Merely wanted to remark to you that your problems of exteriorization, your problems of getting out of or into a location, are the same.

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.

The thetan has problems in getting into and out of locations and you, with a preclear, have problems in getting him out of and into locations.

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.

The very best processing, then, which can be done on an individual is merely to train him to get into and out of locations. That's the very best drill and the very best process that can be done.

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.

Now, a note came in from Phoenix which I found interesting. In using Formula H, an auditor out in Phoenix reached basic-basic and turned on sonic and visio on the whole track. It took him about ten hours with the case. And he did nothing but reach and withdraw from, and get basic-basic to reach and withdraw from him. He just spotted this using the theory in the first book, you see, and used Formula H - Reach-Withdraw; Grasp and Let Go - and for, specifically, the first aberrative incident on the case. He just specified this, you see, and got reach and withdraw from it - in about ten hours.

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.

I suppose - I hope - he interspersed this with some Six Steps, something of the sort. But the fellow's track blew open and in the occluded areas which remained on the track, the fellow knew everything that was in them. He was trying to still clean them up one by one, but he was making good progress at this. He turned on full sonic and visio by running Formula H on the first incident of pain and unconsciousness on the bank. Interesting technique.

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.

Ross didn't tell me who had done it there. He merely said that one of his auditors had simply sat down when the PAB came in and remembered basic-basic and had suddenly gotten "reach and withdraw for basic-basic" and run it about ten hours and this result had happened. That's a whole series of one case and he didn't tell me really what the state of the case was before he began this. But I would presume that the case had no sonic or visio.

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.

Now, what you'd be doing there would be plotting your way through a thinking machine. The thinking machine is composed of a life track.

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

I wrote a book in 1938 and probably will never completely recover from having done so. And I gave this book the working title - the mask you might say - of Excalibur. And it was quite a book. It contains, in essence, most of the theory which has been later used. But it didn't have it in any kind of a transmittable organization.

Male voice: Would put the preclear in apathy.

Every once in a while - the book has sufficient orienting factors in it that every now and then I am struck by the fact that we have gone into too deep, technical communication networks concerning this material. And I go back and reevaluate the material against the original postulates in that 1938 book and all of a sudden we lose a lot of technology suddenly and gain a lot of workability.

.. 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.

It would seem to indicate, if the reductio ad absurdum were followed, that everything would simply boil down to one flash. And this would be very nice to contemplate but I have not found this really taking place.

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.

I have, however, found that with the Prelogics, the fact that the mission of theta is to create space in which to locate matter and energy - the Prelogics are a very definite advance. There's the theta-MEST theory and those. They're very good evaluating theories. Extremely good.

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

But in this original book there is something that you should know: A man is as sane as he considers himself dangerous to his environment. A real good one for you. That is a not entirely integrated statement. But it is an entirely workable statement.

Male voice: It feels much more alive.

A man is as sane as he considers himself dangerous to his environment. A woman is as sane as she considers herself dangerous to her environment. Follows with a corollary that a person is as bad off as he considers himself in a dangerous environment. Follow?

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.

Insanity, then, would be that condition pursuant to the consideration of the individual that he is in a dangerous environment, so dangerous that it cannot ever be coped with now or in the future and probably in the belief that he'd never coped with it. See, that would be the complete "gone apathy" about the whole thing.

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.

Well, now let's integrate that with regard to the fellow caught in his body. He is not dangerous to his environment as much as he would like to be and he considers his environment dangerous to him. If you remember this as an auditor - if you remember this, actually, as a case, your problems have a tendency to sort of wither away.

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

Is the environment dangerous? Well now, the environment - if the environment, at this instant, is demonstrably not dangerous, this universe has this additional threat - this universe poses the threat that one can be struck or influenced by things which are now on the way; they happened yesterday, you see, and the beam is still traveling and you cannot perceive it until it arrives, see?

