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.

But the first thing we're going to do - I've just received this machine from Volney Mathison and it is the AR-54. That's - "AR" stands for an audio recorder. What the machine is - he has some incredible series of names for it - is the Audio Pinched-Nerve Detection Machine, or something of that... But I've been calling it the "ping meter" myself I find that's much easier. And mostly because it's reminiscent of the good old days when you turned the sound stack in one direction and nothing happened and turned it in the other direction and nothing happened and then turned it back into the wash and there was a ping, and everybody came up to general quarters just to find out that it was a new sound man who had accidentally turned the machine back into the wash of the ship.

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.

Anyway, the ping detection meter is a very new development of Volney's. He was telling me about this machine and he said somebody out in Los Angeles brought in something that whined when it came in the vicinity of a pinched nerve. And he couldn't make this machine work; it was a bunch of junk. They wanted it to be fixed up one way or the other. And he couldn't make this machine work and he couldn't make it work and he couldn't make it work and he figured and figured and figured and figured and then one day he looked and saw a Mathison E-54 sitting there. So he just shoved the E-Meter in on the line. It promptly worked and it's been working ever since.

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.

This machine actually combines an E-Meter, when it's well set up on activity, with audio. And the machine simply tells you a pinched-nerve area of the body. The individual being worked on this machine holds the electrode in one hand and the operator - chiropractor, auditor, whoever he is - simply passes the probe over the body until it's - the machine cries.

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.

Now, I'll show you how to set this machine up. It's very simple to set up according to his instructions. I've read his instructions and so I'm sure the machine works. I... Now, I imagine that it should be set straight up. And let's see if we can find something here underneath. Oh, that's a nice comfortable spot. I've already done this trick. It'll probably work again. I hope it works again anyway. Lot of wire here. It's the only - the main danger of this machine is tripping in the wires. And that's true of any electronic equipment. The main danger in the movies is falling over sound cables. And it's very fatal sometimes. Now, you notice we've got the machine riding somewhere near center.

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.

I don't know if this machine is calibrated against the other tone scale or not. And we're riding here on the C scale and the C ... Well, according to this, let's see, I'm about 1.1 this morning. And I guess that... Let's see what it is doing here. Yeah, that's about what it registers. Let's see if there's any change on sensitivity. I don't know if this machine calibrates against the other machines or not. That isn't what I register, by the way. I generally register 0.5.

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.

Anyway, you give the person the E-Meter electrode - just a one-hand electrode - and while he's holding this innocently and so forth, you take this probe with a little flat head - now I imagine you could get different kinds of probes.

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

I tell you frankly - frankly, Volney gets along fine and he's a swell guy but when I get gone for a long space of time, he gets impractical. He doesn't look enough because he should put this up with a full set of beautiful probes of various kinds because this goes to the medical profession. It should have hooks and so on. It was a brilliant idea to make it red; that's very attractive. But he should have done this. Now there's several other things that the machine should have, but I'll get in touch with Volney and we'll have a machine out of this thing yet. Well anyway...

Male voice: Would put the preclear in apathy.

This is what was interesting to me is that the machine did a - that's what's wrong with the machine. It was running on a low read. Okay. You hear that? All that's doing is heterodyning. It actually raises hell with radios in the vicinity. We just turn that last knob here, which is the oscillator cutoff - we just turn the oscillator cutoff just barely off. See that signal fade? Now it's off. No reaction, see? I'm touching the probe to my face here - no reaction, no reaction.

.. 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.

[There are sounds of Ron playing around with the probe and then he gets it to beep on something. We are not going to attempt to note all the subsequent beeps that occur throughout this lecture - FZ Editor.]

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.

Do you know what that's hitting? I cut myself there this morning with a razor. I already tested that out and it immediately picked it up. Now as far as.. . Ooooh! Hey, that's all right.

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?

Female voice: Hold it to a frontal lobotomy.

Male voice: It feels much more alive.

That's a war injury! That's a war injury! For God's sake! Yeah? For God's sake! In other words, it's still got some - wait a minute, I just caught this machine off first base! Hah-hah! Just a minute, Mr. Mathison. Mm-hm, it hits on a taut muscle. Or it hits on a very wet surface. Mm-hm. Those are the moisture surfaces of the body.

