon - the only reason why there is any success with ECT or with surgical operations. The guy comes out of it and he's not aberrated so much anymore. He has a different personality pattern. Well, hell, the thetan who was in there got tired of all this and left! Somebody else picked up the body, and so on.

LRH: Another beam from the sun to Earth.

Don't follow on the immediate assumption that every pc you have, in other words, picked up this body at birth. You may have a pc who picked up the body, all right, but not at birth.

PC: Two of them.

And I found a pc one time who had had seven different thetans and each one had in his own turn left. Seven different thetans. And his life broke down into seven extremely marked, different periods. Each period had its own skill and its own personality. And this is very puzzling to some psychiatrists when they examine somebody's life track.

LRH: Another beam.

And now you have somebody - you have this problem of the person who's being run by seven different thetans simultaneously; he turns over various personalities. These thetans are all loopy and they've just got a body amongst them; it's a club. Now, once in a while - I think Morton Prince wrote a book on a girl which describes this condition beautifully.

PC: Three of them.

Just because we are all agreed that this and that is the case in this cultural level is no reason that it's true - no reason at all.

LRH: Another beam.

Now, I'm not trying to run bogymen in on you, because the condition is not common, but it'll happen often enough for you to be very interested.

PC: Four of them.

Now, the - we got a pc present who said, "I..." told me one day, "You know," he said, "I didn't pick up this body at birth; picked this - this body was about two and a half years old when I picked it up. A little boy fell down and hit a stone, I came along and pingo, here we go." See? Kid fractured his skull or something of the sort and that thetan probably said, "Well, to hell with this," or something of the sort, and left. Or maybe didn't leave; maybe hung around in a subordinate role waiting for the body to knock off.

LRH: Another beam.

You've got an enormous number of variable factors which can occur. What we have tried to do here and the reason for all of the SOPs, one after the other, is try to get the technique which embraced and remedied all factors and all composites with a minimum of difficulty for the auditor, so that he didn't have to discover the actual condition in order to remedy the condition which he hadn't discovered; which necessitated a modus operandi which was embracive on the entire universe and some of it outside this universe.

PC: Five of them.

Now, when we have this solved, you have much easier processing. Because every now and then you're going to get some case that just can't admit, to himself or to anybody else, what happened. Can't admit it, even to himself, because then he would know and then he wouldn't act human; then he wouldn't act normal and he might be locked up or something of the sort. So he just puts up this complete human pattern. And he thinks human beings are supposed to be this way and this way and this way; and you find out that this is everything he's exhibiting. In back of this is complete artificiality; he hasn't any conviction on what he's doing or anything else.

LRH: Take them all and wind it around Earth like a maypole.

Well, normally, such people are doing extensional direction. They're at - they're at geographical position A with an anchor point at geographical position B, viewing scene C and going through actions in scene C, which makes everything pretty thin and pretty unreal to them.

PC: Yeah.

Well, when a thetan has been really knocked around for a long time and his disappointments are great and so on, he will start taking the most unusual precautions. Now, what you need is techniques which knock apart these very unusual precautions.

LRH: Now smack them so they all explode.

You know, the US Navy - great organization - in 1896 they were - had an appropriation and laid the plans for the building of a full-rigged ship. This was only, I think, thirty, thirty-four years after iron ships had proven beyond any doubt that this was the type of vessel which should be employed by navies. And they also had at this time - nearly the entire navy was composed of iron ships; Charleston, and some of the other old fellows, I think the Oregon, and so on, were built somewhere along in there.

PC: Yeah.

Anyway, they were beautifully geared up to fight the War of 1812. They were actually laying down plans there by which this... Some congressman got wind of this and screamed like mad and said, "For what?" They said, "Well, for line service, of course." Somebody tried to think of a reason why they needed a full-rigged ship and this hadn't been supplied with the blueprints, so they didn't build it.

LRH: Got it?

The army today - the army, right this minute - is gearing itself up beautifully to fight the war of 1941-1945. And if left to their own devices and if not pushed about by exterior engineers and public opinion, the army would simply do that; they would build up the exact tanks that were the most successful in that war and they would build up the exact rifles and they wouldn't change a thing.

PC: Mm-hm.

Now, the air force is very progressive because it has high motion and it has to go into fast motion so it's liable to change its equipment. Well, it's changing its equipments fast enough right now to break any taxpayer. It's trying to junk its equipment before it gets on the assembly line and this is hard to do. I was up at one of these plants one day and saw an officer there and he kept going around at the beginning of the assembly line, you know, where the fellow puts a chalk mark right there. And I thought at any moment this officer was going to blow his stack because he couldn't get that chalk mark wiped out. I mean, if he could just have wiped out the chalk mark, you see, before the chalk mark was down, he could have junked the plane and put a new plane on the line and we would've had a more modern air force. But he wasn't able to do this.