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

Well, that is a continuous threat in this universe. It's a continuous threat right here on Earth on this magnitude: that there is a meteor or a comet of some vast size headed right straight at Earth and it is traveling well above the speed of light and is therefore not perceptible and would not be perceived until, all of a sudden, in the calm of the business day, there's a puff and a flash all around and everything is gone. You see this? There would be no warning. And danger is monitored by this phrase: "No warning."

PC: Okay.

That which is most dangerous is that which acts without warning. And if you will notice, an individual who does not consider himself completely ferocious to his environment always gives ample warning. He argues and threatens before he strikes.

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

Let's take the career of the "Brown Bomber." He fought his way instantly, almost, into the heavyweight title, by doing what? He struck without warning. He was fairly fast. There was no telegraph to his blow at all. He'd step into the ring. The opponent would step out of his corner. There would be a moment of size-up and then there would be a heavy crash. Actually, the box office for this fighter, Joe Louis, started to fall off because people, fight after fight, would simply go to the fight to see an opponent leveled with a blow. That was all. Without warning. Well, of course, there was actual warning. The other fellow knew that he was a boxer; he knew he was going to get struck; he knew he himself was going to do some striking. But I would like to see the condition of some of the boxers who fought Joe Louis. Must have been horrible.

PC: All right.

All right. So the "Brown Bomber" starts piling up in his career a number of overt acts. And these overt acts get higher and higher. And so we have more and more warning on the part of Joe Louis. He spars longer and he starts to move out of the first round into the second round. And just before his final crash from the crown, he actually fought a complete fight without a knockout. All right. There is your extensional warning, see? He's warning longer and longer and longer. You go from no warning at all to, oh, just so much warning that nobody pays any attention to it. You see?

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

You have, then, a ratio that you could draw. And you could draw on one side of the picture, you could draw "all warning and no force" - "no result," you see, "no arrival." And on the other side of the picture, you'd have "no warning and all force."

PC: Okay. LRH: Be near the sun.

A person has as much trouble as he is unable to generate force. The society believes that a person has as much trouble as he generates force. It says, "He who lives by the sword dies by the sword." Of course, you realize that that little maxim of life in this society is very well adopted and never successful - never.

PC: Okay.

If a person has a great deal of force you generally will find him acting quite different than on a blow-force-impact kind of existence. Because he's way up - he's above this; he doesn't see that there's enough danger in the environment to cause him to go around hitting everybody. Some fellow could stand and yap at him for an awful long time and nothing would happen. You see, he just would not be persuaded that there was danger. And there is an upper-scale reaction. Now, that goes way up above the "Brown Bomber."

LRH: Be near the moon.

And you find people who are usually very successful would have to go down scale a long time to get the idea that they would have to hit people. Now, don't mistake, then, the top and the bottom of the scale. They don't talk in terms of threats and they're not posing threats. They're not giving warnings about what dire things are going to happen if such-and-so and so-and-so happens, and so on. They just go on and lead a fairly happy life; they're not worried about it. Once in a while they suddenly find out that the MEST universe can throw a - a something at them at the speed of light and it arrives before they knew it was started and this is quite a shock to them. This is when they start down Tone Scale.

PC: Yeah.

What's the plot, then, of your preclear? The plot is that he can hold off and hold a space because space is important. The particles are not important; the space amongst the particles is important. He can hold off from him his engram bank, regulate and handle his ridges with great ease - with great ease - so long as he has an enormous quantity of force. And when he doesn't have any force, or when he thinks he doesn't have any force (same thing), he gets down, down, down and all of a sudden the bank starts caving in on him. See?

LRH: The Walt Whitman Hotel.

Now, you want to know what's wrong with a pc? The first thing that's wrong with a pc is he believes that, if his bank is pretty badly caved in... His bank is caved in if he's caught in one of his own theta traps, believe me. He'll be all full of facsimiles which ought to have space between them. There's no space between the time he kissed the girl in Poughkeepsie and present time - although he was sixteen when he did that and he's now forty - no space between them, no time, because there's no space between here and Poughkeepsie. He knows he's got to hold here and Poughkeepsie apart in order to have them separate; he knows this. And yet he doesn't have to. It's a great relief to such a person to find out that he's not all the time holding the MEST universe anchor points away from him.

