Thank you.

Thank you.

This is a demonstration, and a rather brief demonstration. Somebody get me an E-Meter, huh.

The subject of the lecture today ... I want you to make a note of this, write it down in your notes. The subject of the lecture today is Scientology. Just write it down now.

Now, I'm not going to do anything but show you what you can get away with.

This is the fifteenth lecture, 1st Melbourne ACC.

And you sit around like a bunch of wooden dolls all wound-up, ready to clink and clank.

The difficulties surrounding your cases at this moment are thinner today, I see, than they were yesterday.

LRH: [to pc] Just hold the cans, and you've got it there. There we are, thank you. I'll put this around your neck. Thank you. That's to keep you from blowing session.

Audience: Yeah.

Okay.

That's right, something happened, huh?

Now, here we go, a nice, high needle. You halfway through a process?

Audience: Yeah.

PC: Yes.

Well, what do you know. What do you know. One of you students must have shown the Instructors how to do it.

LRH: Squeeze the cans there. That-a-boy. You halfway through — oh, that needle isn't so bad, it's sitting right on M. Ah, pretty good! Pretty good!

Now, it's quite customary to see things happen on an ACC. And your Instructors, they know their business, and the general state of affairs with regard to auditing today is sufficiently sharp that you've got to be pretty sharp to follow in along with it. I think you already realize that.

Would it be bad if it were pretty good?

There's something else going on here that didn't used to go on. In a large number of cases you'd sit there and you'd grind and grind and grind and grind and there would be one little change, see. And then you'd grind and grind and grind and grind another twenty-five, seventy-five hours and you'd get another change. Pc doing all right, and coming up scale, and living better, and everything's fine — everything's fine.

PC: No. I'm very happy about it. I'm quitesurprised as a matter of fact.

Now, you'd better reacclimate yourselves, that's all I've got to say. Your expectancy of change should be increased because you've slowed down your expectancy of change to match what you could do in the past. So, let's just speed it up again.

LRH: All right.

As I told you, I — as a matter of fact an Australian, Ray Thacker*Editor's note: a staff member at HASI London at the time of this lecture. who is the most ... What? You don't even clap for a fellow Australian?

[to audience] Well, look at that, see, sitting on ...

Anyway — noticed that after I got through working seventeen, eighteen hours a day, I'd slowed down a little bit, so she decided she would run some Havingness on me, and she'd come in the office and run some Havingness and I've already mentioned this, but I'll punch it home here, and she was quite upset! Case change, case change, case change, case change, case change, see? Flat! It upset her! She couldn't find out where to stop! And one night instead of auditing me fifteen minutes, audited me about two hours and forty-five minutes because she couldn't find a flat place, she said. Because just too much change was going on. Unnerved her, upset her!

He decided when he sat down that he'd better tell me.

Now, of course, some of your change is mirrored by your tone arm. When you bring your tone arm down somewhere in the vicinity of the Clear reading for the sex of the pc, why, you know it's fairly flat. But don't get so alarmed at change. Now, if your pc suddenly grows horns, take it in stride! Take it in stride. Don't flip on the thing.

[to pc] No, I'm sure there was nothing like that. All right. Is it all right with you if we do a little bit of a session here?

Probably the worst squirrel operation in the world ever happened in Scientology — down in Los Angeles. And the fellow down there — onetime writer, oddly enough had been an enemy of mine for years. And publicly a friend, but privately one of the worst enemies. Editors used to show me occa­sional letters you know and say, "What's this guy got against you?" See, you know he'd write in and comment to editors on my stories and all sorts of things like this, you know. Of course, when he came into Dianetics and Scientology, he had too many overts. He was just riding on top of these overts. And he'd like to be inside but he's got to be outside because there's just too many overts, you know.

PC: Yes.

It doesn't matter what you try to do with this fellow, he's still got overts, overts, overts. Got the idea? So therefore, he has to dream up motivators to explain his overts. And they're inexplicable, except for this. I used to make more money faster than he ever dreamed of in writing and occasionally he would get a letter from an editor saying, "I'm very, very sorry, your novel has been rejected. You'll have to send it someplace else because we didn't think you were going to send it and Hubbard sent us one, and we're printing his." See?

LRH: Hm?

Now you get something like that going on, there's practically no way to reach it with an auditing session. Overts, overts, overts. You get the idea?

PC: Why certainly.

Well this results in alteration and alter-isness. The basis of destruction is alter-isness. And when somebody would like to destroy you, but can't, all he can do is alter-is you. Got the idea?

LRH: All right. Start. All right. What goal would you like for this session?

Oh, we see this in various ways. Entheta, you see. Here's an auditor sit­ting in an area doing all right. Some other auditor isn't doing all right, so they start accumulating overts against this auditor that is doing all right. The next thing you know the person committing the overts gets madder and madder at the auditor. This fellow has never done anything, you understand, to this other guy. Maybe even sent him some pcs. And the more that B does to A, the more overts, overts, overts pile up into the more anger, anger, anger. You got the idea? It's a one-man fight, there's no other fight going on over here, see?

PC: Hm, going on or staying in Scientology.

Boy, it begins to look like a cyclone is happening in this vicinity. This fellow goes to bed at night and bites the pillow, you know, and screams to himself, you know. And while auditing a pc or something like that — lets out little yips occasionally. And this is alter-isness.

LRH: Very good. And do you have any immediate worries, woes, unflat processes? Yeah, you've got a little woe here, a little worry. What is this, just stage fright, isn't it?

Destruction as we know it in war or in anything else, is simply alter-isness of the creation. It is not the cessation of creation, it is the alter-isness of the existing creation.

PC: Oh, I've a little bit of stage fright. Fear running in the hands, et cetera.

That's why I've been talking to you about busted pagodas, you know, and broken ashtrays and all that sort of thing, you see. Actually the ashtray is still being created because its fragments are still there. But somebody has alter-ised the creation, you see. And they call that destruction. And when done very, very, very spectacularly, they call it war. But alter-isness — alter-isness is the keynote of all destruction.

LRH: Isn't that it?

And any person who has a great many overts against another person starts trying to alter-is. Get the idea? He starts to alter-is the other person. He alter-ises anything the other person is doing. You see? He alter-ises any-thing the other person thinks. He alter-ises any other thing the other person has as a reputation and so on. And it adds up to basically what looks like destruction. And this basically is caused or can be caused by no more than an overt. In other words, you get this silly situation where one overt breeds another overt, which breeds another overt, which breeds another overt, which brings about a bad opinion.

PC: Mm-hm.

Actually, you shouldn't let people commit overts against you because they'll kill themselves. Got the idea? Just — just as a humanitarian gesture. Now, very often we're very slack about that. For instance, I particularly care nothing about overts by somebody or other. If I did we wouldn't be here. But, it's inhuman not to reach out and get somebody who is doing something like this and patch them back together again because they need patching.

LRH: Is that about what it is?

A husband and a wife. Wife one day is walking down the street and, her husband is a blond, she's always been attracted by brunettes, you know. Mar­ried this guy, loved him dearly, everything is going along all right, and she sees this brunette guy, see. She says, "Whew, boy. Oh, wow!" You know. And then she says, "Ah-ah! I'm a married woman. Yep. Well, it would have been nice."

PC: Mm-hm.

That night she's sitting there, you know, and the husband hadn't been feeling very friendly these days, he's worried about business or something of the sort, you know, and he's sitting there reading a magazine or something, muttering to himself about somebody he's committed overts against, you know. And the wife's sitting there and she suddenly remembers this guy with the black hair, you know, and she says, "Oh, wow, you know, that — that-that ... What am I doing? He's a good husband. He's faithful. He's loyal. He's decent. He's everything. And what am I doing something like this to him? You know? Well, I'll straighten out. I'll toe the chalk mark." All her own voli­tion, you see. Noble.

LRH: [to audience] It moved so slightly that it probably could be nothing but a disturbance.

Couple of weeks go by and she sees one of these physical culture maga­zines you see. It's sitting on the stands, you know, and there's somebody with tremendous biceps, you know, curling up, the neck muscles all taut, you know, and she says, "Woooowwww! you know. That's pretty good, you know. Wait a minute! What the hell is the matter with my husband!"

