PC: Yes. Yeah.

And yesterday a Mr. Davis who has written over here several times wondering whether or not he couldn't be processed - paying preclear, by the way, I mean, he's perfectly willing to pay and all that sort of thing but he came in; he's an art - painter of some sort or another - designer. The girl in the office got him - got him mixed up with a - with a fellow coming up with wallpaper.

LRH: Get evil eyes that are bloodshot.

I haven't seen this report - or heard from them - it says, "October 27th. Processed by me for one hour; reaction time is very slow." That is a masterpiece of understatement. His reaction time was "slow"; it was detectable.

PC: Mm-hm.

"From one minute for Straightwire..." - one minute for Straightwire?

LRH: Can you accept that?

Male voice: From one minute - one minute longer.

PC: Not bloodshot, preferably.

Yeah. Oh - longer? One minute longer Oh!

LRH: Oh? Very clear, beautiful evil eyes.

"... He exteriorized readily, and was only then able to get him on the meter satisfactorily. Assessment taken and Creative Processing done so that he could handle Mother and God. He held corners, and so forth, and reaction time improved by over 1000 percent." You see any marked change in his handling of the mock-up, as we call the body?

PC: Just plain evil eyes. Yeah!

Male voice: Yes.

LRH: Just plain evil eyes.

Marked change?

PC: Yeah, yeah, yeah, yeah!

Male voice: Oh, a marked change.

LRH: Get beautiful evil eyes.

Alert?

PC: Yeah. Mm-hm.

Male voice: Very much alert.

LRH: Accept a lot of those.

Uh-huh. Did he get up like he knew he was going to get up? Or did he get up like he was... When he first came in, he got up and then found out that he had stood up.

Now let's accept enough guilt to let you look.

Male voice: Well, he went like he knew he'd been here.

PC: Hm.

Good. Good. That's fine. This boy is a caved-in artist, a caved-in painter And - that's just real fine.

LRH: What kind of guilt does it have to be?

Male voice: The exteriorization - I kept him on quite some time on that back in June and it proved to be a valuable exercise for him, and he just came up prettily.

PC: Oh, just sort of nameless "uhhh."

What was the valuable exercise?

LRH: All right. Just let that nameless "uhhh" having happened to you. Mock it up and let it happen to you.

Male voice: Exterionzation from place to place and position to position - exteriorized.

PC: Mm-hm.

Oh, you mean change of - let's get these processes right now. Exteriorization isn't a process.

LRH: And now put it on the time track as having happened to you in lots of quantity.

Male voice: Oh, I'm sorry, Step I.

PC: Hm. I guess I can have lots of that.

Yeah, that's right; it's not a process. And the other, from place to place, is Change Processing, just as a designation which I have been using - change of space processing. Got that?

LRH: You can have lots of it, huh?

Male voice: Yeah.

PC: Yes.

Now, exteriorization shouldn't be put down in your book as a process; it's not a process. It is a natural condition which we're restoring to a preclear. And when fellows get to a point where they're popping in and out of bodies, God help us. It means that they've got to own them, they've got to hide them and protect them, and - they're real bad off when they're in bodies. I mean they're just in a terrible condition when they're in a body. Horrible!

LRH: Good.

Male voice: I know that and I heard you.

All right. Let's get a sharper form of guilt that you've been paid back in, such as your eyes being put out. Is that acceptable to you - your eyes being put out?

Practically nothing can be done about them. I mean...

PC: No.

Male voice: It's worse than that in some cases.

LRH: That isn't acceptable to you?

Yeah, well...

PC: No.

Now, we have - we have in this - very interesting. I didn't mean to correct their - you on that - it's just that I want to straighten out that point real quick. That's very good; that's very good. Very good work, thank you.

LRH: Well, good. How about putting on your time track all the blobs that you made out of things that had been beautiful just by looking at them.

I've got to start beating up the brush now for a few pcs. How long did this session take?

PC: Yeah.

Male voice: Well, he could only stay one hour.

LRH: All right. Let's put lots of that blob that you have upset there, ruined. All - get everything precious you ever had being blobbed by having looked at it.

Well, it took an hour; I mean he took a long time on the session.

Got enough of them?

Adjust - adjust to that - long, long session. Just - get your - get your gun-shots in there so that the muzzle velocity is high enough to adjust to the techniques.

PC: Well, there's dozens of things I haven't even explored yet.

Do you know, actually, auditors will say, "Well, this is a tough case," which means, "It ought to take a lot of hours." And then they will sit down and figure out, actually, how it can take that many hours. I mean, this has been going around the bunch. All right. So much for that as a case report.

LRH: Well, get - get everybody cursing you, too, at the same time.

This morning, it's about time that I lowered the boom on you with regard to a process which is - we have been fooling around with but which is very serious and is the process and is the key process. One might say that this is the announcement - this isn't ultimate but this is an announcement of; as far as you'd care to be, pretty close to the top of the ladder for this universe and bodies and exteriorization and all that sort of thing.

PC: It's awfully funny, you know. It's just like in the fairy tales.

Now, there's some of you people who've been worrying a little bit because you weren't flipping happily and readily out of the body and flying about the place and seeing everything in a beautiful roseate or golden glow. And some of you have been worrying about this.

LRH: What's the matter?

Well, you haven't worried me, merely because we, here, learned something about human beings and learned something about life and so forth.

PC: Well, they're humorous sort of little curses.

There's no sense in ruining, as Burke said early in the course, all these beautiful cases. But I've got to start beating up the brush here, because we're going to be fresh out of cases here in a very short time. You see what a resistance Homo sap will put up unless you practically turn sixteen-inch guns on him.

LRH: Well, get lots of curses.

We have been talking about SOP 8 and we've been using SOP 8-L - 8-L is a learning process. You can run this on a preclear just as that and he'll learn something about life. Much more important, it's an educative process as far as we're concerned.

PC: Yes.

If you're going to do anything about Mr. Homo sapiens, you had certainly better know how he operates. Why, that sounds - sounds very silly to say that; it sounds asinine for me to say, "Well, in order to do something about man you've got to learn something about man." It's silly for me to say that; it's too obvious. Only it's terribly original. It is painfully original in man's annals, archives - you don't find it - in order to do something about it.

LRH: Just pile it with lots of curses.

Now, you had a fellow by the name of Alexander Pope. In one of the earlier tapes I razzle-dazzled up poetry by attributing Gray's "Elegy" to Alexander Pope, and so forth. I was immediately assured after the lecture by two or three of the auditors that Gray's "Elegy" had been written by Gray. I get too subtile once in a while. Sometimes I get so subtile I don't know what I'm saying either. So you see, so it's even. I get lost, but when I open the box it's a big surprise. Anyway.

PC: Yes.

Anyway, when we look into the annals and archives we find Pope's magnificent piece. It's much greater, that poem, than Zeno's Apatheia. I guarantee that if you brought this poem into a sick room your patient would die; we could guarantee that it would work that way. He says, "The proper study... Seek not for God to scan. The proper study of mankind is man." Nobody took his advice. He didn't take his advice either.

LRH: I mean, strung up and down your track.

He goes on, then, stanza after stanza saying how it's hopeless. It's a gorgeous poem; you ought to get it and read it sometime. It's man's - the highest tone man ever reached in the study of himself Really fine, fine piece of poetry. Scans every line, rhymes too.

PC: Yes.

So we have then - we have, then, back on the time track just about that: a study of man. You have no idea how difficult it's been to study man; I can tell you now - take down my hair a little bit amongst us girls - I - it was just incredible. It was impossible to find out, as far as I could see, just where we were going with this because cases kept showing up which were worse off than cases I had ever seen. And cases were terribly bad off and they kept moting.

LRH: Tremendous numbers of curses.

And the wonderful thing about it was, is how the people that I've seen walk through clinics and through my processing rooms and so forth - how people could still operate. This is fantastic. So we could just assume that man will operate - he will operate below anything else's operational level. And if you got way down below anything's possible operational level, you would reach a high-toned man. That's about it; I mean, it's real grim.

PC: Oh, dear!

Now, I've had you running computations, I've had you running all kinds of circuitry and shown you this and that, so on. We could go on for some time with this sort of thing because it's a beautifully complex problem and you can hit every part of it and it looks beautiful and it looks very convincing and so forth. Well, we could go on doing this.

LRH: Enough motivators there - got to have enough motivators.

It just shows you how hard man will fight to keep a game going and how many things he will hide to keep a game going. It actually isn't very necessary for you to go out and clear all of mankind suddenly, at a swift swoop, for the excellent reason that if you did you'd spoil the game; you'd just ruin it - ruin it utterly.

PC: Yeah.

Capitalists wouldn't have any slaves anymore, communists wouldn't be able to parasite on the workers - you just wouldn't have any game going at all. Medical doctors, you'd give them no pain at all. I mean, think of what you'd deny a doctor or surgeon - blood flying around the place and arteries beating and the terrific drama - the terrific drama of going down and showing the appendixes - the appendixes to the - showing them to the relatives saying, "Just in time! Just in time!" I've seen a doctor actually spatter blood on himself so that he could go down and see the relatives, saying the operation was just in time.

LRH: Get having had to be serious for eight million years.