LRH: Let's be about a thousand miles up from Earth.

They're always in production several years late. The models which are being flown right this moment over any continent where our air force flies, the models which are in existence, would surprise you; they're good World War II planes. That's what they're flying. They're flying these - built long afterwards you understand, but that's their - built after the war and in good condition, and so forth - but that's their level of performance.

PC: Mm-hm.

We keep reading about these Sabre jets and thundermugs and other craft, and these doggone things are, to a large degree, intensely experimental. So it breaks the taxpayer to keep doing this sort of thing and it puts out a lot of ingenuity, and see, nobody gets any agreement on it.

LRH: Five thousand.

It's like what we've been doing in Scientology. We've been rushing forward in Dianetics and Scientology at a mad rate in order to pick up to production model. We've done a pretty good job in picking up to production model while we were in production but it was quite a rush in order to do it.

PC: Mm-hm.

We had to find out all the factors that were involved and get a technique which resolved all these factors. Now, we haven't got the ultimate technique; we've got a technique which embraces all these factors.

LRH: Six thousand.

You're not going to find now - I'm very certain, you're not going to find now - sudden wild variables in the cases. I'm telling you some of the variables that could be in a case, but you see immediately that as you're processing here these factors are, to a large degree, taken care of with the processes. The processes which we're using - exteriorization and so forth - naturally take care of these things.

PC: Mm-hm.

Now, a preclear will worry sometimes. You say, "Be three feet back of your head," and he can't do it, and he'll worry about getting out himself because he's sure there are other thetans around him. Sure enough there may be, caught in some of the ridges; there may be, you see? And so he's worried about, "Well, now, if I got out of the body - if I got out of the body, you see, I'd lose my identity, because I wouldn't know which one was I." Yeah, they really will worry about that.

LRH: A hundred thousand miles.

"Well, let's see. There's seven entities and one of these is me and which one is me? I'm not quite sure. And if I really exteriorized, I wouldn't then know because I can't look at me." See what a loopy one he's on; he's on an inverted 1 like mad. Of course, an inverted 1 is lost way back someplace.

PC: Okay.

But you see, if you'll explain it to him when he starts worrying about this, and he - you'll find a preclear tell you about this.

LRH: Take a look at Earth.

You say, "Now look. You see, we take six - we take eight balloons - eight circus balloons - and we mark an X on one of them. All right. Now, we bring all these balloons down together so you really can't distinguish the X. And you look over the tops of all these balloons and one of those balloons is yourself. Well, you can't quite tell which balloon is you because the X is down below mixed up with the balloons. But now we let them go free and seven balloons drift away leaving one balloon, but that's you. You haven't got to worry about it, because the second you're free, these other balloons aren't you. And you know that now."

PC: Mm-hm.

Well, he's in there kicking around and bossing a body and bossing entities and doing all sorts of weird and conglomerate operations. And he gets his identity mixed up: he can be an entity; he can be a bedpost; he can be this; he can be that. You get him out of his head, he's like the eighth balloon; he just drifts up free. He knows who he is. That's the first time he ever gets this knowledge, when he starts blowing free out of the body. So here are all these complexities.

LRH: How's it look?

Now, we'll look at this problem I was telling you about of getting on a post and then prying yourself off the post. How do you get off a post?

PC: Small.

A post is agglutinous. It reechoes against you with your own wavelength and you get to a point finally where you can't tell the difference between yourself and a post. And a guy in an insane asylum who is confusing himself with one of the bedposts is simply redramatizing one of these darned post theta traps; that's all he's doing. He's sure he's the post. All right.

LRH: Small. Let's come in close to it now.

Now, what the hell do you think a human body is? And the actual truth of the matter is, the problem is just that simple!

PC: Yes.

For a resistive V or a IV or a III, the human body is operating exactly like a theta trap. It has him. It reechoes against him. It attracts him with its aesthetics. It furnishes him with sensation if he puts the sensation out. And the only way he can be happy about it is to pretend that he is the body, just as, on a theta trap, people pretend they are the post.

LRH: Those black shells still apparent to you?

Your problem in freeing an individual from a body can be the same problem as taking an individual off of a post - off of a theta trap - post-type trap.

PC: I don't see them.

Taking an individual out of the body is that problem. And there is another type trap which is the - you might say - the energy trap where he is trapped inside of a mass.

LRH: Good. Okay.