[to pc] Now, is it all right with you if I make a side mention occasionally to the audience?

Now, she gets this all explained, just because her husband doesn't look like that, and therefore so on and so on, and she's got it all explained, and that's why she's annoyed with her husband. That night she's serving up the — the roast beef and the mashed potatoes and something like that and he notices they're slightly underdone because she has been a little bit abstracted while getting dinner, you know. And he says, "Dear, I wish you'd do the roast beef a little bit more next time."

PC: Yes.

"Crab! Crab! Crab! You're always chopping at me!" Here it goes.

LRH: All right. Do you think you're in safe hands?

He goes around and he says, "I can — what have I done?" See? "What have I done?" He can't think of anything he's done so he skips it. Well, she's just a little bit out of sorts, you know.

PC: Uh, yes.

Well, because she barked at him, and jarred at him and was upset about him, now she can be more upset about him. You get the idea?

LRH: Ohhh, all right. Do you think you're in safe hands?

Now, this has a rather unexpected twist here. Eventually, if you caught her in a moment, and you said, "What color eyes does your husband have?" She wouldn't be able to answer the question. Got that? She's flashed back and flashed back and flashed back, you see, and piled up overt after overt until she's alter-ised, not only the circumstances and condition of the thing, she's actually alter-ising his appearance.

PC: Well, I guess so.

You ask her to make a mock-up of him, something like that, and it goes flick! flick! birrrooommm! boom! boom! tsiisss! She doesn't quite see what this mock-up is. You see. It's her father, it's somebody else, it's somebody else, it's somebody else. Got the idea?

LRH: He didn't. He just changed his mind about it just in the last split second or was it the laugh of the crowd that made you flatten this so quick?

Audience: Mm.

PC: I...

That's the way it goes.

LRH: What do you think? Do you think you're in safe hands?

Now, that's basically because she understands very clearly that he thinks that her thoughts would be an overt against him. Just untangle that one. Got that?

PC: Yes.

It begins because she thinks, you see, that her thoughts would be consid­ered by him to be an overt act against him.

LRH: Yes, there's a little reservation on that. Who would I have to be to audit you?

Oh, I remember a denouement which went opposite way to on this sort of thing. The fellow was married the second time and he'd been thinking to himself, "Wow!" and he'd been doing this, and he'd been doing that, and he had — he had a very nice wife. She was very properly brought up, she was a very delicate, sweet thing, and so forth, and he didn't want to hurt her. And she had been raised in a Latin country. He didn't want to hurt her, you see.

PC: Peter!

And he had a very pretty secretary in the office, you know, and he got to a point where occasionally, why, he'd say, "Wow!" you know, and went up higher, and higher, and higher.

LRH: All right. Now, this is very interesting because there must be a — I'm just evaluating for you, if you don't mind, that there must be a little overt against him to have stuck you in that session. Is there? Is there an overt against an auditor? I see a little clink-clank here. Is there an overt against an auditor?

Years went along and his marriage was all disintegrating, and lying all over the floor, and never in the bedroom. And ... Excuse that, I mean, I just .. .

PC: Oh, quite likely. Might be, yeah.

And one day she flew in his teeth. Said, "What kind of a man are you?" She says, "You're no catch. You never have been! You can't appreciate women. I have never seen you make a pass at a woman since you've been married to me. What is the matter with you?"

LRH: Yeah! Yeah! Yeah! What's the overt?

Her overts had eventually added up to being critical of him because he could not appreciate her looks or beauty, obviously, because he didn't appreciate women. I remember very well his keeping her happy by taking his secretary out to lunch occasionally. And that's right. And she felt important about it.

PC: What's the overt?

So, people's ideas of what an overt act is, shift all over the place. See, they shift all over the place. They could be some of the most remarkable things you ever heard of.

LRH: Yeah, what have you done?

But we all seem to have, per school training and religious training and other things; we've all been given to believe that the other fellow has a stand­ard pattern of what are overts.

PC: Oh, I might have chopped one to pieces sometime or other.

In other words, there's overt one, two, three, four, five, six, seven and eight, you see. And if you do these things, then he will consider them overts. You got the idea? And then, he will start to alter-is you because he's now got a motivator. This is (quote) human conduct (unquote) as understood by — oh, I don't know, psychology, Freud, Thomas Aquinas, Saint Paul — lots of guys. See? They got it all figured out. So part of your education is what the other fellow will consider an overt.

LRH: Uh-huh. You might have, huh?

And on that basis, we get unreality, and we get alter-isness, and we get mutual co-destruction. See, because there's no agreement on really, "What's an overt?"

PC: Mm-hm.

There's many a wife who has overts against her husband or many a hus­band who has overts against the wife or many a child who has overts against the parents. They're absolutely certain that if disclosed, that would be it, that would be the end of the trail, man, that would just be that. Wow!

LRH: What else might you have done to an auditor?

It's almost an insult, one day, to say to Dad, you know, "Well, Dad, last night after you were asleep I swiped the car and went joy riding with two girls." You know. Because you can't stand it anymore, you know, you say, "I did it."

PC: Oh, listened to a discussion when somebody was criticizing their handling of a situation.

It's almost an insult because it doesn't match up, you see, with your strain and pain on the situation.

LRH: Mm-hm.

And he says, "Well," he says, "did you get the tires pumped up?" He says, "I've been meaning to stop by a service station." "Glad to see you're taking an interest in girls, son."

PC: Mm-hm.

The fact of the matter is, what another human being will take as a con­fidence is so much greater than what it is commonly believed, that there's hardly anything couldn't be patched up except maybe murder. And the "bulls" probably wouldn't let this be patched up. Pardon me, I meant the cop-pers. They probably would not like this. They would probably say, "gas chambers" and that sort of thing.

LRH: Well, was that an overt by you?

I'm always amused at cops. I've worked with them quite a bit here and there and so forth. Been in intelligence and such things. I'm always amused at cops. They're so upset really at any plaintiff who is really mad at the crim­inal. They get upset with the plaintiff. All the criminal did was burn down their house, you know. And they want him arrested, and they want him jailed, and they want him given the limit, and they want to sign out the war-rant, and they want him ta-fra, and so on. And they say, that person there — not a good citizen, doesn't show proper spirit and so on. Just seen that time after time, you see.

PC: Oh, I sort of grabbed at it hungrily.

And I've also seen circumstances where you come in, and bring some young fellow or something like that in, and he's so-and-so and such-and-such and so on, and he wants to see if he can't get it squared around. Good heav­ens, everybody gets busy, you see, and they get it all squared around, they get him a suspended sentence or something of the sort. You know, you ... It's quite weird. You'd say, "But these are the ravening wolves."

LRH: Mm. All right. But somewhere, somewhere along this line here — I'll bet it's a girl. Yeah. Yeah. It started to move down off male Clear so I just guessed that it's a girl auditor, and I'm right, because he is falling here a little bit on it. Is there a girl auditor here?

Well, there's only one way to play law, and that's either play it for reha­bilitation, without very much punishment, or play it the whole way. See?

PC: Yeah, there's a girl auditor here.

You find somebody stopping the stagecoach, and so forth, why you just put a bullet in his leg, and a neck arou — a rope around his neck and string him up to the nearest tree, you know, bang! And leave him there.

LRH: Yeah, and is there a little bit of an overt on her?

You know, if you — if you're going to do it by punishment, you have to do it all the way by punishment. Do you understand? It can't hang up halfway and still have law and order in a community.

PC: Yes. Yes, there is.

And I don't know what the law is all about now but you could fix almost anything with the law I'm fairly sure. I'm not even sure you couldn't fix mur­der with them. Providing you didn't cause them a lot of trouble in coming and finding you and resisting arrest and all that sort of thing, you generally get this thing patched up. Quite interesting.

LRH: And what was it? You don't have to tell me.

So, even on the third dynamic, we have a considerable tolerance — even on the third dynamic.

PC: Oh, that's all right.

About the only ones that get short shrift are food animals. See. Run them up the chute to the slaughterhouse and knock them in the head and make them into steaks. Nobody thinks in that direction.

LRH: It's perfectly okay. It just flipped out...