Think of the drama - the drama that you would spoil.

That's acceptable as a punishment?

The only thing that happens to this drama is after a while it gets so - so dramatic that they can't tolerate it anymore so they say that's actual, and that's really real, and then nobody can tolerate the drama so nobody can have any drama and it just gets dull.

PC: No!

Now, the only thing you would really do... You would, if you just cleared everybody across the boards, a full sweep, you'd spoil the game but remember the game gets spoiled in another way. The game gets spoiled by arbitrations of "let's restrict." And everybody has agreed on "let's restrict." And that's the one thing they have agreed on: that we have to restrict to have a game. And then they get too good at it. And they get to a point where there's no motion. And there's where the game is now.

LRH: No, it isn't acceptable.

So, actually, all you really desire is just to bring up the level of the game, not to knock out the game. You'd be surprised how boring it is sitting out nowhere for a long time - very boring, no action, nothing like that.

PC: No. It isn't.

Of course, action is compulsive, you understand. You go high enough up Tone Scale and you're perfectly happy to be serene. That's a funny, redundant statement, but there isn't any other way to state it in a MEST language.

LRH: How about being tickled for eight million years? Is that acceptable?

So the technique I'm giving you now, actually, spoils your game to some slight degree.

PC: Not quite.

The beautiful idea of "The fellow is awfully aberrated and we have to do something for him." We could have the terrible drama of dashing in to the relatives and saying, "Well, he only lives twice."

LRH: Not quite. What do you find there?

We saw a psychiatrist - we saw a psychiatrist last night - a play; oh, beautiful play, I mean, it was gorgeous. It opens up with a psychiatrist telling somebody - and it was on television, they've got that up pretty good now, you can almost see a picture - if you use your imagination. Anyway, this psychiatrist opens it up by telling the fellow, who is terribly discouraged, that it will take a long time. Well, he shouldn't really, really - he should realize something can probably be done, possibly, but it's going to take a long time. He explains this to his patient and that sets the note of the picture. And then he goes down and finds this girl who won't talk and can't communicate and who was arrested for murder, or something of the sort, and finally gets her to talk. And he runs half of the engram and gets her up to a terrific emotional charge, where she is just about ready to spill the grief on the charge, and so forth, but all he wanted it for was evidence for the court. So, he turns around and gives it over to the court; he leaves the engram half run.

PC: Well, I was just thinking of some more things to melt down into blobs by looking at them.

And then they go away saying - she recounted how she'd murdered the fellow, you see, and she was just getting down into a beautiful release of grief when he just quits, you see, and ran out and told the judge what the score was, and so they - everything was fine.

LRH: Oh, all the sensation that you've desired, all the way along the track, melted into a blob because you have desired it.

And this is real sloppy processing - real stinking, real stinking. Right in the middle of the engram (while she's running the engram), he says, "Hold on to yourself" Isn't that great? I mean, so we can assume from this movie which was a factual movie, and so forth, that they had good technical direction, and we can assume that this sort of thing occasionally happens, that a psychiatrist does not know Dianetics, much less Scientology. We can assume that. Well, that's just an incredible fact: I hardly feel you would accept it for a moment, but it's true.

PC: All the sensations?

And then he finishes up the picture telling - with the statement that the girl may recover sometime or another. Well, I don't know quite what this is all about, you see? "The girl may recover somehow or another," when the fact - the fact of the matter is that he had the engram half run.

LRH: Yeah, all the beautiful sensations you could have had, but they just melted into a blob and were unsensationable when you received them by looking at them.

You see that? He has it half run and then he says she may recover sometime or another. Well, that is a beautiful example, and the only reason I'm bringing in television on you is just to demonstrate that that's the way they keep a game going. They do the right thing halfway and then hope that something else will happen. See, cause and effect, cause and effect.

PC: Well, that'd be horrible.

Don't dare take on a full cause; if you took on a full cause you'd ruin the game. Well, does a process exist which gunshots the case and exteriorizes people rather easily? Yes. But you had a good time with computational processes. And I hope that with these processes you have gained an understanding of what Homo sapiens is all about and how you exteriorize him and how he resists it and what he will get into and what he thinks.

LRH: That's horrible? Is it acceptable as a motivator?

Because, believe me, after this it's going to seem kind of unreal to you that we would go through all of this amount of trouble. And if you start processing a preclear and he starts telling you this and that and so forth, it's all right in the processing room just to shoot him down in his tracks with a very fast technique.

PC: Mm, no.

But remember, he's alive, he's out there on the street. That street isn't a processing room. You have to have some sort of an understanding of what makes him tick, for two reasons: one, so your insatiable curiosity will not lead you into numerous traps set by him, into tremendous numbers of insincerities rigged up as beautiful sincerities. You get the idea? It's the guy on the street we've been learning about, the fellow in the state house, the fellow in the government, the reactions that we see about in.

LRR: Supposing this had happened to you for two billion years.

Well, here are two guys and they have a couple of cars. There's one very gorgeous car and it has run into - it's right up here up the street, up here, this morning - it's run into the back of a - of a rather knocked about Ford sedan. But this beautiful green car - brand-new car - evidently plowed in real hard and - as was pointed out - and the fellow in the big new car slammed on his brakes to keep from running into the back of this other car in the rain. The nose of the big car dipped, you see, and then struck, and then, of course, came back up - you know, when they slam their brakes the nose dips. A very lousy sort of a way to build a car, by the way. If you build a racing car that does that too often you're in real trouble because you get up there around anything that could be considered a velocity, like 150, and you have one that ducks its bonnet and does a bow, and it bows all right, it also somersaults. But anyway, they built this big beautiful car this way, so that it does that. Its front springs aren't tense enough.

PC: Oh, God! Well, it'd make a wonderful motivator!

So, here are two wrecking trucks, and one has hold of the front car by the front bumper and one - the other has hold of the back car by the back bumper, and they're trying to get these two cars apart.

LRH: Is it acceptable as a motivator?

And now let's get - let's get what they're doing. At the moment we passed, the wrecking trucks, each one having solid holds on the car with the big, beautiful new car sort of tipped up with its hind wheels slightly in the air, started to drive in opposite directions at the same time, you see, and yank and pull and bang, and you could hear pieces of bumpers coming apart and all of this sort of thing. It's very interesting.

PC: Yeah, I guess as a motivator it is.

Now, there's a perfect explanation: they're "wrecking cars," aren't they? And by Q and A there has been a wreck. So, what do you do about it? What do you do about a wreck? You do just what firemen do about a wrecked house by fire, you wreck it. See - Q and A. You can watch this identification running and actually it affords a great many jokes, because it's pretty silly. His intention - his full spoken intention, you see, is to - is according to what he said - what the owner understood - was that he was trying to "salvage" these cars, you see, and make them - bring them apart and repair them and fix them up and keep them from being further injured. That's what the owner understood. But there's no communication between the owner and the wrecking truck driver on this subject.

LRH: Well, just strew the track with it for a couple of billion years.

The wrecking truck driver - I'm sure that if you questioned him very carefully on the subject, you would find him very blank about it. What was he trying to do to that car? He wouldn't give you a satisfactory answer. He'd say, "Well, I was trying to get them apart, of course!" That's the obvious thing. Well, what is he trying to do? He's a wrecking car, so he has to wreck cars.

Get - get being associated with people who wouldn't let you look for a long time as a motivator.

Anyway, we have this sort of thing going on. As you see man operating, he becomes very funny. Now, as an auditor, you go much further on this and a lot of other things become very funny to you.

PC: Mm.

There's this fellow lying on a sickbed, and this beautiful sadness is going on in all directions, and the children are about to starve because Papa is dying or something of the sort. And this can become screamingly funny, believe me. It is very, very funny. Here's this fellow about to shove off and pick up another kid, see, throwing all of his responsibilities to the winds. See - wham. Dickens with them. And here are all these - these other beings - totally certain that they have to depend utterly upon this fellow who is passing away.

LRH: Get wearing horse's blinders since 1938 as a motivator.

Why do they have to depend upon him? Well, they have to depend upon him, you see, because he's leaving. It's just complete idiocy.

What you got?

I remember one time I was driving down the road - this was in the Bible Belt - and driving down the road. It never quite hit me what they had been about in the Bible Belt until I saw this huge, huge hearse. It was just a wonderful hearse. It must have cost fifteen or twenty thousand dollars; the most gorgeous limousine you ever saw; a better car than anybody was driving around alive in. And it was piled high with beautiful flowers - much better flowers than anybody had on his table or at any wedding. And it was followed by car after car after car, all of which were just completely crammed with weeping relatives.

PC: Yeah, as a motivator; if the period were over; it wouldn't be so bad to have it.

And I looked at this thing going along and I couldn't restrain myself; I started - it was just one of those moments when I was carried away, and I began to laugh because it was so silly.

LRH: If the period were over?

This fellow, for just one - one sweep down the line of cars and so forth, had never in his lifetime been accorded anything even vaguely resembling respect. He had been sponged on and ruined, one way or the other, and everybody - particularly the closest relatives, were real happy about all this, and they were weeping and they were carrying on and all this beautiful style was going on. To do what? Well, to put this mock-up down in the ground someplace and cover it over. It - honest it was real silly.