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.

Actually, what I'm doing here this afternoon, for your edification, I'm trying to find out what this machine does. See, that goes across that - that's a fifth nerve, well actually...

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.

LRH: Okay.

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

PC: Now, I've got an anesthesed area. How about trying it on the register?

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

LRH: I don't know.

PC: Okay.

PC: Right here.

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

LRH: You've got an anesthesed area?

PC: All right.

PC: Yeah, right up here.

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

LRH: Okay. Now let's get the thing up on...

PC: Okay. LRH: Be near the sun.

PC: Now I've got to find it.

PC: Okay.

LRH: We're reading about the same level. This machine can't be reading on the same level.

LRH: Be near the moon.

PC: That's it. That's it. Hm.

PC: Yeah.

Male voice: The oscillator cutoff should be there.

LRH: The Walt Whitman Hotel.

PC: Yeah.

PC: Okay.

LRH: That right?

LRH: Saint Paul's Cathedral.

PC: Yeah. There it is.

PC: Yes.

LRH: Broke his leg here. I see he has had a break.

LRH: The sun.

PC: Surgery.

PC: Okay.

LRH: A what?

LRH: The moon.

PC: A surgery. No break.

PC: Mm-hm.

LRH: No break, huh?

LRH: Earth. PC: Yeah.

PC: No pinched nerve. No nerve at all.

LRH: What's happening here?

LRH: Nothing there. Oop! Oh-oh. Oh, yeah? Now we go right up the leg. You know, I frankly think this machine is registering ridges.

PC: Slowup. That slowup is still there.

PC: Try it off the leg.

LRH: That slowup.

Male voice: Have you tried the back of the neck yet?

PC: Mm-hm.

LRH: Hm?

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

Male voice: Have you tried it back of the neck!

Earth.

Male voice: Steadily, too.

PC: Yes.

PC: You get a beep out of it just by pressing hard.

LRH: Moon.

LRH: Uh-uh.

PC: Okay.

PC: No?

LRH: Sun.

LRH: See? That sensitive?

PC: Okay.

PC: No.

LRH: Nearest star.

LRH: Can you feel the probe as I hit it?

PC: Yeah.

PC: I can feel the probe there.

LRH: Earth.

LRH: Good. See that? Now when I press it we get sensation which would activate a neurone.

PC: Okay

PC: That's very light pressing.

LRH: Sun.

LRH: That's right.That's...

PC: Yes.

PC: Try it right here. This is dead right here. Long lag.

LRH: Saint Paul's.

LRH: Let's see the same portion of your other leg.

PC: Okay.

By the way, if you want to know how to set a bone or something like that, just simply take the other limb or the other arm or the other hand and study its contours. If you want a map of how a limb goes together, take the other limb.

LRH: Walt Whitman Hotel.

Male voice: What if he breaks his neck?

PC: Okay.

LRH: We're getting beeps all the way across here.

LRH: This room.

PC: I happen to know there's a big nerve right there in the leg.

PC: All right.

LRH: Is it ever painful? Just passing it over that leg, equivalent area, and we're getting the same bops.

LRH: Earth.

PC: Yeah.

PC: Okay.

LRH: Okay. Let's pass it over your face.

LRH: Moon.

Just passing it over the face now in exactly the same area which I was passing it over. Typical of most electronics equipment, and so forth, this undoubtedly has humongous use but until you put it to very practical purposes you don't find out what it can do at all. It's ringing in the same place.

PC: Okay.

Sit down there and let's see if we get the same ring.

LRH: Sun.

Here, passing over his eyes and here I am underneath the eye. Here we're under that bone area just under the eye.

PC: Yeah.

PC: Put it in that beard.

LRH: Nearest star.

LRH: On most people... Nope. Nope. You'll see here, we get a null on his forehead.

PC: Yes.

PC: I have a click in the back of my neck. I just wonder if that would show up.

LRH: Sun.

LRH: All right. We'll see. Just a second. That - hold on to that.