But there's a great oddity takes place in the zone of food animals; there's the joy of being eaten. Darnedest thing. They count, utterly, evidently after a while on being knocked off and going through the boiling pots, you see. Apparently has its own stupid compensations. Providing it doesn't change and people don't start using infrared cookery or something. That would probably be a shock.

PC: Ah, that's fine.

Got the idea? It's a constancy of some kind or another, is something that people can come to endure or almost any dynamic can come to endure one way or the other.

LRH: ... most remarkably. Now, wonder what these little overts are sitting on, that's what I'm interested in.

But what they can't stand is mystery, unreality, failure to have agree­ment, failure of communication, so forth. These are the bad things. Deeds, taken by and large, aren't near as rough, not nearly as rough, as the cut comm which ensues.

PC: Oh, I see.

So, when a person thinks an overt thought or does an overt act to another one, it cut communication because they then can't express every-thing to the other person. And to just that degree they go out of communica­tion with the other person. The other person senses a mystery hanging around their heads, you see. The reality goes down because the alter-is has already come into being. So that we can classify alter-isness (if I'm not going too fast for you) classify alter-isness, as cessation of communication, alter­ation of reality or perversion of affinity. So, any one of these three things then brings about an alter-isness and on a cycle of action we find alter­isnesses add up to destruction. Got it?

LRH: If you don't mind telling me.

So, when people see cut communication, perverted affinity, twisted real­ity, no agreements, they get much more upset than actually if the other per-son had come in and taken their watch down to the hockshop and pawned it. Got the idea?

PC: What these little overts are sitting on?

You see, evidently the act of taking the other fellow's watch down to the hockshop and pawning it, is understandable. But the fact of a watch suddenly disappearing, as one isolated incident, not connected with the fact that the fellow who stole the watch is now out of communication in some fashion, these two things you can't do anything about. Got the idea?

LRH: Yeah, well, this — they're kind of little tiny, bitty overts of some kind or another here. There must have been a — I would say there's a first overt against auditors. But what's the first overt against auditors? (pause)

So it takes the full combination here to add up to totally strained relations.

That's it. What was it?

But people can understand taking somebody else's watch — oddly enough can understand it. Isn't it weird? Isn't it utterly incredible then that there'd be so much cut comm if there's that much tolerance?

PC: Oh, I'm back on the original HPA Course.

And you ought to look around sometime and find out just how much tol­erance of deeds there is, because it's fantastic! It leaves you breathless when you start examining this thing.

LRH: Mm-hm. All right.

And I remember one fellow came aboard ship, an expeditionary vessel one night, and he was dead drunk, and he beat up the gangway guard, and he roused everybody up in the crew's berthing and he threw liquor all over everybody and set one fellow's clothes on fire. It took practically the total crew to subdue him! It all happened so fast I was just in time merely to complete the act by sitting on his head. And I said, "Well, you blankety-blank-blank!" You know, in true sailor lingo. "We'll fix you but good."

PC: Ah, yes, one person I was on the course with there.

So the next day, why, we fished him out of the brig, sober, secondhand and repentant. And I'm back on the quarterdeck, and instead of bringing him up to the quarterdeck, they hauled him in the waist, you see, and four of the men come forward to explain to me that he was just drunk, and that you could buy more clothes, and he was ordinarily a good fellow. Well, listen, it was their clothes, it was their crew's berthing, you see, and it was their liquor and everything.

LRH: Mm-hm.

Made a tough problem in justice. Tough problem in justice. As a result all I did was masthead him where everybody could see him, you see. Which hadn't been seen (this happened to be a sailing vessel) hadn't been seen since the Royal Navy in Lord knows when; send somebody up to the truck and make him sit there in nowhere. You know. Well, that was all they would toler­ate doing to this man.

PC: We weren't very happy together.

Now, that's quite remarkable when you get to thinking about it.

LRH: Mm-hm. What did you do?

But, now let's look at a different picture. They come in from ashore, you see, and they come back and find everything messed up in the crew's berthing, and somebody's liquor splattered all over the place, and somebody's clothes have been set afire, and they can't find out who did it or why or any-thing else. Now, oddly enough, they at that moment all fall apart. They're all kind of mad at each other. Got the idea?

PC: Mmm.

If you're an agent provocateur or saboteur, to drive a society apart or around the bend, all you have to do is make peculiar circumstances occur so that any workman in the place might have done it. Never bring in a foreign-made bomb. You get the idea? Always make it out of somebody's local Wool-worth thermos jug, you see. The bomb won't do much but the fact that somebody would do something, that it would remain a mystery and that nobody could spot the thing, would do a great deal.

LRH: That's the one.

Does this make sense?

PC: Oh, yes.

Audience: Yes.

LRH: What did you do?

Now, if you get killed you can always go get another body. Of course if somebody kills everybody off on the whole planet, you've got other problems.

PC: Well, I think I went out and told my wife he was a stinker.

I hate to go into space opera but cross-association — I know how rough this could be. I don't know whether I ought to tell you this or not. Maybe I just better leave it as a withhold.

LRH: Yeah. Chopping them up. What did you do to him directly?

But about one hundred eighty thousand years ago I was given the assignment of guard captain to a planet in the Big Dipper area that had been totally washed with radiation. There was not a living thing on it except trees. I had a guard company of just a couple of hundred men. We had some helicop­ters and there was still some mining to be done, so they moved in some mining crews. There was nothing else on the planet. Not a thing, except some trees.

PC: I don't recall.

Wow! It just went on for decades. We did such a good job of guarding it because there was no trouble, ever, you see, that they just forgot to relieve us. It actually did, it went on for decades. There was nothing on that planet.

LRH: Did you fail to answer an auditing command?

Now, it had been hit with something that had killed most plant life, all insect life and so on. The most dismal thing you ever wanted to see. You see? Because nothing ever processed the soil. The trees were evidently no longer capable of propagation, but could only stand there, you see.

PC: Oh, I probably withheldcommunication.

Never a fly flew in your coffee cup. See? Never a bird sang. There was nothing. And it was like sitting in the middle of a grave.

LRH: Ah-ha. All right. There's a withhold of communication.

The mining companies knew better than to leave people there in the mines for more than a year because they'd take them out almost totally psy­cho. Huh! Of course, we were under the government of the nearby planet, and so of course, they forgot us!

PC: Yes, there was.

I remember going out on maneuvers at first, you know, everything all spit and polish, shined up, lowering dogs on helicopter slings, you know, low­ering dogs in order to track things, and placing electronic cannon here and there, and setting it all up. And just terrific maneuvers, you know, in case the planet was ever attacked, you know.

LRH: This was way back when, isn't it? Huh?

And dawn till dark, you know, and you'd gather up all the equipment, and gather up the dogs, and go back, you know, and you'd set everything up, and oh my, after about twenty-five or thirty years, why, the way we went on maneuvers, you know, was to ... It doesn't need to be painted, it had been alter-ised.

All right. Now, yeah, you're getting a little gain on this now. All right.

But the spectacle of widespread death, total solitude, no randomity, nothing to do, that sort of thing .. .

Now what do you think about that now?

If I could just get some of these crackpots that were in class with me, get somebody like Sneezechev and Wisenstein. If I could just magically trans-port them to that planet. It's still there and nothing's grown on it yet. And just let them sit there for thirty or forty or fifty years and contemplate diplo­matic failures. They'd change their minds.

PC: Mm, I'm happy about that, yeah.

Now, that's the reverse, that — that is, you might say, an alter-isness that is so great, so tremendous, you see, that nothing ever rises again. It has the appearance of total destruction, although it isn't total destruction. It's just the fact that it has brought about almost a total no-change. It's been hit so hard that it doesn't change thereafter. You got that extreme?

LRH: All right. Now, is there any other overts on auditors earlier than that?

All right, now let's look at it over here. Oh well, fellow walks down the street here and somebody takes a rifle or a pistol or something, and shoots him, and he leaves and goes over to the maternity ward and gets a new body, and yeah, that's — that's fairly comprehensible randomity, you know.

PC: No.

You go on living, there's something to do. Not all the goals and purposes are gone. There's still enough mishmash, and back and forth to round about, that there's some reason for living. You know? And you've just hit another barrier and you know you can get over that one.

LRH: No.