PC: Okay.

There's Comparison Processing. This teaches him that the arms of the chair, after he's compared two of them, will stay there until afterwards. They'll stay there. He can come back in the room a little while later; you've never asked him to look.

LRH: Saint Paul's Cathedral.

Your inverted cases, then - your inverted cases, then, have their greatest inability with holding space. And holding space is a keynote, because if you can't hold space between two objects, then you can be struck and, therefore, you don't have the force.

PC: Yes.

Now, the thetan's desire is to get smaller and smaller and smaller and smaller and smaller and deal with smaller and smaller things - your old people have smaller cells than young people, by the way - deal with smaller and smaller things until he's finally come in to a point where he knows he can get warning. See, he's operating on a small enough gradient so that anything that happens, he'll have warning. He's got communication networks out, again, only so he'll get warning. You see that clearly?

LRH: The sun.

So the trouble with your low - your caved - in case is he doesn't believe he's dangerous to his environment. Well, one of the reasons: He's done so many overt acts that he thinks he should now suffer by being weak. This is an entirely different kind of goodness than a guy who just natively wants to be good. You see? Get the differentiation between the two.

PC: Okay.

All right. As we look, then, at a case that has to be dug out of a theta trap, the first thing that you have to dig out of the case - if you are really, really, real good - would be the concept that his environment was dangerous to him. And there, between the two things, we get the difference between Objective and Subjective Processing.

LRH: The moon.

His environment is dangerous in the MEST universe, so therefore he has retreated into a subjective viewpoint and retreated, actually, away from the viewpoints he's using in the body. You see how it's happened? He's got a dwindling perimeter. And again we come into dwindling perimeter.

PC: Mm-hm.

A fellow thinks that if he uses a big perimeter he'll get hurt. And therefore, it's up to you in Perimeter Processing or any such process to teach him that he can have a terrific perimeter and nothing will knock him to pieces.

LRH: Earth. PC: Yeah.

When you first start to do this he'll start getting somatics and expect things to happen; he'll expect the bank to cave in on him because he's hold - you're making him hold too much space. He knows it's not safe to hold this much space.

LRH: What's happening here?

Now, when he says, "I have no responsibility for it," he says, "I can't do anything about it," which when he says, "I can't do anything about it," he is immediately and instantly saying, in so many - "I have no space."

PC: Slowup. That slowup is still there.

The fellow who says, "Well, all right, all right, so they're fighting in Mghanistan. I can't do anything about it." You've suddenly - you've suddenly had him admit that he couldn't con - he couldn't have the space of Mghanistan.

LRH: That slowup.

And now, this is the biggest trick that your real entheta boys use. They get people to go around admitting they can't have any - can't do anything about things.

PC: Mm-hm.

And so, the second you ask your V to be three feet back of his head or eight miles and he finds out he can't do it, he automatically makes a postulate that he can't do anything about it. Now, from here on he expects you to dig him out or some communication system to dig him out and he's sitting there waiting to be the effect of a process. You see how that is? So therefore, you have to give him a process which gives him space which undoes what's wrong with him. And if you can give him enough space, make him build and hold enough space, both here in the - in his own universe and in this MEST universe, you've got him fished out.

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

The only thing that a theta trap is, is a no space area. Just redefine theta trap in terms of no space. If you could just make him see the space between two molecules of a steel post to which he was stuck, he would feel better. "Ha-ha," he'd say, "there's space between those two molecules. Well, look at that. There's space between those molecules and those molecules down there. Look, there's space between the top of the post and the bottom of the post."

Earth.

Another way to do a theta trap is simply to look at the top of the trap and the bottom of the trap - just conceptually look at the two and compare the two. But if you want certainty on it, you compare the top of the trap with the bottom of the trap and then make a facsimile of the top and a facsimile of the bottom and compare those two facsimiles. Remove it one step. He's got reality on the - he knows he made a facsimile. He knows he made a duplicate, see? Compare the top and the bottom of the trap.