PC: Yes.

You know, something about this machine - it's a very snide machine. It shows everybody at 1.1. I don't like to be criticized by human beings but I won't tolerate it by a machine.

LRH: Nearest star.

Same area. Underneath the eyes. Around the side - wherever you have the tight neurone situation of the head. Now, let's try the legs. Nothing there. Nothing coming in there.

PC: Okay

Well, nothing on that leg.

LRH: Sun.

PC: Nothing up my sleeve.

PC: Okay

LRH: Who has a pretty fair fissure?

LRH: Nearest star.

PC: Well I do!

PC: Okay

Male voice: See, I got hit with a bowling ball ...

LRH: Sun.

LRH: Where?

PC: Still hard for me to do that.

Male voice:... a few years ago, right across here. Smashed it all to pieces, there.

LRH: Nearest star.

LRH: Nothing wrong with it now evidently, as far as this machine is concerned, whatever it is this machine is registering. Okay. You're cleared.

PC: Mm-hm.

PC: There's some question on that because it bounced off an old injury on my cheek and that was one of the places it didn't buzz.

LRH: All right. Be halfway between them.

LRH: No kidding.

PC: Yeah.

PC: It didn't buzz here where...

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?

LRH: I haven't exactly been without prize-fighting experience.

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: It just - it just reads where there's still life. It doesn't read where there's no longer life - where there's been an injury or something....

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?

LRH: You have a mole that dropped off?

PC: Yeah.

PC: Yeah.

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?

Male voice: It's got a more plaintive note with you.

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

LRH: Okay. Where was it?

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

PC: Right here, let me see that thing.

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

LRH: It sure bites.

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

PC: Mm-hm.

LRH: Okay. Duplicate it.

LRH: Yeah. Temples, temples, front of the face; forehead, upper forehead, on temples, across under the eyes - wherever the thetan's got a good hold on a guy.

PC: Close to the Earth.

PC: Mm-hm.

LRH: Duplicate it.

LRH: All right. Let's see the back of the neck. Now which is it?

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

PC: Ah, I had the click right in here.

LRH: Well, just duplicate it.

LRH: All right. I've got a white coat here. That's all we need, really, with this machine, a white coat and a barber manner. See, you locate where the pain is and then take an axe and cut it out and you're a surgeon. Locate where the pain is and rub it out and you're something else! But what do you know!

PC: All right.

PC: Get it?

LRH: Blow up the duplicate.

LRH: Right where he said. Gee, you don't suppose the forehead is always in agony, do you?

PC: Mm-hm.

PC: Don't know what it's doing over there.

LRH: Duplicate it again.

LRH: I'm just tracing out the nerve line.

PC: All right.

PC: Oh.

LRH: Blow up the duplicate.

LRH: All the way around his neck.

PC: Okay.

PC: Around the collarbone, right there.

LRH: Duplicate it again.

LRH: Just above that. Now we're getting it. Little bit higher. No. Hm-hm. You're in bad shape.

PC: Mm-hm.

PC: Hm. I hope not.

LRH: Blow it up.

Male voice: No, it's right where that click is.

PC: Okay

LRH: And all the way around his neck.

LRH: Put up four duplicates.

PC: Mm-hm.

PC: Okay.

LRH: Tell me, have you been hanged lately? Because that demonstrates exactly the same somatic. I think this is ridge handling. Just for fun, mock yourself up hanging. Now mock it up again hanging. Now blow them up.

LRH: Blow them up.

PC: I got a place in this... Somebody's ... starting...

PC: Okay.

LRH: All right. Mock yourself up hanging again. Again mock yourself up hanging. Blow them up.

LRH: Four more.

PC: Mm-hm.

PC: All right.

LRH: Mock yourself up being hung. Being hung. Blow them up.

LRH: Blow them up.

PC: Incidentally, that's about where that horse kicked me once...

PC: Mm-hm.

LRH: Okay. Being hung. Being hung. That's obviously the way to be. And, blow it up.