Well now, compare that with something much lighter: somebody goes out of ARC with you. All right, now over here on the other side, compare some-thing so destroyed or so alter-ised that it just is a total solitude. There's no change at all. Got the idea? Well, you're looking at plus and minus randomity. And too great a destruction brings about minus randomity. You got it?

PC: No.

Audience: Mm-hm.

LRH: You know definitely there's none.

Hm?

PC: Positive.

Audience: Mm-hm.

LRH: All right. Okay, if you say so, that's it. Okay. Against an Instructor?

Now change, minor alter-isness, you run into very easily with today's processes. Now what are you changing? You ask this fellow to "Get the idea" (or something, whatever auditing command you're using) "of creating" what-ever it was that fell out of the assessment.

PC: No.

And at first as you run it, it goes straight up to the minus randomity, no change. Now, you've noticed that, if you had the right button, it went totally up to the destroyed planet, that's — that sort of an idea, you see. Man, was it quiet! You know. Nothing was happening!

LRH: Nothing like that. I'm still getting a tiny little fall here.

And a little bit starts to happen and you see the pc put on the brakes. And a little bit starts to happen, put on the brakes. And a little bit more starts, put on the brakes again!

PC: Mm.

He's running up against this minus randomity on the other side of the total destruction. That's where he's sitting. He's sitting in a no-change area in destruction. You got it? No change in destruction.

LRH: A tiny, tiny little fall, maybe it's later on the chain.

Now, earlier processes never hit this stuff worth a nickel. You could hit them overtly! You could run them out as engrams. You could do this and that with them and so forth but we didn't have processes that just turned them on, whap!

PC: Oh, yes, it might have been later, it wasn't then.

This person has given you the same answer to the auditing command time after time after time after time. Tiny little variations of it. You know? It didn't amount to a hill of beans. Time after time after time, keeps giving you this — kind of the same answer. Nothing much seems to happen to the case, except the case doesn't feel so good. Have you noticed that?

LRH: It wasn't then.

Audience: Yes.

PC: No.

No, nothing big is happening! And it seems to be kind of deadly and he thinks if something did happen it'd be pretty bad, and what he's mocking up does or doesn't associate at first in his mind with this thing that he is creat­ing or being willing to create and he just can't quite tie this thing in. He's just got a field, and there the field sits, you see. And out here is some ran­domity of some kind, you see. Oh, there's a little, tiny shift in the field and so forth and a little more randomity. You get the idea? Tiny stuff.

LRH: Was later on the chain, probably?

But the basic state of case is right there. See, he doesn't grow wings out of his shoulders right off the bat.

PC: Ummm.

You'd say offhand that casewise he was hung up a little bit if you expected a rapid change! Therefore at your first look at the Creative Series, the Create Series of processes, your first look, your expectancy — old proc­esses, they chewed away on the fellow and they made him a bit better, you got the idea? Your expectancy hasn't been too much upset in the first running of the Create Series. It looks about the way it ought to look. Got the idea? There's been no heroic, big change in the pc! A little change and he feels better, and he feels sick now. And he .. .

LRH: Later? Yeah, or was it then? (pause) Later. Then. What'd you just think of?

It's not uncommon on the Create Series, if you run this process particu­larly, "What part of a body would you be willing to create?" And of course you get all the leftovers of bodies, you see, after a while.

PC: Oh, I was thinking of Stan and I thought he was the apple of my eye sort of thing.

But that one will run differently than, "What part of a madwoman are you willing to create?" or "What part of an ashcan are you willing to create?" or something like that.

LRH: Mm-hm. Good.

"What part of a body," even runs differently than, "What part of a couple?" See? You get the total, interiorized sort of a look at this thing, and you get these hang-ups. Well, that's because the thought of creating keys in first — oh, sometimes you get a rrrrrr of that very early run, which is hardly worth bothering with, is just the first end alter-is of brrrrr. He gets lots of answers, and you get the automaticities and so forth. Well, it's hardly worth worrying about because he's very shortly going to move into the minus ran­domity beyond the point of destruction. You're going to be sure there's a case hang right there. You understand?

PC: When he was an Instructor, I never had anything against him.

Audience: Mm-hm.

LRH: Yeah. But did you have an overt against him?

And I don't say you'll always run into the automaticity at the first end of it. And I don't always say that you'll run into a total case hang but it's within my experience that these are phenomena which are very common to this par­ticular type of process. I've done quite a bit of processing with it.

PC: No, I don't think so.

And it looks like you've got a case hang-up. You're not getting much change for a while. And that finally moves back, this is if you've got the real terminal, see. And that finally moves back to too much case change. It goes from plus randomity, brrrrr, to minus randomity, naaaa, to plus randomity back to minus randomity. You got the idea? It's just too much change, too little change, too much change, too little change. You know?

LRH: Did you ever sit without doing anything and listen to somebody criticizing him?

So, you can be fooled with this particular process, you can be fooled with it, or this type of process, into believing that something is flat which isn't. Or you can believe that it's not improving the case, which it is.

PC: Oh, yes, I've heard that.

You see, you can believe, "Well, it couldn't possibly be getting any improvement in the case because he just seems to sit there and look at that black field and he's been doing that for the last nine hours. It's just — black field came in and it hasn't gone out, and there it is and he seems to get little changes and occasionally twitches. But needle seems to be awfully sticky. And oh, I don't know, we probably ought to run something else, don't you think?"

LRH: Mm-hm.

Well, I'll let you in on something, there's no other process known to man that will do anything to something that the Create Series began. Got the idea? You've had it.

PC: Mm.

You've pushed the fellow up, of course, to the extreme destruction of the object he was assessed on. And the extreme destruction of the object on which he was assessed is represented by the calmest calm that anybody ever heard of. It sure is calm around there. Black, yes. Invisible, perhaps. Little rockets that go by occasionally but hardly anything else happening. He's in the area of total destruction. Got the idea? The area of — of destruction beyond the point when destruction so violent that nothing could happen afterwards, took place.

LRH: Registered.

Any case you get in the chair, sooner or later, you're going to run into such a zone. The case was destroyed so thoroughly that after that there wasn't anything to destroy at all. Got the idea?

PC: Mm.

Audience: Mm-hm.

LRH: All right, what's the picture there? Is there any other overts there that you're not particularly bringing to view or looking at or don't want to mention or...

Fellow didn't have any more sense than to become a space pirate or something, you know. Robots, robots fell. He said, "Oh, good, robots. At last, we're going to have some fun with this case — we've got him all set up to run­ning robots, that seems to be the one." It would be interesting to run, too, you know. It sits right there in neuter gender and so on, interesting to run.

PC: Oh, they could be overts not to Scientologists there.

And you say, "Can you — what have you got a picture of?"

LRH: Oh! Crash! (pause) All right. Wow!

"Oh, I've got a picture of a robot."

PC: And I don't want to talk about them up in front of this crowd!

"What's the robot doing?"

LRH: [to audience] He went from here, he was not quite there, therefore it wasn't so good.

"Oh, well, he's fixing something, or he's doing something. Yeah, I can see it, yeah ..."

[to pc] You don't mind my mentioning to them?

It assesses, but he can get a picture of the robot. Well, you should ask the question, "Whose picture is it?" Isn't his. And if you consult him you will find out that the robot is doing things on its own determinism and he is sim­ply an interested spectator watching what the robot does. And he's going to be kind of huh! interested in what the robot does next. Got the idea? He hasn't got anything to do with the robot. Not him!

PC: Carry on. That's all right.

Now, you're looking at a lower area of substitution, one or more substitu­tions below bottom. See? And one or more substitutions below his bottom leaves something on total automaticity, very often quite visible, but with no communication of any kind between it and the pc. Got it?

LRH: [to audience] He was not quite up, he's been triggering off on the thing which said that this was loused up, but he's come down now, he's come down here almost to 2.0. He's about 2.25 and that — that was all in one — one whistle. See?

Audience: Mm-hm.

[to pc] I'm not trying to expose you to view.

Beyond the fact that he could see it if he wanted to look, you know. Robot's going around fixing the wires, polishing shoes or doing anything he's supposed to do but it doesn't have anything to do with the pc.

PC: That's okay.

Now, here's a very good case assessment trick. If the pc has got such an object or such a mock-up, you should monkey around in that zone with a further assessment. Got the idea?

