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.

LRH: Two mothers. Did you blow them up?

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.

All right. Have two more babies...

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.

PC: Do you want the mothers blown up too?

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.

LRH: No, no. Let them slide. Have two babies...

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.

PC: Yeah.

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.

LRH: ...hold up two thetans, each one.

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

PC: Yeah.

Male voice: Would put the preclear in apathy.

LRH: Now have the mothers blow the thetan up.

.. 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.

PC: Yep.

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.

LRH: How's that feel?

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?

PC: Yeah.

Male voice: It feels much more alive.

LRH: Evidently getting a slight reduction on this ridge. It hasn't been - it isn't as flagrantly over these areas. Fascinating.

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.

Okay. Have two babies.

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.

PC: Mm-hm.

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

LRH: And have the baby's father grabbing the baby by the upper lip and the guts.

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

PC: Yeah.

PC: Okay.

LRH: Now have the baby blow the father up.

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

PC: Yeah.

PC: All right.

LRH: Okay. Now throw that into yesterday.

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

PC: Yeah.

PC: Okay. LRH: Be near the sun.

LRH: Okay. Have two babies...

PC: Okay.

PC: Mm-hm.

LRH: Be near the moon.

LRH: ... two thetans.

PC: Yeah.

PC: Mm-hm.

LRH: The Walt Whitman Hotel.

LRH: Have the babies blow the thetans up.

PC: Okay.

PC: Mm-hm.

LRH: Saint Paul's Cathedral.

LRH: Okay. Have two babies.

PC: Yes.

PC: Mm-hm.

LRH: The sun.

LRH: Have them make two thetans.

PC: Okay.

PC: Have them make them?

LRH: The moon.

LRH: Mm-hm.

PC: Mm-hm.

PC: Yeah, all right.

LRH: Earth. PC: Yeah.

LRH: And have the thetans now make two babies.

LRH: What's happening here?

PC: Yeah.

PC: Slowup. That slowup is still there.

LRH: And have those two babies make two thetans.

LRH: That slowup.

PC: Okay

PC: Mm-hm.

LRH: Now have those two thetans make two babies.

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

PC: Yeah.

Earth.

LRH: Now blow them all up.

PC: Yes.

PC: Yeah.

LRH: Moon.

LRH: Okay. Did - any change there to your lip feeling?

PC: Okay.

PC: Um - yeah. There's also a feeling as though the back of my head was trying to blow out over here.

LRH: Sun.

LRH: Hm.

PC: Okay.

PC: That what you're hearing here isn't the lip; it's a cut I had.

LRH: Nearest star.

LRH: Well, we're getting - getting nulls now on areas which were - which were crying before.

PC: Yeah.

All right. Let's put these two babies behind you.

LRH: Earth.

PC: Yeah.

PC: Okay

LRH: Put the two thetans jumping them.

LRH: Sun.

PC: Yeah.

PC: Yes.

LRH: Have the two thetans rush away with them.

LRH: Saint Paul's.

PC: Yeah.

PC: Okay.

LRH: And as they rush away, have them blow up.

LRH: Walt Whitman Hotel.

PC: Okay. Ouch!

PC: Okay.

LRH: Two babies behind you.

LRH: This room.

PC: Yeah.

PC: All right.

LRH: Two thetans grab them.

LRH: Earth.

PC: Yeah.

PC: Okay.

LRH: Babies - thetans rush away.

LRH: Moon.

PC: Yeah.

PC: Okay.

LRH: Have them blow up.

LRH: Sun.

PC: Yeah.

PC: Yeah.

LRH: Two more babies.

LRH: Nearest star.

PC: Mm-hm.

PC: Yes.

LRH: Two thetans.

LRH: Sun.

PC: Mm-hm.

PC: Yes.

LRH: Have the babies blow the thetan up.

LRH: Nearest star.

PC: Okay.

PC: Okay

LRH: Two more babies.

LRH: Sun.

PC: Mm-hm.

PC: Okay

LRH: Two more thetans.

LRH: Nearest star.

PC: Mm-hm.

PC: Okay

LRH: This time have a black explosion.

LRH: Sun.

PC: Okay. Wiped out the boy.

PC: Still hard for me to do that.

LRH: Okay.

LRH: Nearest star.

PC: Whew!

PC: Mm-hm.

LRH: Now put - you still hot?

LRH: All right. Be halfway between them.

PC: Yeah.

PC: Yeah.