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

By the way, when a preclear - when you locate something like that and a preclear starts telling you that it's other things, you're really a bum auditor if you go chasing off after them. Real bum - because all he's giving you is the locks that fly off Another thing, if a lock doesn't fly off of what you're doing when you're doing this kind of processing, do something else. If he doesn't keep correcting you, do something else. You're not on the beam. But if he keeps telling you, well, as he just got through saying here, "Well, it was - a horse kicked me." And what else happened?

PC: Sure.

PC: Well, I just had a sensation of something heavy hitting me in the face.

LRH: Let's be close to the corona.

LRH: Yeah, well he keeps giving you "things hit me," you see? If he keeps telling you about this, go on doing exactly what you've been doing. Don't do anything else. Don't start running horses. This shows you are unable to hold a geographical position - you've been chased too much by your older brothers or somebody.

PC: Mm-hm.

Put two men out here hanging. Get their heads askew. Got it?

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

PC: Yeah.

PC: Hm. Oh, yeah.

LRH: Blow them up.

LRH: Got it?

PC: Okay.

PC: Mm-hm.

LRH: Did they really blow good?

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

PC: Not real good.

PC: All right.

LRH: Any debris?

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

PC: Yes, gabardines there...

PC: I like this one.

LRH: All right.

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

The next time - put them both up, there, now.

PC: Mm-hm.

PC: Mm-hm.

LRH: Get near the moon.

LRH: Two men hanging.

PC: Okay.

PC: Mm-hm.

LRH: Back side of the moon.

LRH: Get them swinging a little bit.

PC: Mm-hm.

PC: Yeah.

LRH: Whatcha see?

LRH: Blow them up.

PC: Back side of the moon.

PC: Yeah.

LRH: What's it look like?

LRH: Put your body up there twice, hanging.

PC: Like this - front side.

PC: Yeah.

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

LRH: Blow it up.

PC: Mm-hm.

PC: Mm-hm.

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

LRH: Put your body up there twice, hanging.

PC: Mm-hm.

PC: Yeah.

LRH: Let's compare the two sides.

LRII: Blow them up.

PC: Mm-hm.

PC: Okay.

LRH: What differences?

LRH: Now put your body up there twice hanging and this time get a completely rigid "Uhg!" just as though it just hit the bottom of the rope.

PC: Not quite the same.

PC: Okay.

LRH: Not quite the same.

LRH: Put your body there twice. Don't avoid this moment of impact.

PC: Uh-uh.

PC: Mm-hm.

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

LRH: Now get them to come down with a hard jar again and blow up - both of them.

PC: Front side.

PC: Yeah. The explosion was just half a second after the impact. I didn't get it right.

LRH: Got it?

LRH: Now, let's put them dropping through a trap and blowing up the second they get through the trap.

PC: Mm-hm.

PC: Oh!

LRH: Back side of the moon.

LRH: Oh! You had them on a tree all this time, didn't you?

PC: Yeah.

PC: I just thought - I just...

LRH: This side of the moon.

LRH: Let's get the formal one.

PC: Yeah.

PC: All right. No, I had them on the - sort of like the - just got an arm out.

LRH: The other side of the moon.

LRH: Mm-hm.

PC: Mm-hm.

PC: ... with no trap. Okay, they're standing on a trap.

LRH: This side of the moon.

LRH: Let it drop. Difficulty letting it drop?

PC: Yeah.

PC: No! I just have one of them hitting other one ...

LRH: Other side.

LRH: Let's get them both.

PC: Mm-hm.

PC: Yeah.

LRH: Earth.

LRH: Now, drop through and blow.

PC: Yeah.

PC: Yeah. An explosion.

LRH: Walt Whitman Hotel.

LRH: How's that feel?

PC: Mm-hm.

PC: I don't know.

LRH: Sun.

LRH: You don't know? Good.

PC: Yeah.

PC: Ron? Put the thing over there.

LRH: Saint Paul's.

LRH: The thing measures ridges. And of course, see, everybody would go nuts, you see, if you suddenly started telling them it measured ridges, so they have to say it measures perspiration or something. I guess that has its - I guess that's in better odor at the moment with the medical profession - perspiration.