LRH: We are going to ask a burning question here, however, which is not going to expose you to view at all but you ever had anything to do with machinery?

I know, for instance, one case that I'm waiting to jump on, clear back .. . Pcs have had it when I audit them because I ordinarily remember everything they ran, you see, and when they don't. This case was clear back in 1953, January. And I asked this person to mock up a dog. And the person kind of went "Heh-heh-heh!" And I said, "What's the matter?"

PC: Yes. LRH: Mm-hm.

Well, the person said, "I got the dog, all right."

PC: I was a machine telegraph operator on one site.

"Well, what's the dog doing?"

LRH: Mm-hm. Did you ever see a man killed at it?

Said, "Heh-heh-heh," you know. "Oh, he's standing there, he's got some kind of a big bow on him and he's got something going around his neck. And he's throwing it around his neck this way, and so on. Heh-heh! That's real cute." I said, "Well, where's the dog now?"

PC: No.

"Oh," he says, "I see what it is, it's an alarm clock. Got an alarm clock around his neck and he's reading the time, you know," and so forth. And I said, "Well, what's the dog doing now?"

LRH: No. What's death got to do with machinery?

"Oh, it's gone away somewhere."

PC: I had a lot of electric shocks off it but death and machinery? No, I've never seen anyone killed, actually.

That person has an animal area valence that's right there, see. It's either a dog or it's some animal associated with a dog, of more or less the same order of magnitude, see, because animals of that magnitude when they appear in the bank just go on asserting themselves and doing what they please and appearing and disappearing at will. Get the idea? It's actually a solid automaticity.

LRH: Hm?

I don't know how many levels of substitution below zero, but that's it. Now, just above that is total destruction. See, just above that you start to run "What part of a dog wouldn't you mind creating?" You'll get birwwww! zup! zup! zup! "Bulldogs, yeah, I've got bulldogs flying off the wall. Dogs! Dogs! Dogs! Dogs! Dogs!" And then all of a sudden, bong! "No dogs. But I can't get a dog. I haven't seen a dog for a half an hour. I don't know why you keep run­ning the command because I — dogs? What's a dog?" Dong!

PC: I've never seen anyone killed.

"Well, what are you looking at there?"

LRH: Mm-hm. Have you ever been killed on such an assignment? (pause)

"Well, there's just this great, black sphere."

Hm?

"Well, what's happening?"

PC: You tell me!

"Nothing. Absolutely nothing."

LRH: Well, how's it seem?

And you run it and run it and run it and run it and run it. What have you run into? You've run into an area of total destruction.

PC: No reality.

You've run into the barrier between the life when the preclear could run dogs, and such total destruction occurred to the pc's running of dogs, that after that, "Dogs?" See, even if they were around, one couldn't take any responsibility for them.

LRH: No reality.

"Feed a dog? All right, Mama, if you say so," and leave the hamburger on top of the refrigerator, you know. "Don't quite understand dogs."

PC: I'd say no. I'd say ...

One manifestation that goes along with this is, "Ha, dogs are funny, they're so disobedient. I'm very interested in dogs because they're so disobedient."

LRH: Have you ever run into anything on the backtrack?

In other words, there's a likingness of the no-controllingness. All of this is, is, "Isn't it wonderful that I don't have to communicate with or have any-thing to do with dogs. Because if I communicated with anything that had to do with dogs, I don't know what'd happen to me! Ha-ha!"

PC: No. LRH: No?

Wow! See, so you'd move — such a pc, running, "What part of a dog would you be willing to create?" you'd run him into the total null. Get the idea? Sooner or later he's going to hit a null.

[to audience] What brought this all about is he's landed somewhere in machine reading and just going by, why, I'm simply asking him some questions and they instantly developed a theta bop.

Now, I don't care whether that null lasts fifteen minutes, a half-hour, ten days, see, of processing. It doesn't matter, you're going to hit a null. Then you're going to hit some more activity because we don't know how many inversions down, see, this first automaticity we found was.

PC: Oh, I'm shaking all over.

And what we do is get plus randomity, too fast for the pc's control; minus randomity, too slow for pc's control. You see? Nothing there to control, is there? Just all black. Got the idea?

LRH: Yeah? All right. Okay. Those overts you mentioned a moment ago, you wouldn't mind telling me about them?

Plus randomity — pc tries to make a dog stand on a chair, you see, in a mock-up. The dog runs down and gets back up, and runs down and gets back up. You know.

PC: While they're not listening.

"Did you make the dog stand on the chair?"

LRH: No, no, not in front of them. But you wouldn't mind telling me?

"Oh yeah, for a minute." They didn't tell you the rest of it. Which is, the dog went around, tipped over the chair, picked up the chair in his mouth, carried it outside .. .

PC: Oh, I'd tell you. Yeah, I'd tell you anything. Mm-hm.

See, but they did do it for a minute, see, that's getting pretty good. That's one substitution level less.

LRH: Okay. All right. That's right.

Well, these substitution levels actually have between them the total destruction levels, which is to say the total minus; the plus, the minus, the plus, the minus, the plus, the minus. And the pluses get so they're not quite so plus and the minuses get so they're not quite so minus and eventually the mock-ups, so on, are visible and come under the control of the pc.

Now, we're much more interested in this machine, this máquina. Now what are you busy running now?

Unless, of course, the pc was already sitting in a total minus randomity which made everything black and they couldn't see any mock-ups. Well, if that was the case and it didn't move, you made the wrong assessment! Get the idea?

PC: Victim.

Now, a black pc can always be assessed back to the right terminal for that blackness. It isn't the blackness will shift, but it's practically the only thing that will register very differently on a meter from everything else. But it registers the same as the first dynamic. A little law involved in it.

LRH: You're running victim, huh? Well, could a machine be a victim?

So you go from plus randomity to minus randomity, from plus randomity to minus randomity. If you're not getting either one, you see, you've got some kind of an idea that a case should change uniformly and routinely at so many changes per hour, you see, because you've got too many — so many auditing commands per hour. Well, you just get rid of that idea. You got the idea?

PC: Yes.

If you're running these new, hot processes, you're going to get too much change per hour, or too little change per hour, and either one is upsetting.

LRH: Mm-hm. You're running a victim. Well, victim takes it right out of the theta bop category. Well, let's take it right back into the machine category. How would you go about killing a machine?

Now, don't think there's a standard rate of change of case! Because cases that are in pretty good shape under a little bit of processing change like mad, no automaticity involved with it, they simply change! Got the idea?

PC: Oh, smashing it up with an ax.

Automaticity is where you've got mock-ups and other things going on without the volition of the pc of any kind, you see.

LRH: Mm-hm. You ever smashed up any equipment this life?

And the longer you audit the case, actually, the more rapid the change is which comes under the control of the pc. And you eventually get it to a point where the pc can choose his plus or his minus randomity, and the degree of. He's doing it, in other words. Got the idea? He gets up to a point where he's doing it.

PC: Oh, I buckled up a shovel once.

The reason things have gone auto — on automatic lies solely in the fact that people think they have been totally destroyed while being them. And that's the whole answer.

LRH: Yeah?

A fellow was being a concrete mixer and he's being a pretty good con­crete mixer way on back on the backtrack, Arslycus, or someplace, you know. People would throw sand and gravel at him, and he'd mix it up and so forth, and one day the lightning struck! Well, it struck within his tolerance at that time, which was pretty high, and so that made an awful lot of lightning. Something happened! Somebody really fixed up the concrete mixer. You got the idea?

PC: Hit a stone.

Audience: Mm-hm.

LRH: All right. All right. When you shut a machine off does that kind of kill it?

Somebody really fixed it up!

PC: Yes.

After that, all was silence for a long time. Now, you pick up the concrete mixer, you find out he couldn't, himself, mix concrete with a hoe. This would not be possible for him to put some water and sand and cement, and so forth, in a box and push it back and forth. He just couldn't touch the hoe! That's it!

LRH: That does, huh? That isn't it. How about robots? How about robots, is it possible to kill a robot?

He'd stand there stupidly waiting for the hoe to mix the concrete or something, see. He just knows better than to be any part of anything that mixes concrete. I'm giving you a ridiculous example but there it is.