LRH: Now down underneath you put two babies.

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?

PC: Yeah.

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.

LRH: Two thetans.

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?

PC: Under my feet?

PC: Yeah.

LRH: 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?

PC: Yeah.

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

LRH: And have the babies blow the thetan up.

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

PC: Okay.

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

LRH: Above your head.

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

PC: Mm-hm.

LRH: Okay. Duplicate it.

LRH: Two babies.

PC: Close to the Earth.

PC: Mm-hm.

LRH: Duplicate it.

LRH: Two thetans.

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

PC: Mm-hm.

LRH: Well, just duplicate it.

LRH: Blow them all up.

PC: All right.

PC: Okay.

LRH: Blow up the duplicate.

LRH: Blow up all the debris.

PC: Mm-hm.

PC: Oho, gee! Yeah.

LRH: Duplicate it again.

LRH: Yeah, all right. Now, is there any change of feeling in yourself?

PC: All right.

PC: Yeah. I've got a hell of a pain in my left leg

LRH: Blow up the duplicate.

LRH: You have? Marked narrowing of this ridge on the upper lip.

PC: Okay.

PC: Down - down to about this much.

LRH: Duplicate it again.

LRH: Yeah. Fascinating. All right. Two babies.

PC: Mm-hm.

PC: Yeah.

LRH: Blow it up.

LRH: Two thetans.

PC: Okay

PC: Yeah.

LRH: Put up four duplicates.

LRH: Blow them up.

PC: Okay.

PC: Okay.

LRH: Blow them up.

LRH: Two babies.

PC: Okay.

PC: Yeah.

LRH: Four more.

LRH: Two thetans.

PC: All right.

PC: Anywhere you want me to put these particularly?

LRH: Blow them up.

LRH: No.

PC: Mm-hm.

PC: Okay

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

LRH: Where are you putting them?

PC: Sure.

PC: Mm, I was alternating.

LRH: Let's be close to the corona.

LRH: Where?

PC: Mm-hm.

PC: That one - that one was in front.

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

LRH: You putting them in front and back?

PC: Hm. Oh, yeah.

PC: I had two babies and two thetans in front. I was planning to put the next one in back, the next one down and the next one up.

LRH: Got it?

LRH: Blow up anything you got there now.

PC: Mm-hm.

PC: Pow!

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

LRH: Mm-hm.

PC: All right.

PC: All right.

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

LRH: Now let's see what that lip-ridge is like.

PC: I like this one.

PC: Changing. This thing down here - ooh - flashed around this way and right across the lip.

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

LRH: Mm-hm.

PC: Mm-hm.

PC: When you said, "Blow up anything you got back there now," there was this big black mass over here of energies.

LRH: Get near the moon.

LRH: Okay. Put a black explosion in it.

PC: Okay.

PC: Yeah.

LRH: Back side of the moon.

LRH: Have a ring of babies standing around.

PC: Mm-hm.

PC: Okay

LRH: Whatcha see?

LRH: Have them keep putting black patches on the back of your head.

PC: Back side of the moon.

PC: Yeah.

LRH: What's it look like?

LRH: And blowing them up.

PC: Like this - front side.

PC: Yeah.

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

LRH: One right after the other.

PC: Mm-hm.

PC: Okay

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

LRH: Okay. Blow them all up.

PC: Mm-hm.

PC: Okay The somatic's gone.

LRH: Let's compare the two sides.

LRH: All right. Put two babies and two thetans.

PC: Mm-hm.

PC: Yeah.

LRH: What differences?

LRH: Blow them up.

PC: Not quite the same.

PC: Yeah.

LRH: Not quite the same.

LRH: Two babies. Two thetans.

PC: Uh-uh.

PC: Mm-hm.

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

LRH: Put together two delivery rooms.

PC: Front side.

PC: Yeah.

LRH: Got it?

LRH: Blow them up.

PC: Mm-hm.

PC: Yeah.

LRH: Back side of the moon.

LRH: Two delivery rooms full of doctors.

PC: Yeah.

PC: Yeah.

LRH: This side of the moon.

LRH: Blow them up. Blow them up.

PC: Yeah.

PC: Okay

LRH: The other side of the moon.

LRH: Two more delivery rooms above your head.

PC: Mm-hm.

PC: Yeah.

LRH: This side of the moon.

LRH: Blow them up.

PC: Yeah.

PC: Yeah.

LRH: Other side.