Well, the thetan caught in one of his own ridges is actually in just sort of - such a trap; he's just caught in a mass - mass of energy. And he's been in enough traps and knew he couldn't get out of those and this is still hanging around on the track and he put the ridge up there probably, in the first place, to catch somebody else and it caught him. People always get a kick out of "the biter bit." Well, this is "the biter bit"; he got too defensive and it trapped him.

Now, let's be over South Africa.

Anyway, he's in, then, two types of traps: he's in a post-type trap and an energy-type trap the same way.

PC: Yes.

An energy-type trap is quite interesting. Ordinarily an energy-type trap has a very aesthetic facade. The thetan walks into the front of the entrance and he runs into vast quantities of white energy, which is quite pleasant. But as he thrashes around he goes right straight on down and the next thing you know he's mired down into black energy and it's very agglutinous and he can't get out of it easily. And this is a theta trap. It's got an aesthetic that leads him in, whether it's a musical aesthetic or a visio aesthetic and it starts in with white energy and winds up with black energy, and that's a theta trap.

LRH: Walt Whitman Hotel.

All right, a ridge has this characteristic too. And facsimiles of theta traps are what thetans use in order to mock up ridges which will trap thetans. They're trapping them with the idea that a theta trap is so deadly that if they get into any kind of a situation resembling a theta trap they're trapped and so thetans can protect their own bodies. It's very simple.

PC: Yes.

It's quite a vicious problem actually: How do you protect a body and keep yourself from being knocked around or knocked off by other thetans? And you'll find your preclear is worried about this problem, although he won't tell you that he is.

LRH: Saint Paul's.

Male voice: "How am I going to protect my trap?"

PC: Yes.

"How am I going to protect my trap?" Yeah.

LRH: This office.

All right. Now, you'll find somebody will start telling you after you get him half-cleared, "Well, I'm going to find a house and it's going to be up in the mountains someplace and boy, I'm just going to put theta traps all over it. Any thetan that comes in, or anything like that, tries to knock me off or put me away or do anything to me, and so forth, and I'm going to have some kind of a screen over the top of the house so they run into this force screen and try to zap me or zip me or something of the sort, why, they will be very embarrassed."

PC: Yes.

You'll get this as an ambition and it can be a tremendous ambition.

LRH: London.

Well, "the biter bit" is the thetan that you're trying to exteriorize. (1) He knows he can't get off the post because if he puts out energy the post will just put back energy at him. (2) He knows he's in some kind of an energy deposit and he knows he can't get out of energy deposits.

PC: Yes.

But here is a method of getting out of a theta trap: Perimeter Processing. It's simply the method of getting off of or out of any type of a theta trap. Very simple.

LRH: Moscow.

Now, you'll find as he processes this that he'll start to sock beams into the outer screens. All of a sudden he'll start to mount up beams and shoot them in. Let him.

PC: Yes.

He's found out something; he can use a beam where he's got space, because the beam isn't so much condensed that it's degrading to him. He can't use a beam here, but he's learned that he can put up an anchor point out there and throw a beam from the anchor point. You see that?

LRH: Calcutta.

So, he can generate energy outside the sphere, back at the sphere and so roast the sphere down.

PC: Yes.

What is aberration? I gave you a definition of a thinking machine the other day. Aberration is not straight line - something being moved out of a straight line. A beam of energy passing through a mass of energy does not operate in a straight line. If it's going through a thinking machine, it operates at odd and peculiar angles and dives and zips and zaps.

LRH: Shanghai.

Well, that irregular and erratic course of departure is nothing but aberration. And aberration is nothing but the irregular course of departure of energy going through a mass.

PC: Yes.

LRH: Calcutta.

PC: Yes.

LRH: London.

PC: Yes.

LRH: Saint Paul's.

PC: Yes.

LRH: Tower of London.

PC: Yes.

LRH: Saint Paul's.

PC: Yes.

LRH: Tower of London.

PC: Yes.

LRH: Saint Paul's.

PC: Yes.

LRH: New York.

PC: Yes.

LRH: Florida.

PC: Yeah.

LRH: Key West.

PC: Mm-hm.

LRH: Tallahassee. PC: Yeah. LRH: Key West. PC: Yes.

LRH: Tallahassee.

PC: Yes.

LRH: Miami.

PC: Yes.

LRH: Galveston.

PC: Yes.

LRH: Okay. Now where would you like to be in relationship to your body?

PC: Somewhere in the office.

LRH: Good. Suit yourself

Okay. The only purpose of this demonstration was to show you the speed with which a I likes to operate and even then finds it probably a little slow.

Is that so?

PC: That slowness wore off after that process.

LRH: The slowness?

PC: Yeah. Speeded up.

LRH: Yeah.