PC: Oh, yes, shutter down its machinery. Turn off its power.

And one day, why, you have a mechanical concrete mixer in — on the place and you tell this fellow to "Go on over and start it up, Joe."

LRH: All right. This is apparently just machinery. Let's see if we can get this theta bop back now. You ever been killed by a machine?

"Who, me?"

That's a silly question to ask anybody, you know, on the whole track. It is, have you ever been killed by a machine? He doesn't react on it. Have you ever killed a machinist?

You know, the idea of going over and ... Well, you've never put it to this degree in this society but the fact of the matter is, is he'll find some way of not doing it unless driven right up to it with a whip, and if he put his hand on the starter buttons and so forth, and started to start the motor, there is a distinct possibility that he would fall over in a dead faint. You've walked him back onto the chain toward being a concrete mixer, haven't you? Hm? You've just walked him over toward being a concrete mixer. That's enough to move him into one of these totally quiet areas. He just reactively doesn't do any-thing because he knows he can't be a concrete mixer. See, he's been taught that he can't be one, so therefore, he can't be one! Therefore he can't mix concrete! Therefore that's that! Period. Real period, full stop, to that level of beingness.

PC: No, but I've made eyes at them.

Now, as you strip off creation valences, to ask a person to create some part of this thing is actually fairly easy for him to do, oddly enough. Right up to a certain point when he goes into a freeze, or all of a sudden he feels his head going wog! wog! wog! "Wait a minute, he'd better stop this process because something is happening! Something is happening! Oohh-oohh! Oh, that's better!"

LRH: Hm?

You just ran him, you see, into being a concrete mixer. Of course, every-thing a concrete mixer does has nothing to do with him, so it's on total auto­matic. So he's the total effect of being a concrete mixer. Got the idea?

PC: rue made eyes at them.

Audience: Mm-hm.

LRH: Yeah?

Take a race car driver that's flattened out a brick wall, plus an automo­bile and himself and so forth and you'll — you'll find some remarkable reac­tions to automobiles after that if he's still fairly sane and in there pitching and that sort of thing. Well, he keeps automobiles in pretty good repair, and he does this, and he does that. And he does things to automobiles and he pays attention to how they run. But gee-whiz, that's only the first substitute down. See?

All right. Yeah, we really got one. That's the bop we're looking for. Tell me more about this.

Now, give him a few more of these, you see, and automobiles — they just run all by themselves, he doesn't have anything to do with them, you know. Wild.

PC: Well, I'm not thinking of the one that you're probably looking at — looking for. There's a lot of machinists where I work. They're usually beautiful women. I don't know anything about a machine back on the...

You say, "Put some gas in the tank."

LRH: Yeah?

"Oh, I meant to do that." You know?

PC: ... on the track though.

If you actually took him up and forced him to say to the person at the petrol station, "Fill up the tank." He'd probably faint. He'd have a horri­ble pain in his stomach or something. See? You'd totally break through this. You'd break him into something and without auditing you'd practically ruin him.

LRH: Yeah? Sure, go on. Anything?

Well, it gets finally down to the lowest-lowest-lowest. You could get into a point at some low substitute level on the Scale of Reality and the pictures and views of engrams, which of course go from picture, to invisible, to black, to substitute picture, substitute invisible, substitute black. That's the way that's — that set of sandwiches apparently runs. You just keep going down, you see — down the scale of substitutes, further and further and more and more unreal.

PC: Anything.

He comes out one day and he walks straight into an automobile, he goes thud! You pull him aside and you say, "What do you mean, you walked into an automobile. What's the matter with you?"

LRH: Anything you want to say about this category? You've lost some ... Well you lost it down to ... Is there such a thing as a "female machine"?

"Oh, did I walk into an automobile?" And he will say it very foolishly, "I didn't see it." It's alter-ised to a point where it no longer has visibility to him and actually does not reflect light through to his eyeballs. Fact!

PC: No, there's a female machinist though.

It isn't an idea he's got, the thing just — he no longer is capable of receiv­ing the reflected light which falls on automobiles, and that's it! And that's a low, low, low level.

LRH: A female machinist.

So, don't think there are few things to be taken off a bank; there are many things to be taken off a bank but you want to get the one that's available and run it. And the first areas of the run are tougher than the later ones.

PC: Mm-hm.

But you'll go from plus randomity: too much action, automaticity and so forth — invisible, black: "What is it?" Um-dum-dum-dum. Nothing's happen­ing here, you see, to all of a sudden, brroooomm, he says, "Oh, that's too fast, boy! That's too fast!" you know. "Well, nothing's happening." "Well, that's too quick." "Oh, nothing's happening." You get the idea?

LRH: How fascinating. Wow! We're sitting right on top of something here.

And you've already seen some of this, I'm sure. Although some of the cases that you're auditing right now have been, by other processes, kicked into — kicked into one of these minus randomity areas on the body line. And when you audit them very little happens. Till all of a sudden they go splash! Got the idea? Something starts moving!

PC: I see.

Well, the Create Series will pick them off and move them up through these minus randomity areas providing you're on the ball with assessment. If you're on the ball with assessment, why, you'll always move them through the randomity areas, and if you're not on the ball with assessment, why, I don't know what you'll do.

LRH: Aren't we? Is there anything in that vicinity? Have you got an occlusion on some of this? Do you know all about this? Do you ever worry about this?

Thank you.

PC: No.

LRH: You never worry about it and so forth?

PC: Why, no.

LRH: [to audience] It's very interesting. The needle just stilled. Now it's getting a theta bop, getting a little theta bop, a tiny one, and then sometimes a loose bop. As I ask him about this particular line and I'm not even gunning him straight here, I'm not even trying to bang down the line here particularly, I'm just asking questions as you would more or less pursue a needle. Now he's got another little theta bop.

[to pc] Now, let's be interested in you. Huh? Rather than what they think. And let's find out what you should be running instead of victim. That's my boy, what is it?

PC: Oh, I was looking at your nose as a matter of fact.

LRH: It started theta bopping.

All right. There's something here. There's something here. Now, we got a nice theta bop going here.

PC: Yeah.

LRH: Now, what does it trace back to?

PC: Well, I'd probably sooner be elsewhere than here at the moment. If that helps.

LRH: Well, does that help to be there? Is it?

PC: I don't see it.

LRH: You don't see it?

PC: I've got a pain in the back of the head.

LRH: I don't see it either.

PC: Mm.

LRH: Got a pain in the back of your head?

PC: Mm.

LRH: Hm! Very interesting. Tell you what let's do. Let's not worry about you being here or there or otherwise so much. Let me just go along the line here and run a little process to get this thing sort of shaken out, huh?

PC: Okay.

LRH: All right. Now, in view of the fact that you're quite aware of this audience, we're going to use them.

PC: Okay.

LRH: All right. And I want you to run this — a little alternate command — we're going to run it for a very short space of time, and that is "Think of something you'd let them know." "Think of something you could withhold from them." Okay?

PC: Mm-hm.

LRH: All right, you don't have to say a word. All right. Think of something you'd let them know.

PC: Yeah.

LRH: Good. Think of something you're withholding from them — you could withhold from them.

PC: Yeah.

LRH: Good. Think of something you'd let them know.

PC: Yeah.

LRH: Good. Think of something you could withhold from them.

PC: Yes.

LRH: Good. Think of something you'd let them know.

PC: Yes.

LRH: Good. Think of something you could withhold from them.

PC: Yes.

LRH: Good. Think of something you'd let them know.

PC: Yes.

LRH: Good. Think of something you could withhold from them.

PC: Yes.

LRH: Good. Think of something you'd let them know.

PC: Yes.

LRH: Good. Think of something you could withhold from them.

PC: Yes.

LRH: Good. Think of something you'd let them know.

PC: Yes.

LRH: Good. Think of something you could withhold from them.

PC: Yes.

LRH: Good. Think of something you'd let them know.

PC: Yes.

LRH: Good. Think of something you could withhold from them.

PC: Yes.

LRH: Good. Think of something you'd let them know.

PC: Yes.

LRH: Think of something you could withhold from them.

PC: Yes.

LRH: Good. How you doing now?

PC: Mm. Pretty good, thanks.