PC: Yeah.

You can fool with this yourself, just like he's doing it there.

LRH: Find Jupiter?

Male voice: My father's moustache.

PC: Sure.

LRH: All right. You can stop. All right, let me have it. It's going right across the top of that ridge. Okay.

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

PC: It's a ridge.

PC: Yeah.

LRH: Make four terminals out here. Make four terminals in a horizontal square of your upper lip.

LRH: This side of Jupiter.

PC: Horizontal square?

PC: Mm-hm.

LRH: Yeah. Just make a plane. On the four corners of the plane put your lip.

LRH: Other side of Jupiter.

PC: Oh, okay.

PC: Yes.

LRH: Get it up there easily?

LRH: This side of Jupiter.

PC: Yeah.

PC: Okay

LRH: All right. Now put four below.

LRH: Other side of Jupiter.

PC: Yup.

PC: All right.

LRH: Got eight lips?

LRH: Go into an orbit around Jupiter.

PC: Yup.

PC: Here we go.

LRH: Okay. Now put a big lip in the center of it.

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.

PC: Mm-hm. Just the upper lip?

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

LRH: Mm-hm. Just the upper one.

LRH: Well, okay. Sun.

PC: Mm-hm.

PC: Oh! All right.

LRH: And have it say, "No more of your lip."

LRH: Moon.

PC: That's not the phrase.

PC: Mm-hm.

LRH: All right. What is?

LRH: Earth.

PC: "Don't talk back."

PC: Yeah.

LRH: Okay. You got the eight of them up there?

LRH: Still feel that pull?

PC: That's just my sonic suppressor.

PC: No.

LRH: What's that?

LRH: Well.

PC: That's been suppressing sonic all the way back down the line: don't talk back.

PC: No more.

LRH: Okay.

LRH: Good. Okay. Walt Whitman.

PC: It just blew up.

PC: Yeah.

LRH: Well, we'll have to put that lip there four more times above, four more times below and the lip in the middle of your own space - under.

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

PC: Mm-hm.

PC: Mm-hm.

LRH: Let them all blow.

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

PC: Okay

PC: Okay

LRH: Okay. Now let's take a little preliminary test here. Huh! Take your front teeth and gums...

LRH: What happened?

PC: Yeah.

PC: Got an explosion halfway between.

LRII: and make them into eight. You know, set of front teeth and gums eight times.

LRH: Okay. Was it a big one?

PC: Yep.

PC: Yes.

LRH: Now put them in the center.

LRH: Satisfactory?

PC: Yeah.

PC: Beautiful.

LRH: And have the center ones saying, "I'll never do it again." Now blow them all up.

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

PC: Okay

PC: Mm-hm.

LRH: Put it up there again.

LRH: Now let's smack it together.

PC: Yeah.

PC: Mm-hm. Mm-hm.

LRH: Now, mock up a long nerve. Take that fifth nerve as it runs across the top of the teeth there and mock it up out in front of you.

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

PC: In the space there?

PC: Okay

LRH: Yeah, in the space.

LRH: Another beam from the sun to Earth.

PC: All right.

PC: Two of them.

LRH: Now stretch it.

LRH: Another beam.

PC: It's getting out of the space. Want me to keep on stretching?

PC: Three of them.

LRH: Put another one in the space.

LRH: Another beam.

PC: Okay

PC: Four of them.

LRH: Stretch it.

LRH: Another beam.

PC: All right.

PC: Five of them.

LRH: Another one in the space.

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

PC: Yeah. Boy, that's a tight one.

PC: Yeah.

LRH: Stretch it.

LRH: Now smack them so they all explode.

PC: Yeah.

PC: Yeah.

LRH: Another one in the space.

LRH: Got it?

PC: Yeah.

PC: Mm-hm.

LRH: Stretch it.

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

PC: Yeah.

PC: Mm-hm.

LRH: Another one in the space.

LRH: Five thousand.

PC: Uh-huh.

PC: Mm-hm.

LRH: Stretch it.

LRH: Six thousand.

PC: Okay

PC: Mm-hm.