PC: Yeah.

And it had just come from an undertaking parlor where the undertaker had made a better looking mock-up out of it than it ever had been. So all the aesthetic, the flowers, the harmony, the sympathy - everything the guy needed in his lifetime, see, but never got - he's got it now; he's dead; he's on his way.

LRH: Well, get motivators in the past only.

This is a sort of a brutal sort of a - of a sarcasm or some kind of a ridicule on the part of a society, and yet they'd never see it that way, you see. Very, very fascinating. Man - man is just fabulous. He is - people - people say, "Well, why doesn't this Operating Thetan go out and do something or other in Russia and so on?"

PC: All right.

I know one pc I was processing was just furious with Russia beyond fury. And she kept on coming up the line, coming up the line, coming up the line, till one day it occurred to her that what on earth would she be doing for randomity. These Russians were such beautiful game. And a bunch of overt acts on the track, one way or the other, suddenly showed up and blew. Well, as a spirit she hung around Russia for some time before she finally got trapped in a body. And one of the Russians' penchants is to go on into the barn and all sit down griefily and burn the barn down on themselves, see? So she used to help them out getting into the barn.

LRH: Okay. Now let's be well up and take a look around.

And here - here's this vast country that if today - if you were to put the face of Christ above it in a - in a huge visible mock-up above Russia - why, the whole government would cave in and everybody would go to pieces. And if you put up signs or icons to the effect of "Lenin has come back after having joined Christ and seen the light," Russia would never - Russia would never never be able to rest again. I mean, that would finish - finish off communism, it'd just be dead-pam. There would be no more communism.

PC: Mm-hm.

When the truth of the matter is, you see, that they've done this in the past. The Russian peasant is actually so accustomed to the rigors of living and is quite savvy, really, about thetans; he knows he's a thetan. And so people come up who don't even look the least bit like the fellow that's dead and they suddenly say, "Well, I'm so-and-so." And others come around and they say, "They're so-and-so," too. It doesn't make any difference to anybody in Russia. Big revolt! Shoot down the government; kill everybody; burn all the barns! I mean, it's just fascinating.

LRH: What'd you see?

Some leader dies - somebody could come up right now and if religion was still allowed to run in Russia - that's why they're holding religion down, see, at the muzzle of a gun - somebody could come along and say, "I'm Stalin." And if Stalin had any friends (which he didn't have), the government of Russia would just go appetite over tin cup - pam. That's all there is to it. But actually it takes somebody of a saintly, apathetic sort of a character to get the Russians upset this way. You see?

PC: Mm. Well, I'm just taking a look at the back of the room.

So this Operating Thetan immediately saw all these things, understood all this and so forth, and just didn't back off from the whole problem. It just melted as a problem; wasn't a problem. Says, "Look at that beautiful playing field." It's something - you - they get up on world affairs somewhat on the basis of "What! Burn down Yankee Stadium?" It's just that silly.

LRH: What'd you see? Vision improved any or worse or...?

All right. Well, there are processes which burn down Yankee Stadium. We won't worry about those. We'll talk this morning about a process that brings a preclear into pretty good shape fairly fast.

PC: It's a bit better.

You've had this process; I've been talking about it all along; you've been walking around the edges of it. This changes utterly nothing I've been talking about for a long time but you must know that SOP 8, as released, is not complete. No Step listed is complete.

LRH: A little bit better.

There's just enough SOP 8 printed to do a job on psychosomatic illness and aberration and exteriorization up to a medium level of cheerfulness. That's how much SOP 8 there is out there. Every one of those steps, all the way down from I to VII, would require, for an outline of its total possibilities, at least a large chapter in a book to give everything that you really did with the Step all the way through. Those are model Steps, and the most elementary form of each Step is the part of SOP 8 that's been printed - just a mod - just an elementary summary.

PC: It's getting a little better today. I just noticed I have some vision of my own.

Somebody could very cleverly take one of these Steps and expand them, and so forth, and he'd see where they led. If he just carried it out just a Step and never figured it, he didn't figure any further, just carried the step out to reductio ad absurdum, all the way down the line, just completely exhausted it as a Step, he would see that Step I, Step II, Step III, Step IV...

LRH: Mm-hm. Well, good. Good. We won't tamper with it then. Let's just get that as a motivator. Let's get your vision being so carefully handled that nobody'd dare tamper with it - that as a motivator.

Step IV, well, as I said, it's got a sleeper in it: level of acceptance; how you have to waste. People can't even waste some of those things, do you know that? You can take as rough - rough subjects as there are in that list - some of the - even the rougher subjects - some people can't waste them.

PC: Mm-hm.

I had somebody this - a very short time ago trying to waste boredom. I swear, I could just hear his brains cracking as he was trying to waste boredom, and it was utterly impossible. And then he got around to a way of where one didn't have to have boredom and he called that wasting it.

LRH: Mm-hm. Acceptable motivator?

It - this just was an impossible problem for him because I just started him in at a wrong level on the Tone Scale, and I just did it on purpose and just pushed him into the wrong level of the Tone Scale and he ran up against a blank wall, just as though he had hit a - hit a concrete wall with a tank. And he just - you could just hear his brains crack and his ridges creak; he was having an awful time. What he had to waste was apathy and then he had to waste grief and fear, hate, antagonism and then he could have wasted boredom with great ease. But we don't go into that sort of thing because it's very hard to get people to read anything that's very long, and also there isn't any sense in putting out that much information in one fell swoop.

PC: Gee, Pm not sure.

Now, I haven't been holding back information. It's partly laziness on my part. There is no significance to me doing this, just beyond the fact that it isn't all there. But it's workably there. Do you follow me?

LRH: Well, how about - how about denying yourself vision?

On a Step I it says drill dangerous places, do this, do that and so forth. Also, I don't know whether it says it in the present issue, but it says earlier that you do all these on a thetan exteriorized - do all these Steps. I don't know whether SOP 8, as printed right now, makes that clear or not. You get the thetan outside and then you do all these Steps.

PC: Yeah.

All right, let's take Step II. Step I as printed merely says you take him to all these other places and you do this and you do that and so on. Well, it doesn't go into Change Processing; it doesn't go into shifting him from one viewpoint to another viewpoint and building up his viewpoint and so forth, but a fellow would understand that if he read the Factors. I mean, all I've been trying to do is make sure the information didn't get lost; it could be reevolved.

LRH: Well, let's get large boxes of that - self-denial on vision.

II, Step II. Obviously if a fellow just kept mocking himself up and mocking himself up and mocking himself up, if he was in pretty good shape, why, he would exteriorize; if he was in pretty good shape. But you can use Step II for a total exteriorization.

PC: Yeah.

How? Well, you have to know about anchor points. You're not going to run any degree of charge off of the case one way or the other by putting up one anchor point; you don't have space there, you have a line.

LRH: Large boxes of it. They contain the beautiful things you could look at, but you better not.

Why do you think people have communication lines to other people? It's just because, you see, the whole universe would disintegrate if there was two of each of you - if you had two bodies and if there was somebody just exactly like you - someone just exactly like you - go through the same motions - you'd get a meltdown.

PC: Yeah.

Now you've seen Matched Terminaling? Well, the two terminals disappear; I mean, they just melt each other up, that's all. That's because you have a line between those two and you've got the rudiments of a plane which is at least part of space. But a line - a line is too rudimentary So if you've got one individual and he's very different from every other individual, naturally all you'll get between individuals is lines and this makes energy. And you can compound the lines up and pack them down and stuff them into things and make energy out of them and all sorts of things. But just don't go around being two identical people.

LRH: Denying yourself looking.

Twins for instance, have lots of fun but that's merely because they're rare. If you ever wanted to look into the mental makeup of a twin, if you ever had twins as preclears, you're in for quite a time They re just melting each other down all the time. It's fabulous, and they're meshed and merged and they - their individuality is shot, and one of them hurts herself and the other one gets hurt too, and - just fabulous. I mean, they may be miles and miles and miles apart, and one of them is in an auto wreck and the other one develops a headache or ... The motor rapport is too close.

PC: Yeah.

So, being an individual is, in part, a prevention of what? Of melting the whole universe down. That's about what it amounts to. Don't have two of everything; that makes them less valuable, you see?

LRH: Big boxes of this.

Now, tells you that just putting out one mock-up, then, doesn't answer all the conditions of Step II. I was telling you now, Self Analysis, yesterday, get two mock-ups - space. Did you find that very interesting reading? Very interesting on a case level. Well, it would get a hell of a lot more interesting than that if you put up your body eight times and made space out of it. A fellow's got terrific certainty on his body; it's the first anchor point he'll get. So just put it up eight times. Some very interesting things will occur.

PC: Uh-huh.

Now, what about these people that the fellow's worried about? He knows there's a witch from Haiti hanging around or he knows he has a couple of friends or something of the sort, that keep pestering him when he's asleep, and he knows he's haunted by demons or something of the sort. He's real certain of it, isn't he?

LRH: All over the place.