LRH: Any energy masses moved around, or...?

PC: Oh, yes, I feel a little more comfortable. Mm.

LRH: Is that so?

PC: Mm-hm.

LRH: All right.

Let's run this awhile longer, huh?

PC: Okay, yeah.

LRH: All right. First though, let me ask you, is it all right if I go on auditing you?

PC: Oh, I guess it is. I don't seem to be my usual, comfortable self when I'm with my other auditor.

LRH: Yeah.

All right. All right. Is this bad?

PC: Is it bad? Well, I'd like to be here very comfortable.

LRH: All right. Let's go on and run this process awhile longer. Shall we?

PC: Okay, mm-hm.

LRH: All right. Think of something you'd let them know.

PC: Yes.

LRH: Think of something you could withhold from them.

PC: Yes.

LRH: Thank you. Think of something you'd let them know.

PC: Yes.

LRH: Good. Think of something you could withhold from them.

PC: Yes.

LRH: Good. Think of something you'd let them know.

PC: Yes.

LRH: Good. Think of something you could withhold from them.

PC: Yes.

LRH: Good. Think of something you'd let them know.

PC: Yes.

LRH: Good. Think of something you could withhold from them.

PC: Yes.

LRH: Good. Think of something you'd let them know.

PC: Yes.

LRH: Think of something you could withhold from them.

PC: Yes.

LRH: Good. Think of something you'd let them know.

PC: Yes.

LRH: Good. Think of something you could withhold from them.

PC: Yes.

LRH: Good. Think of something you'd let them know.

PC: Yes.

LRH: Good. Think of something you could withhold from them.

PC: Yes.

LRH: Good. Think of something you'd let them know.

PC: Yes.

LRH: Good. Think of something you could withhold from them.

PC: Mm-hm. Yeah.

LRH: Good. How are you doing?

PC: Ah, much better.

LRH: Much, much better, huh?

PC: Yes, I'm starting to relax a little.

LRH: All right. That-a-boy, that-a-boy. We'll cure your stage fright here forevermore. Huh?

PC: Ah, that will save me.

LRH: Now, let's run this about four or five more commands. Shall we? Hm?

PC: Yes.

LRH: All right. Think of something you'd let them know.

PC: Yeah.

LRH: Good. Think of something you could withhold from them.

PC: Yeah.

LRH: Good. Think of something you'd let them know.

PC: Yeah.

LRH: Good. Think of something you could withhold from them.

PC: Yeah.

LRH: Good. All right. Now, that's the end of that particular process if that's all right with you.

PC: Mm-hm. That's okay.

LRH: All right, and we're going to run another process right on the heels of that. Okay? And this one, possibly a little bit rougher. Same process, except, instead of "them," "me."

PC: Oh, I see. Mm-hm.

LRH: All right. And here's the first command of it. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yeah.

LRH: Good. Think of something you'd let me know.

PC: Yeah.

LRH: Good. Think of something you could withhold from me.

PC: Yeah.

LRH: Good. Good. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. Think of something you'd let me know.

PC: Yeah.

LRH: Good. Think of something you could withhold from me.

PC: Yeah.

LRH: Good. Think of something you'd let me know.

PC: Yeah.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. Think of something you'd let me know.

PC: Yeah.

LRH: Good. Think of something you could withhold from me.

PC: Yeah.

LRH: Good. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yeah.

LRH: Good. Think of something you'd let me know.

PC: Yes.

LRH: Think of something you could withhold from me.

PC: Yeah.

LRH: All right. What mechanism are youusing to withhold from me?

PC: Mechanism?

LRH: Yeah, how are you answering the question to yourself? I don't want one of the answers.

PC: Ah, just just decision, that's all.

LRH: You're deciding that?

PC: Mm.

LRH: Ah-ha! You're making a decision about this?

PC: Oh, yeah. I decide ...

LRH: Is, that right? No other way?

PC: Mm-hm. I decide, well, I can withhold that from you.

LRH: All right. Good.

PC: Mm-hm.

LRH: Getting any changes here?

PC: Am I? LRH: Mm-hm.

PC: Oh, I notice I'm a bit faster towards the end.

LRH: That-a-boy. All right, let's run this awhile longer, shall we?

PC: Okay. Mm-hm.

LRH: All right, think of something you'd let me know.

PC: Yep.

LRH: Good. Think of something you could withhold from me.

PC: Yeah.

LRH: Good. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yeah.

LRH: Good. Think of something you'd let me know.

PC: Yeah.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. All right. Think of something you'd let me know.

PC: Yeah.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. Now how do you feel now about being audited by me? Better?

PC: Yes.

LRH: Good. What do you know.

PC: Yeah, it sounds like it's my voice now, instead of somebody else's.

LRH: All right. Okay. Let's run this some more, shall we?

PC: Okay.

LRH: All right. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. Think of something you'd let me know.

PC: Yep.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. All right, how you doing right now?

PC: Mm. Pretty good, thanks.

LRH: Pretty good.

PC: I was just thinking how it's not easy to withhold anything from you.

LRH: Yeah.

PC: But it can be done.

LRH: It can be done. All right. That-a-boy. Make you feel a little better?

PC: Ah, yeah, yeah. Rolling it off.

LRH: Good. That-a-boy.

All right, well let's run this a little while longer, shall we?

PC: Mm-hm. Sure.

LRH: Okay. Think of something you'd let me know.

PC: Yes!

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. Think of something you would let me know.

PC: Yes.

LRH: Think of something you could withhold from me.

PC: Yes.

LRH: Good. You doing better now?

PC: Oh, yes.

LRH: That-a-boy.

PC: Steaming along.

LRH: All right. Let's run it a little bit more, shall we?

PC: Okay.

LRH: All right. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. All right. You got any mass in restimulation or anything moving around your face or anything like that that's different than it was?

PC: Oh, yes, I — I feel lighter. I've still got that somatic as I — that would seem to be restimulated from victim this afternoon, actually.

LRH: Oh, that came in on victim? Huh?

PC: Mm.

LRH: All right. Okay.

PC: And that's where I was on victim when I finished up. Right there.

LRH: Right there?

PC: Mm.

LRH: All right. Okay.

Well, why don't I run this another half a dozen times and we'll end it as a process. Okay?

PC: Yes, sure.

LRH: All right. Anything wrong with that?

PC: No, that's all right.

LRH: All right. Think of something you'd let me know.

PC: Yep.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: Good. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: All right. And I'm going to give you one more pair. Think of something you'd let me know.

PC: Yes.

LRH: Good. Think of something you could withhold from me.

PC: Yes.

LRH: All right. How was that?

PC: Fine, thank you.

LRH: Good enough. Good enough.

PC: Mm-hm.

LRH: All right, that's the end of that process. How you doing?

PC: Feeling better.

LRH: Feeling better?

PC: Mm. Mm.

LRH: You feel better about the crowd?

PC: Yeah, they're not going to bite me now.

LRH: All right. Okay. Do you feel better about me?

PC: Oh, sure.

LRH: All right. Now — couple more questions I'd like to ask you. When you were doing victim, were there any ARC breaks that you felt with your auditor or anything like that?

PC: Yes.

LRH: There were some?

PC: Mm-hm.

LRH: Has your auditor cleaned these up in any way?

PC: Yes.

LRH: All right. Not trembling here. Was there a particular kind of victim that you were running last?

PC: No, not a particular kind, no.

LRH: How — what were you doing just for the last bit?

PC: Oh, I was looking at the MEST universe in general as being a victim by my consideration and ...

LRH: Mm-hm.

PC: Trees, the earth ...

LRH: Mm-hm.

PC: ... the whole galaxy by my consideration.

LRH: All right. Now tell me this, did you hit a man or a woman victim someplace during running victim which you went bong off of?

PC: Can't recall her.

LRH: Have you run into a man or a woman victim in being audited on this?

PC: Well, I've mentioned them but there's nothing specific that I can say is jutting out.

LRH: Mm-hm.

PC: Have I run into them?

LRH: Yeah, seen them. Seen pictures of them, anything of that sort — while running the process? Did you ...

PC: Well, an old sort of facsimile popped up of a woman — woman lying flakers on a stone — on a stone slab.

LRH: Mm-hm? Mm-hm?