LRH: Two delivery rooms below you with big lamp globes.

PC: Mm-hm.

PC: Yeah.

LRH: Earth.

LRH: Blow them up.

PC: Yeah.

PC: Yeah.

LRH: Walt Whitman Hotel.

LRH: A delivery room on each side of you full of babies.

PC: Mm-hm.

PC: Mm-hm.

LRH: Sun.

LRH: Blow them up.

PC: Yeah.

PC: Yeah.

LRH: Saint Paul's.

LRH: A delivery room above you and below you, each one full of thetans.

PC: Yeah.

PC: Yeah.

LRH: Find Jupiter?

LRH: Blow them up.

PC: Sure.

PC: Yeah. Mm-hm.

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

LRH: A delivery room on your right, delivery room on your left, both full of mothers.

PC: Yeah.

PC: Yeah.

LRH: This side of Jupiter.

LRH: Blow them up.

PC: Mm-hm.

PC: Yeah!

LRH: Other side of Jupiter.

LRH: Okay. Delivery room full of fathers.

PC: Yes.

PC: Yeah.

LRH: This side of Jupiter.

LRH: Blow it up.

PC: Okay

PC: Yeah.

LRH: Other side of Jupiter.

LRH: Two delivery rooms full of fathers. Blow them up.

PC: All right.

PC: Yeah.

LRH: Go into an orbit around Jupiter.

LRH: Three delivery rooms full of doctors.

PC: Here we go.

PC: Yeah.

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.

LRH: Blow them up.

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

PC: Yeah.

LRH: Well, okay. Sun.

LRH: Four delivery rooms full of doctors.

PC: Oh! All right.

PC: Yeah.

LRH: Moon.

LRH: Five delivery rooms full of babies.

PC: Mm-hm.

PC: Yeah.

LRH: Earth.

LRH: Six delivery rooms full of thetans.

PC: Yeah.

PC: Yeah.

LRH: Still feel that pull?

LRH: Smash them all together.

PC: No.

PC: Yeah.

LRH: Well.

LRH: Did they explode?

PC: No more.

PC: No.

LRH: Good. Okay. Walt Whitman.

LRH: Hit them harder.

PC: Yeah.

PC: Yeah.

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

LRH: Okay.

PC: Mm-hm.

PC: Ooh, what a flash!

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

LRH: Mm-hm. Now let's see what we've got there. Of course you know we're proceeding on the assumption that we are measuring a ridge.

PC: Okay

Male voice: Maybe he just shaved close.

LRH: What happened?

LRH: Hm? What?

PC: Got an explosion halfway between.

Male voice: Maybe he just shaved close this morning there.

LRH: Okay. Was it a big one?

LRH: How do you feel?

PC: Yes.

PC: I feel fine.

LRH: Satisfactory?

LRH: Has the heat gone?

PC: Beautiful.

PC: Ah, there's still quite a heat radiating back this way.

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

LRH: Babies with thetans attached to their backs...

PC: Mm-hm.

PC: They got... LRH: Babies with thetans attached to their backs...

LRH: Now let's smack it together.

PC: Yeah.

PC: Mm-hm. Mm-hm.

LRH: ...and just pitching them into hellfire.

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

PC: The babies, the thetans or what?

PC: Okay

LRH: The whole works.

LRH: Another beam from the sun to Earth.

PC: The whole works. All right.

PC: Two of them.

LRH: Keep throwing them into hell. Get carloads full of them now and throw them into hell.

LRH: Another beam.

PC: Yeah. Got big delivery vans just going.

PC: Three of them.

LRH: That's right. Just throw them all into it.

LRH: Another beam.

PC: Whole freight trains.

PC: Four of them.

LRH: More.

LRH: Another beam.

PC: Rocketships full.

PC: Five of them.

LRH: Good.

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

PC: Ocean liners full.

PC: Yeah.

LRH: Good.

LRH: Now smack them so they all explode.

PC: Railroad trains full of them.

PC: Yeah.

LRH: Lots of them.

LRH: Got it?

PC: Whole worlds at a time full of them.

PC: Mm-hm.

LRH: That's right.

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

PC: Have universes pitching them in.

PC: Mm-hm.

LRH: All right. Now take all that fire that's had all that energy to it...

LRH: Five thousand.

PC: Yeah.

PC: Mm-hm.

LRH: Smash it in such a way as to blow it up.

LRH: Six thousand.