I'm going to ask you a very pertinent question. What is energy? I expect you to know that answer. What's energy?

Audience: Condensed space. Condensed motion.

LRH: Okay. If you had to have lots of force, what would you need?

Male voice: Lots of space.

LRH: You'd need to have the ability to condense space, perhaps. But what is motion?

Male voice: Change of position.

LRH: What's motion?

Male voice: Particle moving through space.

LRH: That's right. What's motion - in the back end of the room there?

Female voice: Condensation of space.

LRH: Nah. What's motion?

Male voice: Change of position.

PC: Of particles.

LRH: Come on, what's motion?

Male voice: Change of position through space.

PC: In space.

LRH: That's right. Change of position in space. That's the most basic, elementary definition we have. Okay. Except the definition for space, but that doesn't belong to this society yet. We're still using that. They - we're using space here, with a grand gesture here, for I don't know how long and they never said what it was. You won't even find it in a physics textbook - it's a viewpoint of dimension.

Okay. A viewpoint of dimension. Now what's motion in terms of the viewpoint of dimension?

Male voice: Changing the viewpoint.

LRH: Yeah. You're changing viewpoint amongst dimension points. Male voice: Or a change in dimension points around the viewpoint.

LRH: That's right. Either way. What's motion?

Male voice: Change in dimension points around a viewpoint.

LRH: That's...

Male voice: Change in particles.

LRH: That's right. Male voice: Swinging your viewpoint through a series of dimension points.

LRH: Yep. Change of viewpoint in relationship to dimension points or change of dimension points in relationship to viewpoints. Agreed?

Male voice: Agreed.

LRH: Now you could throw a viewpoint - do this for the heck of it - just from where you're - where you are at the moment, throw a viewpoint over the Walt Whitman Hotel. You remain where you are and throw one over the Walt Whitman Hotel. Get an impression of that? Now from there - from the viewpoint you have over the Walt Whitman Hotel - throw out a viewpoint over Philadelphia. You get the sensation of recording it over the Walt Whitman Hotel?

Male voice: Mm-hm.

LRH: Okay. Now blow up both of those viewpoints.

Male voice: Okay

LRH: Ninety-nine percent of what's wrong with a "V" [SOP case level five] is he's gone and done this trick ad infinitum. He's extended from one to another to another to another.

Now, Dick was clearing up a flock of musicians by running the concept "wanting good things to last." Now, that's slow freight but it's effective. It's slow freight - wanting good things to last. It is much, much, much better - and get this one since you all will tell your auditors about bad things and all of your preclears will tell you about bad environments - how about wanting to remain in a good place?

Huh? Huh? Wanting to remain in a good place.

Male voice: Oh, that's a bad one. That's a bad one!

LRH: That's real hot because it's straight on geographical area.

Male voice: The inverse of that, too, holds, doesn't it? If you don't like where you are, so you send out viewpoints.

LRH: That's right. And then there's being in a bad place and wanting to be in a good place; so instead of just being in the new - good place, you think you have responsibilities in the bad place, you remain in the bad place and put a viewpoint over in the good place. You're not going to tell anybody where your viewpoints are in these good places. Places would get awful crowded if you did.

Male voice: Another point there, no matter how bad the space you're in, when you're really low-toned, in order to leave it, you've got to go somewhere else and that might be worse.

LRH: That's right. Well now, you get somebody who knows a good hunting preserve and knows exactly where to find deer. He may tell a few of his friends, if they're real good friends, but he sure doesn't publish it in the newspaper if he's really dependent on those deer, does he? Huh? Wanting to be in a good place - interesting concept, isn't it?

Male voice: What if a guy got - that was in a good place and wanted - liked it so well that he never wanted to leave, but he did leave - and got time and space confused; why wouldn't he be stuck there years later in a good place instead of a bad place?

LRH: Yeah. Do you actually - you know, this thing about a facsimile is quite interesting. A guy will mix himself up with it with malice aforethought so he won't leave bad places - I mean, pardon me - so he won't leave good places accidentally. A fellow will fix up a place, you see, and then he'll think he has to leave it, so he kind of stays there and puts out a viewpoint over the place he has to go to and so he gets strewed all over the darned universe.

Well, if a guy keeps putting out viewpoints, parking them here and parking them there and parking them someplace else, he gets himself into a very wonderful state of mind. He's got viewpoints all over the place.

Then he gets into this silly one. He thinks there's a scarcity of them simply because he doesn't find he has enough concentration to look through more than one at once. See? That is the real dopey one. So the second he looks through two at once, he finds the two scenes are coinciding on him because the MEST universe has got charge on it. So what's he doing? He's trying to match-terminal something. Well, when the universe gets too charged, he has trouble.