LRH: Okay. Now let's take a little preliminary test to see if anything happened there. We got action, Charlie. It's in a bigger area now. It wasn't before.

LRH: A hundred thousand miles.

PC: Oh. It ended up about here.

PC: Okay.

LRH: Yeah, it ended up about there. Well, why don't you just take the whole front of your face and hit it with a sledgehammer and knock all its teeth out.

LRH: Take a look at Earth.

PC: You mean this face or shall I mock one up out there and have it happen?

PC: Mm-hm.

LRH: Just mock your own face up out there in front. Smash it all to pieces.

LRH: How's it look?

PC: All right.

PC: Small.

LRH: Have it explode.

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

PC: Yup. There's a lot of debris left there.

PC: Yes.

LRH: Take the sledgehammer now and smash it in such a way as the sledgehammer knocks out all the top teeth.

LRH: Those black shells still apparent to you?

PC: Yeah.

PC: I don't see them.

LRH: Blow it up.

LRH: Good. Okay.

PC: Okay

Now, let's be over South Africa.

LRH: Do it again.

PC: Yes.

PC: Yeah.

LRH: Walt Whitman Hotel.

LRH: Get the tinkle-tinkle now of the tooth fragments as you do it this time.

PC: Yes.

PC: It's more of a rattle. :

LRH: Saint Paul's.

LRH: Okay.

PC: Yes.

PC: Yeah.

LRH: This office.

LRH: Well, make it go tinkle-tinkle.

PC: Yes.

PC: All right.

LRH: London.

LRH: Blow it up.

PC: Yes.

PC: And the teeth?

LRH: Moscow.

LRH: Mm-hm.

PC: Yes.

PC: Okay.

LRH: Calcutta.

LRH: Now we've got it from here. We're exciting the whole fifth nerve as a column. It's coming back to there now. Okay. Let's knock it out again.

PC: Yes.

PC: Fun and games. All right.

LRH: Shanghai.

LRH: Blow it up.

PC: Yes.

PC: Yeah.

LRH: Calcutta.

LRH: Knock it out.

PC: Yes.

PC: Yeah.

LRH: London.

LRH: Blow it up.

PC: Yes.

PC: Yeah.

LRH: Saint Paul's.

LRH: Knock it out.

PC: Yes.

PC: Yeah.

LRH: Tower of London.

LRH: Blow it up.

PC: Yes.

PC: Yeah.

LRH: Saint Paul's.

LRH: Knock it out.

PC: Yes.

PC: Yeah.

LRH: Tower of London.

LRH: Blow it up.

PC: Yes.

PC: Yeah.

LRH: Saint Paul's.

LRH: Knock it out.

PC: Yes.

PC: Yeah.

LRH: New York.

LRH: Blow it up.

PC: Yes.

PC: Yeah.

LRH: Florida.

LRH: Knock it out.

PC: Yeah.

PC: Yeah.

LRH: Key West.

LRH: Blow it up.

PC: Mm-hm.

PC: Yeah.

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

LRH: Do you have a somatic across the top of your mouth yet?

LRH: Tallahassee.

PC: No. I could put one there if I wanted to.

PC: Yes.

LRH: Okay. Now mock up the front of your face with an enormous hand gripping the upper gum.

LRH: Miami.

PC: Done.

PC: Yes.

LRH: All right. Have the hand simply crush all the teeth in.

LRH: Galveston.

PC: Ugh. Okay.

PC: Yes.

LRH: Now have it blow up.

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

PC: Big pile of sympathy there in the center.

PC: Somewhere in the office.

LRH: Hmm.

LRH: Good. Suit yourself

PC: Blow up the hand and the face...

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.

LRH: Blow up the whole works.

Is that so?

PC: All right, it's blown up.

PC: That slowness wore off after that process.

LRH: Okay. Now, get another face and get this hand crushing all the teeth in.

LRH: The slowness?

PC: Someone else's face or still mine?

PC: Yeah. Speeded up.

LRH: Yours.

LRH: Yeah.

PC: Okay.

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

LRH: Just yours.

Audience: Condensed space. Condensed motion.

PC: Yeah. Ugh. Okay.