PC: Wow! Yeah.

PC: Mm-hm.

LRH: You get a somatic?

LRH: A hundred thousand miles.

PC: Uh - no somatic, but I got a - unless you call that flash a somatic - I got a flash through the eyes of it.

PC: Okay.

LRH: Good. We still got that ridge real nice and active. There's probably a whole flock of ridges on the top of it there. I wish you were on an E~Meter besides this thing. Maybe I can make this into an E-Meter. How about babies?

LRH: Take a look at Earth.

PC: What about...?

PC: Mm-hm.

LRH: ... thetans?

LRH: How's it look?

PC: Yeah.

PC: Small.

LRH: Babies.

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

PC: Mm-hm.

PC: Yes.

LRH: What about babies? Anything about babies?

LRH: Those black shells still apparent to you?

PC: Well, I've got a beautiful visio of a black box shining with fluorescent light; purple fluorescent light.

PC: I don't see them.

LRH: Good. Oh, yes, this always turns up in an Assumption. You know, they come in there. Anyway, make a duplicate of it.

LRH: Good. Okay.

PC: Yeah.

Now, let's be over South Africa.

LRH: Blow it up.

PC: Yes.

PC: Whew! Yeah.

LRH: Walt Whitman Hotel.

LRH: Make another duplicate of it and blow it up.

PC: Yes.

PC: Okay

LRH: Saint Paul's.

LRH: Another duplicate of it.

PC: Yes.

PC: Yeah.

LRH: This office.

LRH: Another one.

PC: Yes.

PC: Yeah.

LRH: London.

LRH: Another one.

PC: Yes.

PC: I'm blowing them up each time, though.

LRH: Moscow.

LRH: That's right.

PC: Yes.

PC: Yeah.

LRH: Calcutta.

LRH: That's what you're supposed to be doing.

PC: Yes.

PC: Yeah.

LRH: Shanghai.

LRH: Another one.

PC: Yes.

PC: Yeah.

LRH: Calcutta.

LRH: Another one.

PC: Yes.

PC: Yeah.

LRH: London.

LRH: Another one.

PC: Yes.

PC: Yeah.

LRH: Saint Paul's.

LRH: Another one.

PC: Yes.

PC: Yeah.

LRH: Tower of London.

LRH: Fill the room full of them and blow them up.

PC: Yes.

PC: Yeah.

LRH: Saint Paul's.

LRH: Another one.

PC: Yes.

PC: Mm-hm.

LRH: Tower of London.

LRH: Another one.

PC: Yes.

PC: Mm-hm.

LRH: Saint Paul's.

LRH: Another one.

PC: Yes.

PC: Mm-hm.

LRH: New York.

LRH: Another one.

PC: Yes.

PC: Mm-hm.

LRH: Florida.

LRH: Another one.

PC: Yeah.

PC: Mm-hm.

LRH: Key West.

LRH: Another one. Okay.

PC: Mm-hm.

PC: The last one blew up with a black explosion.

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

LRH: All right. Take and mock up in two masses all the auditing you ever had.

LRH: Tallahassee.

PC: Yeah.

PC: Yes.

LRH: Duplicate the two masses.

LRH: Miami.

PC: Yeah.

PC: Yes.

LRH: Slam the four of them together.

LRH: Galveston.

PC: Yeah.

PC: Yes.

LRH: Okay.

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

PC: Whew!

PC: Somewhere in the office.

LRH: What's the matter?

LRH: Good. Suit yourself

PC: A lot of heat came off

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: Hm. Okay. Now let's take another feel with this. We're just testing to find out what it does. I'm not trying to show you what it does.

Is that so?

[beeping]

PC: That slowness wore off after that process.

Jesus Christ! We just livened up his whole face, just like mad. Gee, no nulls.

LRH: The slowness?

Now tell me, is there a somatic on your face?

PC: Yeah. Speeded up.

PC: Yeah. It extends from about here - it's faint - it extends from about here up across here...

LRH: Yeah.

LRH: Put another one on like it.

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

PC: ... to about there. All right.

Audience: Condensed space. Condensed motion.

LRH: Put another one on like it.

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

PC: All right.

Male voice: Lots of space.

LRH: Put another one on like it.

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

PC: All right.

Male voice: Change of position.

LRH: Another one.

LRH: What's motion?

PC: All right.

Male voice: Particle moving through space.

LRH: Another one.

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

PC: Okay

Female voice: Condensation of space.