PC: Yes.

Now, this tells you that there's a lot of processes. You want to take small gradients to big gradients. And what else would you do that would accomplish the same thing as Perimeter Processing and yet wouldn't carry him into energy? You'd start into the first stage of Objective Processing. Perimeter Processing is the last, deepest and gruesomest stage of Subjective Processing - interior, own universe.

LRH: Moon.

Now, you'd go from there into your next stage which is Objective Processing. And that would be comparing the right ear with the left ear. He knows he can't see his two ears, so have him make two duplicates; make him make a duplicate of his right ear, make him make a duplicate of his left ear and compare those two duplicates.

PC: Okay.

Then make him make a duplicate of his right shoulder point and his left shoulder point and compare those two duplicates. Make him make a duplicate of the top of his head and a duplicate of his heels. Compare those two duplicates.

LRH: Sun.

Then have him put his hands wide apart, like a cross, and compare his right hand with his left hand. But remember, don't make him realize that he can't do anything about it. That's what invalidation is. The definition of invalidation is making somebody realize he can't do something about it. So you compare the duplicate of the right hand with the duplicate of the left hand. "Now put your two hands out there, and now make a duplicate of the right hand and make a duplicate of the left hand and now compare the two duplicates. Throw them away."

PC: Okay.

You just take all the parts of the body. Take the right knee and the left knee, the right big toe and the left big toe. And each time you make a duplicate of the right big toe and a duplicate of the left big toe. You got it? Simplicity. This is Comparison, run on the theta trap of the body.

LRH: Nearest star.

Honest, these people are really so scared of what the body is going to do that they've got to maintain continual control on it. If you were to run the concept on them "stopping insane motions," you'd get quite a lot of line charging. They know what insane motions they've got to stop. And they're trying to stop insane motions all over the place.

PC: Yeah.

Now, this is Comparison Processing compared up to the body. And this again has a tendency to spring somebody. Because what are we back to now? We're back to Step II of SOP 8. And we are using in Step II of SOP 8, Comparison Processing.

LRH: Earth.

So that's what I want you to do today: Step II, SOP 8, with Comparison Processing. And you will notice a subtle difference between that and Perimeter Processing. Okay?

PC: Okay

Are there any questions about the process I've just outlined?

LRH: Sun.

Male voice: Hm. When you have him duplicate that, are you having him hold up two or four?

PC: Yes.

Two. One of each.

LRH: Saint Paul's.

Male voice: Matched terminals.

PC: Okay.

And now, of course, you get along to a certain level in this and they all of a sudden get impatient about duplicating it. But you can run an awful long time by making him duplicate and compare the two duplicates.

LRH: Walt Whitman Hotel.

Male voice: Any particular place to duplicate them? I mean, outside or beside the actual parts?

PC: Okay.

Just alongside the actual parts, occupying - like you'd see a double image. You'd have a body a foot above the body, you know, in the same spot, but just a foot higher. The hand would be maybe a few inches above each hand - the duplicate hand.

LRH: This room.

But you're not asking him to see his hands; you're asking him to see a duplicate of his hands. And what do you know, that's what he's doing! See? He won't look at his hands, he can make a duplicate of them and then he doesn't know he's making a duplicate of them, he says. And then he's very surprised and very upset when all of a sudden he discovers that his hands aren't his hands, that he's been looking at facsimiles. Exteriorization by scenery is the same thing. But you run exteriorization of facsimile, and you run in duplication with it, you've got yourself a very neat technique.

PC: All right.

All right. Let's, then, arrange to exteriorize all hands today. I'm tired of people worrying about it. And we'll turn on perception.

LRH: Earth.

But remember that turning on perception is again a problem in force and energy. But that isn't what it's in a problem of because force and energy is a problem in space. And space is in a problem of anchor points and being able to hold out anchor points.

PC: Okay.