Well, for God's sakes take the most certain thing of the case and make anchor points out of them, and by that I mean at least four-point space and really eight-point space. He'll make eight-point space with great ease. He's certain of it; all right, let him make space out of it. So, he's just lost his - he's just lost his child or something of the sort. He's real certain of that child; he's never been more certain. As a matter of fact if you ask him closely as he's doing mock-ups, an image of the child will keep flipping in and out on him. It'll be blackness and the child and blackness and every once in a while he'll run into this image again.

PC: Mm-hm.

Remember? Invalidation is: make anchor points uncertain. Well, he's got a certain anchor point there, and that's beautiful stuff to make space out of; so let's just have the child around in eight points of space and his concern about it will vanish. It's a very simple process.

LRH: Fill the street with them.

Somebody says, "I knew this girl. She left me, and my emotions have been off ever since." It's not - doesn't follow that he - you can't turn these on just because he says they're off. He's quite certain of this girl; he doesn't get a visio of her, but he will very shortly. Just make space with her. A lot of these things will blow. You don't have to have any motion involved in it; no motion at all involved.

PC: Yeah.

See how that works? You take things of which the guy is certain and you make anchor points out of them, and he'll fly out into that space. He'll get all mixed up with life and so forth, and he will eventually pin his hopes on one type of anchor point; he's always got one anchor point, two anchor points, three anchor points. Well, you make space out of them. And the problems concerning these things will blow, but that's almost immaterial.

LRH: All right. Fill the river full of them.

And the point is - is you start him exteriorizing; that's Step II. Just keep it running all the way out. Most certain thing he's certain of is his own body; now, there's the entering wedge on a process. So just make - put eight - eight bodies; put him around eight times. When he can finally do this stably, he'll exteriorize.

PC: Hm.

All right. Now, let's go down to Step III. And here at Step III is plain unadulterated murder. It says, "Spacation." Now, you're running concepts in brackets and that's all you have to know about it see? You run concepts in brackets. You just do a bracket - actually, it amounts to a bracket of six on space. It's a bracket of six, it finally works out to be. I'll show you what it is in a minute - the extra bracket, but we - the extra point. Just space.

LRH: Now explode them all without looking at them.

And now we reduce that all the way and we find that we run a bracket of holding the corners of the room. It doesn't matter whether you do two or eight of them; it's best to do eight of them.

PC: I can't bear to do that! Are you... Oh! Well, I can do it if I can look at the explosion.

Your pc will all of a sudden get blazingly bright, clear, golden anchor points sitting all over the place! He's liable to go around saying, "Gee, I got anchor points! I got ahhr-ahr!"

LRH: You can look at the explosion.

How long did it take you to do it? Well, it didn't take you very long to do it. Everything is dark as a coal scuttle. Next thing you know he's got bright anchor points, and he sits them all over the house like Saint Elmo's fire. He's never seen like this; he's fascinated.

PC: But you don't want me looking at the explosion.

Now somebody comes along and they haven't got good perception. I've given you some class demonstrations here; notable for the slowness of the process. But very interesting that these class demonstrations will pick up perception. Very interesting - one yesterday - pick up reaction time. Gave you another one yesterday - finding the nothing at the end of the communication line. That is the search for the other terminal, and that is the biggest search anybody makes in the universe - the search for that confounded lost anchor point. And the only reason they're stuck in the universe at all is they're trying to find that lost anchor point.

LRH: You can look at the explosion.

Did you ever see anybody lose a collar button? Well, he'll just keep at it and at it and at it and there are about five other collar buttons sitting in that doggone bureau, and he'll just keep looking and worrying and wondering and fussing about that lost collar button. That's what people are doing with the missing terminal at the end of the communication line. He actually has an impulse to make things valuable, which makes them scarce. And you make things - something valuable, you've got to have few of it, believe me. So his idea, then, is the thing that has the fewest of anything is the thing which the most is lost. The fewest - the fewest is where it was but isn't and that's really upsetting.

PC: Oh, okay. Yeah.

He wouldn't stay in this universe at all if he didn't think he'd lost something. Fellow says, "Do you want to take another airplane flight?" And the other fellow says, "No, I didn't lose anything up there." The hell he didn't. He's got things lost all over space; he's lost them on purpose so he can surprise himself when he finds them Then he's forgotten the mechanism And he has a hell of a time after a while, he just - he thinks he's lost, too. And he goes on down the line - great speed.

LRH: That's easy. Vision a little better?

Well, this is just a question of anchor points, isn't it? Anchor points or terminal points - it doesn't matter; there's a lot of classes of anchor points; there are anchor points, dimension points, terminal points and merely mass points. You know, you just got a lot of points and you throw them all together and that makes a mass and then you can make a bigger anchor point; but every point in a big anchor point is mass. Call them "anchor points" and you're just as happy as dimension points. They're just points and they make space.

PC: It's possible.

The whole problem blew apart at the moment we cracked the definition for space. This utterly, inanely simple definition for space was missing in the technology and knowledge of man - utterly missing. Now, he could have had that definition, you see, without blowing up the universe, you know. He didn't have to be this obtuse.

LRH: Mm? Possibility?

At first - he didn't have to he this stupid as to pretend to have a science of physics that depends upon space - utterly dependent upon space and then ignore the fact that it's dependent upon space and study energy. That's really "don't look at it," isn't it?

PC: I haven't checked around yet today to see if I can see close up pretty well.

And then it keeps talking about space though: things drop through space, space, space. Everywhere you go in a physics textbook, you'll discover that they're using space, space, space, space, space; it's all they're talking about.

LRH: Hm?

And a physicist's main worry is, as he boils down atoms and gets more and more atoms, and they get less and less, and so forth is that - the fact that he finds smaller units all the time and so on, and he's running out - he - he's - right now, he's getting frantic because if he can't find a smaller unit than he's found, he'll have to face the fact that he's looking at space. See that? He can't do that, so you get - by the way, your nuclear physicists of today are crazy.

PC: I haven't checked it enough to see if I can see very well.

That was the fastest route to insanity, the study of nuclear physics, if you were going to take it seriously. You find them dropping down Tone Scale like bombs. Why, these nuclear physicists are joining the "Committee for the Enforcement of Communist Liberty in America" and recommending enemy aliens for employment on secret projects and just... Ah, boy, they're really on their way. In a beautiful condition they are, for a - an auditor. How can anybody be that bad off and still live?

LRH: Oh, get being - get nearsightedness as a punishment.

You - to understand this and appreciate this you'd have to know some of these boys intimately, and if you do then you know what I'm talking about. But you haven't seen, on the streets, anybody as bad off as a nuclear physicist. In the common concourse of man, in the delicatessens and so forth, you just don't find anybody that bad off. Why?

PC: Yeah.

He is avoiding the last avoidance, which immediately tells you that his case must be in terrible condition. He's down there to a point of where he is doing a "must avoid but can't avoid." And that's like "must reach but can't reach," and so it develops an insanity; and these boys are mad as hatters.

LRH: Let's get more nearsightedness.

The one piece of technology which they have to have to resolve nuclear physics and to resolve their own madness is just that idiotically simple definition of space - a viewpoint of dimension. They cannot admit that there is a viewpoint! Everything is impartial, you see? There is dimension but they can't figure out what makes space because they can't admit the existence of the viewpoint. And so, the whole subject is lost to them because they can't admit livingness, which is source, you see? So they're looking at the ultimate effect of livingness and are reaching as far away from livingness as they can reach!

PC: Mm-hm.

Well, just of course, in this whole statement you've got, why you get technical societies just going by the boards. My God - a technical society. If any of you have rehearsed any of your space opera lately - holy God!

LRH: More nearsightedness.

They have a big tower in the town, you know, and the fellow thinks a hostile thought to the government and goes down and turns himself in for an electronic shock treatment. Why? Well, he knows it's picked up on the tower. How does he know it's picked up on the tower? Well, he's been told so, with a few thousand volts behind it.

PC: Yes.

If you think a hostile thought or an unsocial thought with regard to the town or the government of the town or the people connected therein, you see, it says here in small electrons, you have to go turn yourself in to the local police station. They just simply walk in and turn themselves in, saying, "Well, I thought a hostile thought this morning."

LRH: Lots of nearsightedness.

"Okay, sit in the cabinet on the left" and the technician presses a couple of buttons and depersonalizes them completely; in other words, takes everything they've got and throws it away and then put them in a new doll or something that goes out and shovels...

PC: Mm-hm.

I don't know how they invent work for these people to do, is what's most interesting because all the machinery does all the work. This is a this is a technical society. And that's the kind of a society which an engineer creates.

LRH: Now throw nearsightedness out in front of you and see who accepts it.

And now, you talk with engineers about the human mind and he says, "Ahh! the human mind," he says, "is subject to error," he says. "UNIVACs and ENIACs," he says, "they're much more reliable."

PC: Well, I get Aunt Millie accepting it. I think she's actually farsighted.

What's his level of certainty? You just never happen to tell him, you see - you just - just don't ever bother to tell him this one because it's a crusher; he can't quite avoid it. What dreamed up the UNIVAC and ENIAC? If you force him down onto it, he will eventually have to admit that the human mind did. And this makes the human mind cause. He either goes immediately into apathy or goes into rage. You give him a rough time when you do this sort of thing to him.

LRH: Well, just feed her nearsightedness until she's satisfied.