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

LRH: All right. Have it blow up.

Male voice: Lots of space.

PC: Mm-hm.

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

LRH: Another one - big hand.

Male voice: Change of position.

PC: Hey, that's me doing that! Yeah. Mm-hm.

LRH: What's motion?

LRH: Blow it up.

Male voice: Particle moving through space.

PC: I seem to have hold of myself over here in the body.

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

LRH: Well, what do you know!

Female voice: Condensation of space.

PC: Yeah. Very interesting.

LRH: Nah. What's motion?

LRH: Uh-huh.

Male voice: Change of position.

PC: Uh-huh.

PC: Of particles.

LRH: Do it again.

LRH: Come on, what's motion?

PC: Silly place to hold a body, isn't it? Yeah.

Male voice: Change of position through space.

LRH: Blow it up.

PC: In space.

PC: Yeah.

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.

LRH: All right. Now get this enormous grisly black hand...

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

PC: Mm-hm.

Male voice: Changing the viewpoint.

LRH: ... doing this.

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

PC: Mm-hm.

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

LRH: Now make it up - blow it up with a black explosion.

Male voice: Change in dimension points around a viewpoint.

PC: Yeah. Turns white. There's a white hand there after the explosion.

LRH: That's...

LRH: Then blow up the white hand.

Male voice: Change in particles.

PC: Okay. There's nothing there.

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

LRH: All right. Put up the face.

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

PC: Yeah.

Male voice: Agreed.

LRH: A black hand.

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?

PC: Yeah.

Male voice: Mm-hm.

LRH: A crush.

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

PC: Yeah.

Male voice: Okay

LRH: Blow it up.

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.

PC: In that order?

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?

LRH: Yep.

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

PC: Okay.

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

LRH: All right. Put up a face.

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

PC: Mm-hm.

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: A black hand.

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.

PC: Mm-hm. It's a little baby's face.

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: No!

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?

PC: Yeah.

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?

PC: Yeah.

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.

LRH: Black hand.

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.

PC: Yeah.

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.

LRH: White hand.

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: Yeah.

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

LRH: Crush.

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.

PC: Yeah.

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?

LRH: Blow it up.

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.

PC: Okay

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...

LRH: A black hand on a little baby's face.

Female voice: Yes, I did.

PC: Uh-huh.

Yeah.

LRH: Turn it white.

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.

PC: Baby... Yeah.

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

LRH: Blow it up.

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.

PC: Yeah.

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.

LRH: Hand on the baby's face.

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.

PC: That last white hand didn't blow up. Okay, there it goes.

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.

LRH: Got it?

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.

PC: Yeah.

"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.

LRH: Hand on the baby's face.

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.

PC: Uh-huh.

Okay? Will you do that?

LRH: Get it prying the gums up.

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

PC: Get it crying what?

That's all. Thank you.

LRH: Prying the gum, the upper gums. Let's get it prying it up, you know, prying the upper lip.

PC: Uh-yeah.

LRH: Now, get it taking another hand into the guts of the baby.

PC: Yeah.

LRH: All right. Now have it throw the baby over a cliff and make it blow up.

PC: Okay.

LRH: Okay. Now throw the hands over the cliff and have them blow up.

PC: Yeah.

LRH: Now let's make a test for this and see what's happened to this ridge. Haven't had a somatic there yet, have you?

PC: Uh-uh.

LRH: Okay. Just put your face out here with a big ridge on it.

PC: Yeah.

LRH: Put your face out here with a big ridge on it.

PC: Yeah.

LRH: All right. Smash them together.

PC: Okay. One is gone.

LRH: Gee, this is real interesting. That's a big ridge. That's a normal ridge on any preclear. That's why I was monkeying with it. Okay. Put it out there: face twice, big thick gooey ridge of energy in both faces.

PC: It's not very gooey. It's sort of concrete.

LRH: Well, make it concrete.

PC: Yeah.

LRH: Good and hard.

PC: Yeah.

LRH: Good and hard.

PC: Yeah.

LRH: Now have two enormous black hands come up and smash those two faces together with violence.