LRH: Another one.

LRH: Nah. What's motion?

PC: All right.

Male voice: Change of position.

LRH: Another one.

PC: Of particles.

PC: Yeah.

LRH: Come on, what's motion?

LRH: Another one.

Male voice: Change of position through space.

PC: This - there's a...

PC: In space.

LRH: Put one back there, right there.

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.

PC: ... pain right here that's increasing as if it's...

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

LRH: Duplicate that.

Male voice: Changing the viewpoint.

PC: Okay.

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

LRH: All right. Put another set on.

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

PC: Yeah.

Male voice: Change in dimension points around a viewpoint.

LRH: Another one.

LRH: That's...

PC: Yeah.

Male voice: Change in particles.

LRH: Another one.

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

PC: Yeah.

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

LRH: Another one.

Male voice: Agreed.

PC: Yeah.

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?

LRH: Another one.

Male voice: Mm-hm.

PC: Yeah.

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

LRH: Another one.

Male voice: Okay

PC: It's stretched it out to about there.

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.

LRH: Okay. Now while you've got all these on, start taking duplicates of it and throwing it in the fire.

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?

PC: Duplicates of what? That...

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

LRH: Of this whole mass.

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

PC: Mass?

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

LRH: Throw it in the fire.

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

PC: Okay. Yeah.

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.

LRH: A few more.

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.

PC: Ow-wow! Yeah.

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?

LRH: Okay. Now just take that whole mass from your face and shove it outwards hard enough to make it explode when it gets out there.

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: Okay. Somatics gone?

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. But the heat's flaring up more than ever.

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: All right.

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: There - there's heat radiating up all around, to down about there.

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

LRH: Okay. Put on more heat.

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: Okay.

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: More heat.

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: Yeah.

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: More heat.

Female voice: Yes, I did.

PC: Yeah.

Yeah.

LRH: More heat.

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: Whew! Yeah.

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

LRH: Stuff it all in a black womb.

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: Black womb?

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: In a black womb, that's right. Put it all in a black womb.

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: Okay.

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: Blow up the black womb.

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: Okay

"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: Now take all this heat.

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: Mm-hm.

Okay? Will you do that?

LRH: Get it more intense.

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

PC: Mm-hm.

That's all. Thank you.

LRH: Now take a duplicate of it and put it in the black womb.

PC: Yeah. : LRH: Another duplicate of it and put it in another black womb.

PC: Yep.

LRH: Another duplicate and put it in another black womb.

PC: Yep.

LRH: Another duplicate and put it in another black womb.

PC: Yep.

LRH: Blow them all up.

PC: Yep. Yep. Put in one of them. Yep.

LRH: How is the heat?

PC: Subsided.

LRH: Subsided. Okay, let's put some more heat in the black womb.

PC: Okay

LRH: Put some more in the delivery room.

PC: All right.

LRH: Let's put some on Mars.

PC: Okay.

LRH: Let's put some in a room.

PC: This room?

LRH: Yeah.

PC: Yeah.

LRH: All right, let's take all that heat and turn it into frigid coldness.

PC: Okay.

LRH: Turn it into heat.

PC: Yeah.

LRH: Turn it into coldness.

PC: Yeah.

LRH: Turn it into heat.

PC: Yeah.

LRH: Coldness.

PC: Yeah.

LRH: How is the heat of your hand there?

PC: Gone.

LRH: Okay. How's your face feel?

PC: Fine.

LRH: How's the back of your head feel?

PC: There's a slight somatic still here.

LRH: There is?

PC: As a matter of fact, it's - it's going from here all the way down to here.

LRH: Oh, so?

PC: There.

LRH: All right. Put a thetan over you.

PC: Yeah.

LRH: Another one.

PC: You mean put one over the body?

LRH: Yeah.

PC: All right. All right, I've got two of them. there.

LRH: Three.

PC: Yeah.

LRH: Another one.

PC: Yeah.

LRH: Another one.

PC: Yeah.

LRH: Another one.

PC: Yeah.

LRH: Another one.

PC: It is, huh? Okay

LRH: Another one.

PC: Yes.

LRH: Now start pulling them on over your feet.

PC: Pulling them on over my feet!

LRH: Yes.

PC: All right.

LRH: Another one.

PC: It's silly!

LRH: Another one.

PC: Yeah.

LRH: Another one.

PC: Yeah.

LRH: Another one.

PC: Yeah.