I don't know a single engineer working with this sort of thing who isn't, bluntly, in the early stages of neurosis, and the bulk of them I have found have been in the late stages of neurosis. All of them are having tremendous trouble on the second dynamic, particularly. They're in bad shape, poor guys. All right.

PC: Sure does counterbalance her farsightedness here. Yeah.

These lads, of course, because they're figure-figure-figure- figure-figure-figure-figuring all the time, and because they have gone past the point of any conscience with regard to anybody else; that is to say, they're not alive so they know nobody else is, you see? They've gone past the point of conscience. What they dream up as a society is an inverted level and so you get societies composed of God and so on.

LRH: Well, get her accepting nearsightedness...

This society is on the verge of sinking into a technical society and that's no game at all; that's what you call no game. It's all electrons and everything. And everything's push-button and automatic and so forth.

PC: Mm-hm. Mm-hm.

Okay. Spacation, then, embraces space. And space is simply a viewpoint of dimension. And if carried out as a process will just knock cases just to flinders because it makes the case admit that space is caused by a viewpoint! And it's a process that has just as much duress on it as an electronic shock if you'd run it hard and tough. And it doesn't matter a damn how you run this process, I hate to tell you. As long as you run it in its orderly sequence, you can be as tough as you want, as mean as you want, interrupt anybody as often as you want and really boot them around because the process simply runs out every lock that you put into it. Just - that's fact.

LRH: ... until she's completely satisfied.

And it gets the guy over the biggest hang-ups he's got which is DED-DEDEX, without thinking about them, and the overt act-motivator sequence and his unwillingness to free other beings. His fear of other beings is such that he's unwilling to free them, and so he hates to confront a solved problem on the subject of freedom of others.

PC: Yeah, I think she's about getting balanced now.

Now, how do you run a Spacation in brackets? Well, I'll come hack to that in a moment and we'll cover the rest of SOP 8.

LRH: Throw out some more nearsightedness in another direction and see if somebody else finds - accepts it.

Acceptance Level Processing is a learning process. The pc finds out that he has been tying to get himself to get mock-ups accepted and it shows him what kind of a mock-up is acceptable. Sick little boy was all that was acceptable to his parents. "What.." you'd say, "... what kind of childhood did you have?

PC: No. I suppose some of the others might -because the other people are farsighted in my family...

"Oh, I don't know, I was sick my whole childhood."

LRH: Now get the fact that the whole society wears clothes as an overt act against you.

You say, "Well, mock up a sick little boy. Mock up a sick little boy. Sick little boy. Sick...”

PC: Yes.

"Well, I can't get any mock-ups," he'll say. It's pretty ... "I really - really once in a while get one but I mean I was a sick little boy, see. It's very hard..."

LRH: That's not anything personal in that. Nearly anybody will accept that as an overt act.

"Oh, come on, get a sick little boy."

PC: Yes!

"Oh, yeah, well I get that all right, now. Yes."

LRH: Right? Got it?

"Well, who's accepting it?"

PC: Mm-hm.

"My parents."

LRH: Okay. Does that pick your vision up any?

You say, "Just mock it up again. Mock it up again."

PC: Hm.

"Yeah, the only ones that do accept it is my parents."

LRH: Now let's be very careful that we stand off and take a look at ourselves to see how we're seeing.

"Mock it up again. Again."

PC: Yes. Yes.

"You know all they wanted around was a sick little boy! To hell with them!"

LRH: You got that?

See, that's kind of an immediate sort of a reaction you very often get off of a preclear.

PC: Yes.

He learns that a medium state of sickness, amongst other things, is what is acceptable to the society; the society doesn't accept somebody who's well. And - the - you can't tell him this because it's just evaluating for him; just get him to run this process: "Now, put yourself up as mediumly sick - not objectionably sick." Just get him to put that up a few times. "Now get other people putting it up." All of a sudden he'll say, "You know, the whole society runs that way, doesn't it? It's kind of silly, but it's true. Everybody's got to be just a little bit sick so they're not too dangerous."

LRH: Now let's stand off on the other side to see how we're seeing now.

In other words, he learns also that he has to hold back his own brightness, his own recognition, his own lookingness. You can teach him this with Acceptance Level Processing.

PC: Oh, God!

Now, let's have "What kind of lookingness..." (we were running this yesterday), "What kind of lookingness is acceptable to Papa? And what kind is to Mama?"

LRH: Good. Good. All right. And now let's be on the first side to see how we're seeing. What are you looking at?

Normally, if a case is really bad off; he'll come - always come up with this: "Gee, no kind at all!"

PC: It's sort of down this way.

Case is stone-blind. Now, this is - what is his perception level - the level of acceptance of his perceptions? Well, this has a tendency to sort of clear the air for the ease and makes him kind of understand that maybe - maybe he wasn't the beast, the dog, the bum that everybody wanted him to believe.

LRH: Oh? Now let's look at your body to see how you're looking.

"Now, let's mock up an unsuccessful man." See, and he mocks this up and he mocks this up and he mocks this up, well, until you ask him, "Who - who's that acceptable to?" He's telling you his life has been very unsuccessful. Who's he acceptable to? Not his father, not his mother. Why, his grandmother! Bums coming to the rear door were the only ones who ever got fed and the only people she was ever nice to - tramps. Well, boy, you'll blow a whole character right there like you pointed a demi-cannon at him, see? There's nothing like this kind of recognition to teach your preclear what he's been up against, so that he will be willing a little more willing to be shot around.

PC: Well, I'm seeing how it's looking.

Now, he always will go on figuring - unless you run something like this - there's something really wrong with him that he's still hiding from the auditor; he's still hiding some- something really wrong with him, because, and so on.

LRH: Oh, how it's looking. Good. Now, let's throw "looking poorly" out to see who accepts that.

Of course, the auditor's level of acceptance is assumed to be very, very sick and aberrated people, so very often you'll get somebody who is very anxious about being accepted, so they sit down on the couch and the first doggone thing you know they - they're just madder than hatters. Doesn't matter how computational this is, the point is that the acceptance level of the auditor, according to the preclear, is somebody who's madder than a hatter. And they want processing so they would simply act crazy. See how that is? You get this every few cases. The fellow is acting much worse than he is. Yeah, you'll get it - very interesting.

PC: Well, my mother doesn't seem to mind too much.

And when we get to V, of course, we get Exteriorization by Scenery as simply Change Processing done and done and done and done and done and done. And it finally turns out to be real.

LRH: Hm? Your mother what?

And VI - well, I don't know any handier process in recovering some certainty on the fact that he's been alive and by that he may be able to adjudicate that he will be alive; that's all we're really trying to do with it one way or the other.

PC: Yeah, my mother kind of caught that one as it went out.

And he can't have any anchor points in this universe so let's have him have some anchor points in his own universe, so he can locate himself in his own universe, anyway. You'll find that process III run too hard on a very low Step case will just butcher him for a while. They'll feel their - feel their wits staggering, so you don't want to push it too hard. This fellow looks pretty shaky to you, well, give him a little bit of Self Analysis, anyhow. Let him find the room before you lower the boom on him.

LRR: Okay. Well, let's throw it out some more to her.

Now we go into "What room?" we get just contact processing which is physical contact processing and we have talked a great deal about what you can do with various contacts, various viewpoints, people sitting in one chair and the other chair, and you can go on and on with this process. And it gets back to Step III again. All of this stuff keeps coming home to Rome, and Rome is Step III, because it has to do with space.

PC: Mm-hm.

There isn't any energy, as such, but there is reduction and increase, vanishment and creation of space; holding space steady and static - there's lots of space. That E-Meter over there is made out of something which is there because it doesn't have any space in it compared to how much space it could have in it. So you have metal. You see.

LRH: "Looking poorly."

And what's astonishing to the physicist continually is the fact there's much more space in this universe than there is matter, and he looks in the electron and boy he looks at those light-years between the electron and the proton in comparison to the size of the electron and proton and he gets really astonished. It's lots of space in the doggone electron. So he's scared to really look too close because he'd find it was all space: because he'd look in the electron and he'd find out that there was a lot of space inside the electron. He'd look in the proton, there's lots of space inside of the proton.

Throw out some more "looking poorly."

Now he finds that this space, again, is demarked by "yumptrons" or something of the sort. They're probably - probably would be called "peditrons" or it would be something learned like that and he'd look in there and he'd discover that what these things were composed of was lots of space. In other words, he's just looking at space, space, space, space, space and each time finding the dimension. And he thinks - he thinks he's looking for something. He isn't looking for anything! He's looking - you see, he isn't looking for any thing; he's just looking for space!

PC: Yeah.

And if the guy would only suddenly relax and say, "Gee! I'm looking at a lot of forms of space," his problems would fall away, they'd be solved. He's looking at forms and arrangements of spaces.

LRH: Got that?

Male voice: What he's - trying to do is prove he's not a view point.

PC: Uh-huh.

You're right. You - that's a very good summation of what he's trying to do. Trying to prove he's not a view- viewpoint, that's right. He has got to waste himself as a viewpoint to that level and prove he's not a viewpoint.

LRH: Okay. How's your perception?

You ought to see those guys optically. You'd think that they were all equipped to go on the firing range with optical range finders when they start polishing up their glasses.