We just got through running a pc. I'll tell you a little bit earlier run: I ran her through the identical drill that I gave her just now; and what happened during that early drill?

PC: Worked fine and it slowed up toward the ending.

LRH: Yeah. And at the end of this little session I was giving her there, she was getting real slow. She was getting real slow, sticky. See? You were getting - it was getting sticky. And we just ran her a little bit more and she came out of it.

Now, what do you suppose has happened to a "V"? His motion has been reduced. Force and energy actually depend upon motion. On nothing else. A lightning bolt depends for its force upon the amount of motion potential in it. Right? Bam! Motion potential. In other words, there's viewpoints and particles, anchor points, whatever you want to call them, just flying all over the landscape the second it hits anything, you see? You get the idea? So a motion: When a person is incapable of moving at high rates of speed, a person drops low on force. Now, we've played around an awful lot here with subjective techniques, haven't we?

And what do you suppose blowing things up is? It's moving a whole flock of particles in a whole lot of directions through a whole lot of space. That's all.

Now, if you want to get your pc speeded up - let me ask you - let me ask something here. Millen, on that drill did you find yourself in any different frame of mind after that drill? You don't have to say yes, just...

Female voice: Yes, I did.

Yeah.

Well, why do you suppose the engram bank collapses on people? It'd be lack of force or lack of motion. When you say lack of force, just say to yourself, also, lack of motion. You've got it. See? So, here we had a pc that had to be pushed over the hump on three gravities. Gravities with which he is most intimately concerned are, of course, Earth, the sun and the moon. If you don't think the moon has gravity pull, think of this for a moment: it regulates the period of women. And if you want to have a real good time, just start match-terminaling the moon on somebody and he feels like you've taken the front of his face off in a lot of cases. Just put the moon up there twice.

Male voice: I've tried. It's true.

It's got enough force to move an awful lot of water all over. I don't know why a human being wouldn't be affected by it. Well, he is, the point is. And they get the idea, "that thing has pull." And this is just the idea "that thing has pull." And when they start drilling on the thing, you start shooting them around from one side of space to the other side of space; to here, to there and so on. All of a sudden they say, "Nyow! I can't move this fast, because there's that much gravity present." Then you just accustom them to it. What are you doing? Shifting viewpoint.

Now, could you do this with a "V"? Yes, you sure could. And this is the process I want you to run with the same auditors and the same pcs that you had yesterday and get them up to speed. Yesterday's auditor-pc relationship and arrangement. You got that? And for the rest of the day I merely want you to take these pcs and without pushing it, tell them, "Now I want you to be - I want you to get a viewpoint above the Walt Whitman Hotel. Another viewpoint above London. Another viewpoint above South Africa. Another viewpoint above a cloud." But this wise: gradient scale; very, very quiet, slow gradient scale.

If they have any difficulty doing this, which they might, say, "Get a viewpoint of one corner of this desk. Viewpoint of the other corner of the desk. Viewpoint of the first corner of the desk. Viewpoint of the second corner of the desk." What do you know! At first they're starting to travel from one corner of the desk to the other corner of the desk so they can get over to the second corner of the desk to have a viewpoint at the second corner of the desk. Then they're over there, you see? And they start at this corner of the desk in order to go back to the first corner of the desk to have a viewpoint at there.

Now, it isn't a question of rushing them, it's just a question of getting them to where they can flick their attention from one corner of the desk to the other corner of the desk - pap-pap, pap-pap, pap-pap, pap-pap. See? One corner of the building to the other corner of the building - bang-bang, bang-bang, bang-bang, bang-bang, see? One corner of the town to the other corner of the town, one corner of the town to the other corner of the town, one corner of the town to the other corner of the town - pam-pam-pam-pam-pam. This state, that state; this state, that state.

You won't be able to hand it to him as fast as I'm handing it out right now by a long way of Sundays because they'd have to be sure before they go. So when they first start out they'll think about the other corner of the town or the other corner of the desk.

"Oh, you mean the other corner of the desk; all right we will shift that viewpoint over to the other corner of the desk. Let's see if the other corner of the desk is clear before we shift a viewpoint over there. Oh, it is. All right, now we will shift a viewpoint over there, at which moment we will move it one quarter of an inch at a time all the way across to the..." So they get a streak. And as they do this you'll see that they get a streak and they'll get a lot of other manifestations.

And I want you to have those manifestations for the lecture tomorrow morning. Although tomorrow morning's Saturday, I will be here at eight o'clock to give a morning lecture.

Okay? Will you do that?

And we all of a sudden move into the full parade of processing.

That's all. Thank you.