If a fellow can't put out an anchor point a hundred feet away from him, at will, and perceive with it, don't expect him to see with his MEST eyes because he's going to be kind of blind. You should be able to see ultraviolet and through fog and everything else, with your MEST eyes. They're built to it. And yet everybody's on such a narrow perception band that they - that you should be able to hear up to about twenty-five thousand cycles. Nobody does.

LRH: Moon.

All right. Are there any questions, now, about this?

PC: Okay.

Well, I - if there are no questions now, it's either because you know all about it or you are dazed and I hope it isn't the latter.

LRH: Sun.

Male voice: Can you drill on that?

PC: Yeah.

Hm?

LRH: Nearest star.

Male voice: Just drill on that?

PC: Yes.

Yeah, just drill on that. And you intersperse that, of course, with Duplication Processing.

LRH: Sun.

Male voice: Yes, Sir.

PC: Yes.

And intersperse it with just a pure Step II. You get this?

LRH: Nearest star.

Female voice: You want us to stay on parts of the body, mostly?

PC: Okay

Hm?

LRH: Sun.

Female voice: You want us to stay on parts of the body mostly?

PC: Okay

Well, you can - you'll have to, just in running it - I leave that to your judgment - you'll just have to pick up the lamp and duplicate it, because you're processing in too close when you're processing the body all the time. And again, you'll condense the fellow's energy if you don't watch it. So you should go off into other duplicates and so forth. And remember to get his body out there in front of him.

LRH: Nearest star.

Now, if I were - if I were running this on a pc that was around V, I would say, "All right, put a duplicate of your right hand five feet in front of you and to the right and a duplicate of your left hand five feet in front of you and to the left; now compare those two duplicates." And I would build his body up in front of him as a variation of the technique. Variation of the technique.

PC: Okay

But now we're going to see how smart you are. I've given you the fundamental technique: Step II crossed with Duplication. I'm going to see how very clever you are. I don't want you to run the process. I want you to exteriorize everybody you're processing. You get the difference?

LRH: Sun.

I want you to observe incidentally the superiority of an objective over a subjective technique.

PC: Still hard for me to do that.

Okay.

LRH: Nearest star.

Let's get our assignments.

PC: Mm-hm.

LRH: All right. Be halfway between them.

PC: Yeah.

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

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

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

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

LRH: Okay. Duplicate it.

PC: Close to the Earth.

LRH: Duplicate it.

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

LRH: Well, just duplicate it.

PC: All right.

LRH: Blow up the duplicate.

PC: Mm-hm.

LRH: Duplicate it again.

PC: All right.

LRH: Blow up the duplicate.

PC: Okay.

LRH: Duplicate it again.

PC: Mm-hm.

LRH: Blow it up.

PC: Okay

LRH: Put up four duplicates.

PC: Okay.

LRH: Blow them up.

PC: Okay.

LRH: Four more.

PC: All right.

LRH: Blow them up.

PC: Mm-hm.

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

PC: Sure.

LRH: Let's be close to the corona.

PC: Mm-hm.

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

PC: Hm. Oh, yeah.

LRH: Got it?

PC: Mm-hm.

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

PC: All right.

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

PC: I like this one.

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

PC: Mm-hm.

LRH: Get near the moon.

PC: Okay.

LRH: Back side of the moon.

PC: Mm-hm.

LRH: Whatcha see?

PC: Back side of the moon.

LRH: What's it look like?

PC: Like this - front side.

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

PC: Mm-hm.

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

PC: Mm-hm.

LRH: Let's compare the two sides.

PC: Mm-hm.

LRH: What differences?

PC: Not quite the same.

LRH: Not quite the same.

PC: Uh-uh.

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

PC: Front side.

LRH: Got it?

PC: Mm-hm.

LRH: Back side of the moon.

PC: Yeah.

LRH: This side of the moon.

PC: Yeah.

LRH: The other side of the moon.

PC: Mm-hm.

LRH: This side of the moon.

PC: Yeah.

LRH: Other side.

PC: Mm-hm.

LRH: Earth.

PC: Yeah.

LRH: Walt Whitman Hotel.

PC: Mm-hm.