PC: I was pausing to see how one perceives. I'm always sort of scared to take a look and see how I'm seeing.

Well, it's all gotten down to space. Now, let's take space in a bracket.

LRH: Who is? You scared to take a look.

First, let's take the guy's own space and the other universe's space and thus dispose of two universes simultaneously. And it would go like this: We would have the fellow - let's just use eight anchor points just for the dickens of it - preclears don't have to have just two, there's no scarcity of them. And this works, by the way, very well if you just start out using eight anchor points. You don't have to work up to eight. But occasionally, if you ran into a case that was very resistive on the thing, theoretically and only theoretically, it might be best to start out with two, three, four and work him on up to eight. Personally, I wouldn't do that; I would just tell him to get eight anchor points, and he'd gasp and fume and fuss - and say, "Well, get eight black ones in the blackness."

PC: Yeah.

"Oh-ho-ho! I can do that." He can do that! What do you suppose he's doing?

LRH: ... to see how you're seeing?

PC: Yeah, yeah.

LRH: Well, find out that it's much better not to.

PC: Yes. Yes.

LRH: Let's not be curious. Okay. Now can you see how you're seeing? How about reaching and withdrawing from present time now, from where you are.

PC: Yeah.

LRH: You do that easily?

PC: Mm-hm.

LRH: Do it rapidly.

PC: Yeah.

LRH: What's the matter?

PC: Well, I think what I'm doing is reaching and withdrawing from present time.

LU!: Good. Good. Good. Does that change your perception any?

PC: Not noticeably.

LRH: Let's really concentrate on how you're perceiving now Now this is serious. This is real serious. Now let's be over on one side of you and take a look at yourself and see how you are seeing. Now let's trace out the optic nerve in the eye. Now let's get the machinery for seeing inside the head. You find some?

PC: No, I...

LRH: You don't? Well, put some in!

Parabolic mirrors and radar sets; start shoving them into the head.

PC: Yes.

LRH: Shove more of them into the head so the head can see. Got it?

PC: Yeah.

LRH: Put parabolic mirrors behind the body.

PC: What are parabolic mirrors?

LRH: Just big mirrors that are curved.

PC: All right.

LRH: You got that?

PC: Mm-hm.

LRH: All right. Now start putting glasses on the face.

PC: Mm-hm.

LRH: Let's put more glasses on the face.

PC: Yes.

LRH: More glasses.

PC: Okay.

LRH: More. More.

PC: They're here now.

LRH: Okay. Now put those aside carefully and save them and put more glasses on.

PC: Yes.

LRH: More glasses.

PC: Yes.

LRH: More glasses.

PC: Yeah.

LRH: More glasses.

PC: Yeah.

LRH: Now give one pair back to your parents.

PC: Yes.

LRH: All right. Put more glasses on.

PC: Mm-hm.

LRH: Now, finally, after you've put on twelve more pairs.

PC: Yeah.

LRH: ... put on twelve more pairs.

PC: Mm-hm.

LRH: Get your parents being satisfied now. Get them both smiling happily.

PC: Not my old man.

LRH: Can't you get him smiling happily?

PC: Not at glasses, no.

LRH: Not at glasses?

PC: No.

LRH: What would he smile happily about?

PC: Probably my winning the Olympics or something.

LRH: Oh. Well, just present him with your case of medals on having won the Olympics. That's easy.

PC: Yes.

LRH: You got those?

PC: Mm-hm.

LRH: Did that make him smile happily?

PC: Yeah!

LU!: Good. You finally made him happy. All right.

Okay. Now let's be well up and take another glance around.

Now get a finger snap in front of you and then hear it.

PC: You mean do it?

LRH: No. Right where you are - mock one up and then hear it.

PC: Yeah.

LRH: Fairly easy?

PC: Mm-hm.

LRH: Well, make the sound of gum popping and hear that.

PC: Yes.

LRH: You got that?

PC: Yeah.

LRH: More gum popping.

PC: Mm-hm.

LRH: Now a cat spitting.

PC: It's a little harder.

LRH: Really?

PC: Mm-hm.

LRH: Oh? Well, now get the sound of the last ...

PC: Oh, I just got it.

LU!: Well, good.

PC: Yeah.

LRH: You know why, too. Get the sound of the last drop of soda.

PC: Yes.

LRH: Nearly everybody in the class got that.

Okay, now get a backfire of a truck.

PC: Yeah, truck noise. I've never heard one backfire, knowing it was a truck.

LRH: You never heard one backfire?

PC: Uh-uh.

LRH: Well, get any kind of a backfire. What do you mean you never heard one? Ohhhh! This is what we're trying to do, huh? Well, make a truck backfire "Yankee Doodle." Come on, get it backfiring... You can get that, can't you?

PC: Yes.

LRH: Well now, let's get you, as a punishment, having to agree with the MEST universe.

Now more, as a punishment, having to tell the truth all the time. Get you telling the truth.

PC: Yes.

LRH: ... for years and years...

PC: Yes.

LRH: ... and years, and telling only what really happened.

PC: Yes.

LU!: Years and years...

PC: Yes.

LRH: ... telling what's really happened. Now, is that sufficient overt act?

PC: Overt act! That's a motivator!

LRH: Against you.

PC: Oh! No.

LRH: It isn't, huh? Not having to tell the truth? You really should tell the truth.

PC: Yes.

LRH: [to audience] All right, just as an aside which the preclear is not supposed to hear, there went perception. You get how we caught that? And that one you always want to look for. She says "I never - I don't think I've ever heard a truck backfire that I knew it was a truck." See that? She's putting facsimiles up there and trying to listen to facsimiles - she thinks.

PC: Mm-hm.

LRH: All right. Now let's put some facsimiles up there with the most beautiful sonic in it that everyone ever listened to and throw them into a fire without listening.

PC: That's all right, I've never heard sonic in my life anyway.

LRH: Well, let's waste it.

PC: Okay.

LRH: Now let's waste a voice by not speaking.

PC: Mm-hm.

LRH: Let's get your parents wasting voices by not speaking.

PC: Mm-hm.

LRH: Let's get you wasting voices by not telling something to turn into MEST.

PC: Mm-hm.

LRH: Let's get you wasting voices by practicing telepathy.

PC: Mm.

LRH: And now let's get a silent voice and throw it out in front of you a few times.

PC: Yeah.

LRH: Who's acceptable to it?

PC: Dad.

LRH: Good. Let's feed him some more silent voices.

PC: Yes.

LRH: Feed it to him until he's happy.

PC: He's not getting happy, he's getting annoyed at this point.

LRH: Oh, he is. Well, at least bring him up Tone Scale till he's real happy.

PC: Not with silent voices. At this point he wants to hear again.

LRH: All right. Let's get quiet voices.

PC: Yeah.

LRH: And let's get deafness on his part. Throw deafness out in his direction.

PC: Yeah.

LRH: More deafness.

PC: Yeah.

LRH: Now get deafness being thrown to you from him.

PC: Mm. I can throw; it doesn't seem to come very naturally.

LRH: It doesn't, huh?

PC: No.

LRH: Get no voice being thrown to you. Get silence being thrown to you, large quantities of silence.

PC: Mm-hm

LRH: More silence. Get silence on interesting subjects being thrown to you.

PC: Yeah!

LRH: Yeah, more silence on interesting subjects being thrown to you.

PC: Yeah.

LRH: [to audience] We obviously hit that acceptance level.

More silence on interesting subjects.

PC: Yeah.

LRH: By the way, were you ever Puck on the time track?

All right. Now let's get a finger snap and listen to it.

PC: Yeah.

LRH:: A truck backfiring "Yankee Doodle."

PC: Yes.

LRH: Got that?

PC: Yeah.

LRH: Okay. Now get "O Sole Mio" being played on a violin.

PC: Oh, God!

LRH: That's an overt act against you by society.

PC: Oh, I get it.

LRH: Played by Jack Benny. Now throw out classical music and operatic music in front of you.

PC: Yes.

LRH: Who accepts it?

PC: Hm. Well, I've got Dad accepting some.

LRH: Good. Let's give it to him until he's real fed up with it.

PC: Yes.

LRH: Okay. Now get the sound of a buttercup growing.

PC: Mm, yeah.

LRH: Get it exploding.

PC: Mm-hm.

LRH: Now get the sound of glass breaking.

PC: Yeah.

LRH: Is that pretty good?

PC: I love glass breaking.

LRH: Good.

PC: The sound of it, yeah.

LRH: Good. Real tinkly.

PC: Mm.

LRH: Mm-hm. How's your sonic coming? Now, mock up a facsim- what? Horrible?

PC: No. No.

LRH: Is it faint or is it getting better?

PC: I got a good, strong impression.

LRH: Is it getting better?

PC: Mm-hm.

LRH: All right. Mock up a beautiful facsimile, just gorgeous, with the most beautiful sonic in it anyone ever could have heard. Got one?

PC: Yes.

LRH: Have it be completely silent as an overt act against you by facsimiles.

PC: Yeah.

LRH: Get a whole bunch of facsimiles standing around refusing to give.

PC: Crack! Yes.

LRH: Now get the idea you deserve it.