LRH: Another one.

PC: Yeah.

LRH: Another one.

PC: Yeah.

LRH: Another one.

PC: Yeah.

LRH: Put another one over your head now.

PC: Pull them on over?

LRH: Mm-hm.

PC: Okay.

LRH: Okay. Now take this whole mass and crush it in real tight.

PC: Oh! Yeah.

LRH: All right. Now just pick it up and throw it out the window.

PC: A pleasure. LRH: Okay. Still got that somatic?

PC: Well, it's still out the window there. I think I better blow it up.

LRH: Well, put about four more like it out the window.

PC: Yeah.

LRH: Blow them all up.

PC: Yeah.

LRH: Okay.

PC: Whew! Yeah, that did it.

LRH: Well, let's see here.

PC: That somatic's gone.

LRH: Let's see if we get any change of registry on the machine.

Male voice: Holy cats.

PC: I might as well tell you, this thing looks like a radioactive globe...

LRH: It's all of a sudden become 100 percent wired to this machine.

Male voice: How about a screen moving in - what would that do?

LRH: Hm?

Male voice: What would a screen moving do, you suppose?

LRH: I don't know. But listen - listen: You're monkeying around with machinery here. You're monkeying about with electronics which is: trying to find out the significance of; you see? Have you got that? And any time you go in for something which is trying to find the significance of why, you're having a lot of fun on the thing.

Your complexion has changed color.

PC: I'm not surprised.

LRH: And that's as good - that's good enough for ... You feel pretty good, don't you?

PC: I feel wonderful.

LRH: Well, all right. This...

Male voice: I think it might have been backwards, Ron, that's reading...

LRH: That's what I was getting to. That's right.

PC: You were having me do that stuff...

LRH: It's very well that a pinched neurone on a dead normal - that is a person who is a normal, see - a pinched neurone might be the only thing which set up enough excitation to represent life.

Well now, we probably should continue with this...

PC: Oh, you wouldn't!

LRH: ... probably should continue with this in order to establish what happened. But this whole man is in a very live state right now. I mean, any - we're getting a contact on the machine all over. It's fascinating.

By the way, the machine is registering on me on exactly the places where I dropped ridges to keep a body in brace. It's registering across those areas. And it's very easy to get a body to behave simply by putting a ridge on it. You don't need beams on bodies. You should drill preclears not to use beams on bodies. So don't use me for an example. But it's very easy to do because you don't have to think to do it. When I'm standing up talking to people, and so forth, it becomes very, very simple to do this because then all I have to do is activate the voice. The body is geared to make hand expressions and so forth - it does so automatically to vary with the force of the voice.

So this machine is registering on these ridges. There is no doubt about that. But it's registering in the areas where there's live energy.

So that just gives you an idea of what you're up against. I'm just showing you here offhand - we get something and it registers something or other. And then we have to go to work on it and find out. And there's a distinct possibility here - all of a sudden we turn up a distinct possibility that this machine may be alive - when - only the machine may be most alive when the person's most alive. That would be a good Q and A answer, which is the way it should be. See?

Let's stand up.

I said I wanted to go over some other things this afternoon. There isn't any real point in going over these things today. But there is this point - there is definitely this point: your auditing - your auditing is much too slow.

It is but horrible - slow - slow. Your preclears shouldn't be rushed, this is perfectly true. Shouldn't be - perfectly true. But you're - you shouldn't audit on a level of as little action as you're auditing.

Now this comes with speed. This comes with increase in speed in the person. And it tells one immediately what the index level is that has to be worked on. It has a lot to do with whether or not the auditor is alert. If the auditor is sitting there alert, the preclear just starts to speed up more or less automatically. You're auditing too slow. I don't mean that as a criticism, I mean this is downright libel for something.

If you want to, you can take a little tape recorder on your auditing and it'd go something like this: "Now let's put that over on the left side. Okay. Well, blow it up. Now let's put one over on the right side."

Your Step I practically spins in at this speed. He just sits there just dying. It's just plain murder.

But now you try to speed up a psycho who is really plowed in and you would audit much more slowly than that if you audited him at all. But when you did have his attention, go like hell.

Audit when you've got somebody's attention.

Now you'll get some of this taste of pace. And that's what it amounts to - a taste of pace.

Now, would you like to take just a little - a very short break and let me give you a little example of drill? Would you like that?

Audience: Yeah. Yeah.

Okay. Why don't you.