PC: What an explosion! Yeah.

LRH: All right. Now mock it up again. Big ridge.

PC: Yeah.

LRH: Knock them together with violence.

PC: Okay. Not so big an explosion.

LRH: All right. Put them up there again.

PC: Uh-huh.

LRH: Knock them together with violence.

PC: Uh, they don't seem to want to go together.

LRH: Pull them apart until they explode.

PC: If I pull them apart and let them snap they'll go together. Yeah.

LRH: Okay. All right. Put them up there again.

PC: Yeah.

LRH: Snap them apart so they'll blow together.

PC: Yeah.

LRH: Okay. Now we'll take a test on this. Hah!

PC: It blew one on this - it's shorter on this side.

LRH: We're really getting that ridge into good activity. That's the ridge of the Assumption by the way, for your information.

PC: Sounds very religious.

LRH: Yes. It is. All right. Now have these two little babies with enormous amount of energy covering them.

PC: All right.

LRH: Smash them together.

PC: Okay

LRH: Two more babies.

PC: Yeah.

LRH: Smash them together.

PC: Yeah.

LRH: Two more babies.

PC: Yeah.

LRH: Smash them together.

PC: Yeah.

LRH: Two more babies.

PC: Yeah.

LRH: Smash them together.

PC: Yeah.

LRH: Two more babies.

PC: I'm beginning to have girl babies show up. Yeah.

LRH: Smash them together.

PC: Yeah.

LRH: Two more.

PC: Yeah.

LRH: Smash them together.

PC: Boy, that feels hot. Phew. Yeah.

LRH: Two more.

PC: Yeah.

LRH: Smash them together.

PC: Yeah.

LRH: Two more.

PC: Yeah.

LRH: Smash them together.

PC: Yeah.

LRH: Two more.

PC: Yeah.

LRH: Smash them together.

PC: Yeah.

LRH: Two more.

PC: Yeah. Ow.

LRH: Smash them together.

PC: Now that hurts all the way from here down across there. And there's a cross thing that comes over this way.

LRH: Okay.

PC: Ouch. And also this arm.

LRH: Yes, sir. Two more.

PC: Uh-huh.

LRH: Smash them together.

PC: Yeah.

LRH: Two more.

PC: Yeah.

LRH: Smash them together.

PC: Yeah.

LRH: Two more.

PC: Yeah.

LRH: Smash them together.

PC: Yeah.

LRH: Two more.

PC: Yeah.

LRH: Smash them together.

PC: Yeah.

LRH: Two more.

PC: Whew! Yeah.

LRH: Smash them together.

PC: Mm-hm.

LRH: Two more.

PC: Where's all this apathy coming from? Yeah.

LRH: Smash them together.

PC: I already smashed them together.

LRH: Okay. Let's see what's happening here. [beeping] Jesus Christ.

PC: Yeah. It's spread straight up to here and around there. The whole head's sort of flaming up.

LRH: Yes. That's very interesting. Throw up a couple more babies.

PC: Yeah.

LRH: Blow them up with trap shotguns. Okay.

PC: That oscillator's up - turned up.

LRH: Now, have two more - have two babies with two huge black thetans crouching over them holding them by the guts and the upper lip.

PC: Yeah.

LRH: You got those two now?

PC: Yeah.

LRH: All right. Have the babies blow the thetans up.

PC: Yeah.

LRH: Okay.

PC: That was very satisfactory.

LRH: That was very satisfactory. Two more babies and two more big black thetans.

PC: Mm-hm.

LRH: Have the babies blow the thetans up.

PC: Yep.

LRH: Two more babies.

PC: Mm-hm.

LRH: Two black thetans.

PC: Mm-hm.

LRH: Have the babies hold the thetans up so everybody can view them.

PC: Yeah.

LRH: Have the thetans explode.

PC: Okay.

LRH: Okay. Are we doing anything with the ridge? What's your own sense of touch on it?

PC: You mean, can I feel that?

LRH: No, no.

PC: How's it feeling?

LRH: How does your ridge feel? Less? More? How's your body heat?

PC: My body heat's been going way up.