PC: Yes.

LRH: Okay, throw them all on the fire.

PC: Mm.

LRH: ... without hearing them.

PC: No, no.

LRH: All right. Now, this time get the sound of a flag whipping in the breeze.

PC: Mm-hm.

LRH: Impression better?

PC: Yeah.

LRH: Now, here we go - there's no reason to turn this on. Some other auditors could have a good crack at this.

[to audience] You get the idea of the interplays, acceptances and acceptance levels, and so forth.

And you noticed the first moment that we got into a dangerous sound, such as a cat spitting, that might have been accompanied in childhood, and so forth, that we got an immediate balk on it. And then we got into agreement with the past: "must be truthful."

Now, this truthfulness is all right except all it - all people mean by truthfulness is you must say - "anything you say happened must have happened before you can say that it happened," which is an enforcement of the time lag. This is completely irrational, by the way. It's not even reasonable. It slows down more communication channels; jams more communication channels.

If people have to have reasons, you should always give them - according to life itself - something which snaps in and makes the whole thing believable. Don't give them a reason which is an agreement with the past because they won't believe it.

If you ever want to get into a complete challenge situation, just be very careful to enumerate exactly what happened. It's never reasonable because life isn't reasonable in that way. It doesn't go like a continued story or a plot.

But America is quite fictionized and it's - keep insisting - it keeps insisting that everything that has happened in the past is - if accounted for as itself - is quite reasonable.

There's quite a big difference between that and lying. Lying to effect an injury is socially objectionable - lying on an entheta level, see? That's an entirely different thing than quoting the past. But people have these two things identified. See, they've got recounting exactly what happened identified with lying in order to create entheta. You know, perverting facts in order to create bad feeling. Perverting facts in order to cut affinity lines. We were talking about affinity this morning. All right, that's what lines were. Well, that's what they object to.

But if you come in and you say, "Well, I was - drove in and this and that happened, and so forth, and as I came into town, why, this and that occurred and it occurred just exactly in this fashion," you not only don't have any audience but it probably isn't reasonable, because people's reason does not fit very well with the past. They can't even look at the past, so they take some reason out of a storybook or something as the acceptable reason.

"Well, the reason they parted," see, "was because..." and so on. And then you go ahead and give the exact reason as to why they parted. Really, you recount the blow-by-blow description of exactly who parted from whom and why, and that sort of thing. It leaves people wondering what the significance is. But if you - but if you simply say, "Well, they parted because, after all, it got to an intolerable situation. She had this mania for eating peanuts in bed and he finally got shell shocked. And so they had to separate and that's all there is to it." Why, people just dismiss the subject from there on; there's no more significance to it, you see. It's a fast way of getting rid of significance.

If you want to clear a time track, why, you'll find that's very acceptable conversational level if somebody's terribly serious and they're getting more and more serious about this horrible parting that took place. That - that's dead; that's past.

Because it's a big trick, see, it's a big trick. "You must recount exactly what took place," makes a person, eventually, unable to change his past. He can't suddenly say, "You know I was a - I was a drummer boy up till 1920 and then I went straight." Well, this is neither reasonable nor anything else, but if the preclear can say this with entire conviction, simply put that on his track, and so forth, it gets around the fact that his papa beat him incessantly and consistently up to the time when he was ten. And as a matter of fact, a lot of fellows do this.

But the point is that an agreement with the past makes one have to recall from the past only. And that's senseless. It's just much easier to recall something you just put on the time track because you just thought of it. See how simple that is to recall things? And far from insanity, this is close to sanity, an instantaneously created universe at any given instant.

Now, this is nothing that you would advise children to perform because you'd simply never find anything out about what happened and the children would be happy, and so forth.

You see, it's terribly important exactly what streets the child walked home on. The only thing that's objected to in a child lying - the child comes in and says, "No, Mama," we get into havingness again, "No, Mama, I have not seen that ten-dollar bill." Chomp! chomp! chomp! on the candy. See, and the kid measured it wrong; he got havingness mixed up with the past. You can't have any past anyhow, the truth of the matter is, without getting stuck with it. That's not the kind of havingness you want.

Now, you're trying to bail somebody out of the past. You can just run Reach and Withdraw on the past and get someplace.

Now, far from continuing this thing out ad infinitum, there's an example of Acceptance Level Processing.

But let's take a look here at John.

LRH: Now, let's accept a body, John.

PC: Mm.

LRH: What kind of a body is it?

PC: A gentleman. Not a gentleman, but a man.

LRH: A man. A gentlemanly body?

PC: No, not necessarily.

LRH: Well dressed?

PC: No.

LRH: No? How about - is he dead?

PC: No, he's alive.

LRH: Alive, warm?

PC: Yeah.

LRH: Real warm?

PC: Yeah.

LRH: Animated?

PC: Yeah.

LRH: Agile?

PC: Yeah.

LRH: Good looking?

PC: He's fair.

LRH: Real good looking or just fair - passing fair?

PC: Passing fair.

LRH: Girls like him?

PC: I didn't ask him.

LRH: All right. Would you accept this body as yours?

PC: Oh, yeah.

LU!: All right, let's put it on.

PC: I did.

LRH: Now let's take another one, more gentlemanly.

PC: It's not ungentlemanly. I didn't mean that. I just meant a male body.

LRH: Oh, well, all right. Let's take this plain, old, common, ordinary, run-of-the-mill male...

PC: That's right.

LRH: .. body and put it on.

PC: Right.

LRH: Another common, old, ordinary, run-of-the-mill body and put it on. Another one. Kind of used-up body.

PC: No.

LRH: No? All right. Run-of-the-mill, put it on. Get this guy now and put him on, that's awful average.

You don't like him?

PC: Well, I wouldn't say that but I'll put him on.

LRH: Well, you'll put him on. And get this guy above average, now.

PC: That's right.

LRH: And get the guy and put him on, that's real intelligent.

PC: Body?

LRH: Uh-huh, a body.

PC: Okay

LRH: "The body," that's real good. Come on, let's put on another one of him.

PC: Okay

LRH: And let's put on another fellow that's very acceptable.

PC: Yeah.

LU!: Another one.

PC: Yeah.

LRH: Another one.

PC: Yeah.

LRH: Another one.

PC: Yeah.

LRH: And let's kind of pat them all in now that you've got them all there.

PC: Okay.

LRH: Now, all right. Let's get another one.

PC: Yeah.

LRH: Another one.

PC: Yeah.

LRH: Now let's mock up in the future a lot of bodies to use in case this one wears out.

Now hide them so nobody else can find them.

PC: Yeah.

LRH: Hide - you got that?

PC: Yeah.

LRH: Now, let's mock up a lot of babies that'll grow into acceptable bodies.

PC: Will they?

LRH: Oh, a big question on it. Well, let's mock up enough so some of them will.

PC: Oh, I see, I see, yeah.

LRH: You got that?

PC: Yeah.

LRH: Okay. Now let's hide them.

PC: Yeah.

LRH: Okay. Now let's mock up a lot more babies that will grow into acceptable bodies - on some small percentage, of course.

PC: Yeah.

LRH: And let's mock up enough parents and nursemaids to take care of them.

PC: What do you want with all these people?

LRH: Well, you're hiding them, I'm not.

PC: Yeah.

LRH: All right. Hide those now.

PC: Yeah.

LRH: Okay. You got them?

PC: Mm-hm.

LRH: All right. Now, just as a little experiment, how about being up... You like to get above your body or back of your body, now?

PC: It's immaterial to me.

LRH: Well, be wherever you like, but exteriorized. You make it? Hm?

PC: No.

LRH: Okay. Let's put on a skeleton.

PC: All right.

LRH: You got that?

PC: Yeah.

LRH: Put on another skeleton.

PC: Okay.

LRH: Now let's have somebody else accept a skeleton.

PC: Well, nobody wants one.

LRH: Nobody wants one? Well, then you accept a lot of them.

PC: Okay

LRH: You can accept lots of them?

PC: I reckon.

LRH: All right, let's get a lot of those skeletons.

PC: I already got a lot.

LRH: Well, get a lot more. All right. Put all those on. Did you do that easily?

PC: Yeah, they're coming from all directions and Pm putting them on.

LRH: Good. Good. Let's have them kind of moldy as they're coming in there now.

PC: I can give it to you better than this if that's all right.

LRH: Go ahead, give it to me better than that. What is it?

PC: Well, they - I can always get what collects in the bottom of a communal grave after about two months, you know.

LRH: Okay, have that hanging on to them. Got that hanging on to them?

PC: Mm-hm.

LRH: That's real good.

PC: No.

LRH: Get somebody else accepting it. Just throw it out in front until somebody accepts it.

PC: The garbage man, I guess.

LRH: All right. Give it to the garbage man.

PC: Yeah.

LRH: Okay, let's put on a few more of these skeletons.

PC: Yeah.

LRH: Now let's have a little decayed flesh hanging on to the skeletons.

PC: Okay.

LRH: Let's get the odor with it.

PC: I can get an idea of it.

LRH: You got the idea of the odor? All right. Let's keep putting them on there.

Now let's have skeletons with bones missing.

PC: Okay.

LRH: Now the skulls missing.