LRH: Sun.

PC: Yeah.

LRH: Saint Paul's.

PC: Yeah.

LRH: Find Jupiter?

PC: Sure.

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

PC: Yeah.

LRH: This side of Jupiter.

PC: Mm-hm.

LRH: Other side of Jupiter.

PC: Yes.

LRH: This side of Jupiter.

PC: Okay

LRH: Other side of Jupiter.

PC: All right.

LRH: Go into an orbit around Jupiter.

PC: Here we go.

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

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

LRH: Well, okay. Sun.

PC: Oh! All right.

LRH: Moon.

PC: Mm-hm.

LRH: Earth.

PC: Yeah.

LRH: Still feel that pull?

PC: No.

LRH: Well.

PC: No more.

LRH: Good. Okay. Walt Whitman.

PC: Yeah.

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

PC: Mm-hm.

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

PC: Okay

LRH: What happened?

PC: Got an explosion halfway between.

LRH: Okay. Was it a big one?

PC: Yes.

LRH: Satisfactory?

PC: Beautiful.

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

PC: Mm-hm.

LRH: Now let's smack it together.

PC: Mm-hm. Mm-hm.

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

PC: Okay

LRH: Another beam from the sun to Earth.

PC: Two of them.

LRH: Another beam.

PC: Three of them.

LRH: Another beam.

PC: Four of them.

LRH: Another beam.

PC: Five of them.

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

PC: Yeah.

LRH: Now smack them so they all explode.

PC: Yeah.

LRH: Got it?

PC: Mm-hm.

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

PC: Mm-hm.

LRH: Five thousand.

PC: Mm-hm.

LRH: Six thousand.

PC: Mm-hm.

LRH: A hundred thousand miles.

PC: Okay.

LRH: Take a look at Earth.

PC: Mm-hm.

LRH: How's it look?

PC: Small.

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

PC: Yes.

LRH: Those black shells still apparent to you?

PC: I don't see them.

LRH: Good. Okay.

Now, let's be over South Africa.

PC: Yes.

LRH: Walt Whitman Hotel.

PC: Yes.

LRH: Saint Paul's.

PC: Yes.

LRH: This office.

PC: Yes.

LRH: London.

PC: Yes.

LRH: Moscow.

PC: Yes.

LRH: Calcutta.

PC: Yes.

LRH: Shanghai.

PC: Yes.

LRH: Calcutta.

PC: Yes.

LRH: London.

PC: Yes.

LRH: Saint Paul's.

PC: Yes.

LRH: Tower of London.

PC: Yes.

LRH: Saint Paul's.

PC: Yes.

LRH: Tower of London.

PC: Yes.

LRH: Saint Paul's.

PC: Yes.

LRH: New York.

PC: Yes.

LRH: Florida.

PC: Yeah.

LRH: Key West.

PC: Mm-hm.

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

LRH: Tallahassee.

PC: Yes.

LRH: Miami.

PC: Yes.

LRH: Galveston.

PC: Yes.

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

PC: Somewhere in the office.

LRH: Good. Suit yourself

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

Is that so?

PC: That slowness wore off after that process.

LRH: The slowness?

PC: Yeah. Speeded up.

LRH: Yeah.

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

Audience: Condensed space. Condensed motion.

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

Male voice: Lots of space.

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

Male voice: Change of position.

LRH: What's motion?

Male voice: Particle moving through space.

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

Female voice: Condensation of space.

LRH: Nah. What's motion?

Male voice: Change of position.

PC: Of particles.

LRH: Come on, what's motion?

Male voice: Change of position through space.

PC: In space.

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

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

Male voice: Changing the viewpoint.

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

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

Male voice: Change in dimension points around a viewpoint.

LRH: That's...

Male voice: Change in particles.

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

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

Male voice: Agreed.

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

Male voice: Mm-hm.

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

Male voice: Okay

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Female voice: Yes, I did.

Yeah.

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

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

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

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

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

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

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

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

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

Okay? Will you do that?

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

That's all. Thank you.