PC: ... Okay.

LRH: Skeletons with skulls missing.

PC: Yeah.

LRH: Good. Now skeletons with grave clothes hanging on them in tatters.

You don't like those grave clothes?

PC: No!

LRH: Well, have them...

PC: I don't know what they look like, but I don't like them.

LRH: Oh? Well, how about having kind of decayed grave clothes?

PC: Yeah, I don't like those either.

LRH: Well, just have the pattern of the clothes still - imprints of clothes still stuck on the bones.

PC: Well, I'll bring the clothes if you say so, but I don't have to like them.

LRH: You don't have to like them, huh? Well, let's have perfectly good clothes on them.

PC: All right. A suit.

LRH: Huh?

PC: A suit.

LRH: You've got suits on them?

PC: Yeah.

LRH: All right. Let's get lots of suits on them. Okay?

PC: Yes.

LRH: How about bringing the coffins along?

PC: I got it.

LRH: Okay. Let's put on coffins for a while.

PC: Mm. hm.

LRH: Let's put on more coffins.

PC: Yeah.

LRH: And more coffins. Oh, lots of good coffins. Are they pretty coffins or ordinary coffins?

PC: They're not pretty.

LRH: They're not pretty. Kind of grisly?

PC: Black.

LRH: Black?

PC: Yeah, and they - they do have a little scroll work around the edges.

LRH: They do have, huh? Well, get that filled with mud.

PC: Ah, sure, why not.

LRH: Okay. Now let's put grave mud around the coffins as you accept them.

PC: Grave mud.

LRH: Mm-hm. More of them. More of them.

PC: Yeah. I could wash them though, if you want me to.

LRH: Yeah. Well, just get them all in grave mud.

PC: Okay

LRH: All right. Now have it dry mud, parched.

PC: Parched?

LRH: Mm-hm. You know...

PC: Yeah, yeah.

LRH: ... real baked dry, real hard, and so forth.

Now, let's get skeletons again.

PC: Mm-hm.

LRH: You - got enough skeletons?

PC: Hell, I had enough when I started.

LRH: Well, get just dust, then.

PC: Grave dust?

LRH: Mm-hm.

What happens as you do that?

PC: Well, I was trying to get the idea I might want it, but I don't.

LRH: You don't want it at all. Well, okay. Let's just get plain, routine dead bodies. Can you?

PC: Well, I get them.

LRH: Well, get a few of them. Now get whole dead bodies.

PC: These were whole.

LRH: Hm?

PC: These were whole.

LRJ: Mm-hm. Okay. Get bodies that are just dying. Get a lot of those - bodies just dying. Huh?

PC: Yeah, last gaspers.

LRH: Last gaspers. Good. Now let's get a lot of death rattles - goes along with that.

PC: I'm already getting those.

LRH: Good. Good. Good. All right. A few more.

PC: Mm-hm.

LRH: Now, let's get - let's get people who are about to die.

PC: Great pain?

LRH: Mm-hm.

PC: Mm.

LRH: Great pain, that's right. A lot of those - about to die. Now, let's get people who are just about to have an accident which will give them great pain which will kill them.

PC: Mm-hm.

LRH: What happens as you do that?

PC: Well, I Sort of got to figuring out what kind of accident they ought to have, so I got them - then I decided, well, hell, I'll get them about to have one and then I blew it there.

LRH: Okay.

PC: They're just healthy people, that's all.

LRH: They're just healthy people, huh?

PC: Mm-hm.

LRH: All right, let's get a lot of those. Now let's get them - that are going to live for a long time.

PC: Mm-hm.

LRH: You got that? Good shape?

PC: Mm, well, no, not particularly.

LRH: No? Well, let's just get people that are going to live for a long time. Now, let's go to - get people that are going to live a relatively unhappy life for a long time. Got that?

Now, let's get people who have been terribly offended by life.

PC: What would I want with those?

LRH: Get a lot of them.

Now get a lot of them that are going to be happy about life.

PC: Yep.

LRH: Now get a lot of them that are very attractive to women; and get the women who are attracted to them. You do that?

PC: Well, I guess I could if I knew what kind of guys were attractive to women and what - what their taste in women was.

LRH: Well, get women that just confound you by being attracted to the guys that you were getting.

PC: All right. All right. I'll give it a try. I'll say that they're attracted to women.

LRH: No, the women are attracted to them.

PC: That's - oh, I get the vision.

LRH: Mysterious - get this mysterious quality.

Well, get all these bodies with this mysterious quality which attracts the opposite sex. Got them?

PC: Yeah.

LRH: Okay.

PC: I got all kinds of guys.

LRH: All kinds of them. Well, just keep getting them and putting them on.

Okay. Now, just as a little experiment here, let's be a quarter of an inch away from the body. You do that?

PC: I don't seem to.

LRH: You don't seem to. Well, get the fact that you can control the body from where you are.

PC: Partly

LRH: What do you mean, "partly"?

PC: There are some things about it I don't control to my satisfaction.

LRH: Oh, really?

PC: Yeah.

LRH: Hm. Okay.

[to audience] There is an indicated channel of processing right there. Whatever else this has done, simply led up to a very good diagnosis.

Okay. You got all these bodies?

PC: Yeah.

LRH: All right. Smash them in and explode them.

PC: Mm-hm.

LRH: Did they explode real good?

PC: Yeah, a little white burst in the stomach.

LRH: All in the stomach? Okay. Now let's get the two rear corners of the room.

PC: Mm-hm.

LRH: Got them?

PC: Mm-hm.

LRH: All right. Let's hold on to them.

What happens if you do that?

PC: Well, I have a hard time holding them.

LRH: Really? Harder than usual?

PC: No.

LRH: Easier than usual?

PC: No.

LRH: Just about the same?

PC: Yeah, I found out something the other day: that I wasn't holding the corners, I was holding the memory of them.

LRH: Who told you that?

PC: Nobody, I found it out.

LRH: All right, let's hold on to the memory of them for a while.

PC: I'm not now.

LRH: Oh, you're not doing it now?

PC: No.

LRH: Well, good enough. Good enough. Just hold on to those corners. Okay. Let's come up to present time.

PC: The way it - the way it is - I'm getting better at it, but I have to keep putting my attention back on it.

LRH: Hm.

PC: Because I found out that by looking at the wall - kind of trying to, through the side of my head - that the attention just went that fast off of it.

LRH: Hm.

PC: And then I'd sit there for a long time thinking I was looking at it, just remembering it.

LRH: Mm-hm.

PC: Oh, for crying out loud!

LRH: Click, bang!

[to audience] Okay. Well, now, here is your indicated processes. But remember, these are processes which better expose mechanisms than they are processes which go directly to the root of a situation and clear it off.

These are all usable processes, you understand that, and they're not necessarily the recommended processes. It's again over on 8-L - let's learn about life. Okay?

Now, in any such process, you are dealing, of course, with a relatively subjective reality. Remember, the preclear only takes so much of it. Remember also that you can build back all the dynamics with this process, and so on.

This process which I was using on recovering perception is not a subjective process, however. We were combining, in this case, Acceptance Level Processing and perception. I kept asking her, "How does it look? How does it look?" Well, it keeps putting her attention out. But it also keeps putting the question into her mind there might be something wrong with her looking.

So, why don't you take me here, as questioning how you're looking, and take my body and flip it around - put it on several times as the answer to how you're looking.

You got that? Tell me, did you feel any uncertainty lift on it?

PC: Not on that, no.

LRH: Who is it that will do that?

PC: What?

LRH: Let's mock up any kind of a figure out here that's uncertain about how you're looking and put it on.

PC: Every relative I've got.

LRH: They're all uncertain about how you're looking?

PC: On sense of seeing, yeah.

LRH: On sense of seeing? Well, Q and A. Q and A while exteriorized. Now let's put these relatives as the answer to how you're looking, on you as a thetan, every time.

PC: Yes.

LU!: [to audience] You can run all the subjective processes you want on somebody that's outside. It won't do anything bad. Get them?

PC: Mm-hm.

LRH: One after the other. Got them?

PC: Mm-hm. I see more I can run through. There are quite a few of them.

LRH: There's quite a few of them.

PC: Yes.

LRH: Does that bring up a sense of anything?

PC: Yeah.

LRH: Yeah. Q and A.

PC: The sense of idiocy, yes.

LRH: Huh?

PC: A sense of complete idiocy.

LRH: Yeah.

[to audience] There's a thousand ways to change a thetan's postulates; a thousand ways to change them, just thousands of ways. Actually, the only process, in the final analysis on the thing, is the change of postulate.

Many times a thetan is inhibited in changing postulates by the fact that he has to weave his way through communication systems. So actually, it is the communication system itself which is impeding him.

The only thing you have ever been punished for, really, actually, was Communicating. If you were punished for no communications, it was because you'd communicated in the first place. Got that?

The only thing you were ever punished for was Communicating. That's the only thing this society ever punishes anybody for is putting out an anchor point. And the whole universe is violent on this subject. "Don't put out any anchor points around here!" Because, of course, if you start putting out anchor points, there wouldn't be any universe and you'd have your own and they'd lose a recruit.

How are you held in the trap? Just that - anchor points.

Okay?