PC: And I seem to be ...

LRH: Mm-hm? Very interesting.

PC: Yeah. A beautiful body. I've been looking for it ever since.

LRH: Yeah. Well, how about that?

Okay. Okay. Don't mind their laughter, they're just crass.

[to audience] There's something here, you see.

The pc — it's not a criticism of the pc's auditor, you're just learning. And I'd never criticize a pc's auditor. I'd take them apart out back and leave them all over a bench.

[to pc] Nothing wrong with your auditor really.

But this is a chronic thing these characters don't do. They never ask questions and never watch the meter. The meter is there to keep their hands down. And is there primarily to keep them from confronting the pc.

Now, where was the auditor when this thing went down to "F" and started to do a theta bop, that he didn't find out all about this?

PC: It was just the end of the session.

LRH: That was right. Is that just the end of the session?

Male voice: The answer is yes.

LRH: [to auditor] All right. You be more curious. You hear me? You haven't done anything wrong here.

[to pc] But I've been chasing around on this ever since I started auditing you, and wondering where this thing was and what it was all about, and what we were going to do with this, because we were getting a theta bop, as it sailed down toward female Clear.

[to audience] Now, I've made big ARC breaks for him because he's probably defending his auditor at this moment.

PC: That's right.

LRH: That's right. Your needle doesn't even twitch, you'd better watch out.

Now, listen, there's nothing wrong with that. I'm glad you brought it up. I'm glad you brought it up because I wanted to use it as an example.

You did have this picture, huh? Let me handle this thing for a minute.

You did have this picture?

PC: Yeah.

LRH: ARC broke you up on this in any way now, by discussing it?

PC: No.

LRH: No? All right. I haven't? When was this? (pause)

No period of time?

PC: No. No.

LRH: It's totally disassociated from time?

PC: Facsimile's a bit clearer.

LRH: Mm-hm?

PC: It's actually coming a bit closer.

LRH: Mm-hm. Mm-hm! That-a-boy.

I'm quite interested in this because these shotgun processes, you know, that just pick up everything in sight, and so forth, sometimes leave one strewn around like this, and it takes eight more hours of ordinary swing to get back to it.

Well, as a matter of fact, you could just get somebody to look at it.

PC: Mm-hm.

LRH: I'm just getting you to take a look at this thing. How about this body?

PC: Yeah. I'm a bit stiff across the back.

LRH: Well, now, was that body knocked in the head?

PC: It crashed on this stone slab.

LRH: Yeah. Uh-huh. How about that?

PC: Mm.

LRH: Did you know this person?

PC: Well, I fancy that it was my body when I first looked at it.

LRH: Mm-hm.

PC: I've looked at it before today.

LRH: Mm-hm.

PC: But I didn't ...

LRH: Oh, you've seen it before?

PC: Yeah.

LRH: Now, do you feel you killed this person?

PC: I fancied at the time that it was my body.

LRH: Yeah, but did you kill your own body?

PC: I don't know.

LRH: Well, could you have been careless?

PC: I could have slipped, yeah, sure. LRH: Could have?

PC: Mm.

LRH: Would it be carelessness of yours as an overt?

PC: Yeah, carelessness would be an overt. LRH: Could be.

PC: Mm-hm.

LRH: Would that be an overt?

PC: Yeah sure, hm. LRH: Not being careful?

PC: Mm.

LRH: Now, was it somebody you knew well? Or was it you?

PC: Both answers, "yes."

LRH: Mm-hm. Well, let me ask you again here on the meter. Was it somebody you knew well? Or, I should say, somebody else you knew well? Or, was it you? (pause)

I know what you've got here old man. You don't know, do you?

PC: Mm-hm.

LRH: That's right. You don't know reactively and you don't know yourself. That's a big mystery, isn't it?

PC: That certainly is. I'm burning up about it.

LRH: Yeah. Yeah. Yeah. Hm. Hm. Well, I hate to run a process on it. Let me take just a little stab at this, okay?

PC: All right. Yeah.

LRH: All right. I just — this is the "get the idea" sort of process, see.

All right, now, it's going to ... "Get the idea of being that girl." "Get the idea of being somebody else." Okay?

PC: Okay, yeah, sure.

LRH: All right. Here we go. Get the idea of being that girl.

PC: Yup.

LRH: Good. Get the idea of being somebody else.

PC: Yup.

LRH: Good. Get the idea of being that girl.

PC: Yeah.

LRH: Good. Get the idea of being somebody else.

PC: Yeah.

LRH: Good. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being somebody else.

PC: Yup.

LRH: Good. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being somebody else.

PC: Yes.

LRH: Good. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being somebody else.

PC: Yes.

LRH: Good. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being somebody else.

PC: Yes.

LRH: Good. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being somebody else.

PC: Yes.

LRH: Good. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being somebody else.

PC: Yes.

LRH: Good. How's the picture?

PC: Oh, it got tangled with the other person there sometimes.

LRH: Yeah.

PC: Once or twice like it was difficult to separate them.

LRH: Changed location, has it, from where you're sitting right this minute?

PC: Yes. LRH: It has?

PC: Yeah, it shifted over there a bit. Yeah, sure.

LRH: All right. Let's run this for a little while longer, shall we?

PC: Okay.

LRH: All right. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being another person.

PC: Yes.

LRH: Good. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being another person.

PC: Yes.

LRH: Good. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being another person.

PC: Yes.

LRH: Good. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being another person.

PC: Yes.

LRH: Good. What's happening?

PC: Oh, it was much easier to do.

LRH: Much easier?

PC: Mm-hm.

LRH: All right ...

PC: She's moving over there a bit.

LRH: Good. Well, let's ask the same question again. Were you that girl? Were you another person? (pause)

What do you think?

PC: What do you think? I don't know.

LRH: I'm getting a tiny bit more registry here. There's a little more differentiation. There was exactly no differentiation at first.

PC: I see.

LRH: All right, we got a little bit more, so shall we run this just a few more commands?

PC: Okay.

LRH: Okay. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being another person.

PC: Yes.

LRH: Good. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being another person.

PC: Yes.

LRH: Good. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being another person.

PC: Yes.

LRH: Good. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being another person.

PC: Yes.

LRH: Good. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being another person.

PC: Yeah.

LRH: Good. Get the idea of being that girl.

PC: Yes.

LRH: Good. Get the idea of being another person.

PC: Yes.

LRH: All right. Where's the picture now? Still further away?

PC: Yes.

LRH: Where?

PC: Oh, right over there now.

LRH: All right is it gradually moving out, huh?

PC: Uh-huh.

LRH: What's the other person that keeps coming up?

PC: Did you say, "another person"?

LRH: Do you see another person? You said, "It keeps getting tangled up with another person," a moment ago when I asked you. Is there another person?

PC: There was and I changed my ideas of doing it, yeah. I was being a big, powerful man for a while there and I decided to be myself

LRH: Oh, I see.

PC: Mm.

LRH: All right. All right. When did you decide to be yourself?

PC: Oh, a few moments ago.

LRH: Mm-hm. Mm-hm. It went flip.

Okay. Now, were you that girl? (pause)

Were you another person? Were you that big, powerful man? Were you that girl? Were you another girl? All right, which seems the most likely?

PC: Don't count on me, chief

LRH: Hm? No? Nothing there?

PC: Non compos.

LRH: It's just not — not any feeling about it or anything about it?

PC: No, not really, no.

LRH: Mm-hm. Interesting, isn't it?

PC: It 'tis really.

LRH: I'm going to ask you just one question.

PC: Yeah.

LRH: Not — not to start a process with but just one question that sounds like a process. It sounds like a process we were just doing.

What are you willing to let that girl know?

PC: That she's dead.

LRH: Mm-hm. All right. Is that very positive that you'd let her know that?

PC: Ah. I sort of want to hang on to the picture.

LRH: Mm-hm.

PC: Mm.

LRH: Would you let her know anything else?

PC: Well that I want to abandon — abandon her and go elsewhere.

LRH: Mm-hm. All right. All right. You'd let her know that?

PC: Mm.

LRH: Okay. Now does this change your insight into the situation, just looking at that from that viewpoint?

PC: Not very much, really.

LRH: It doesn't, huh?

PC: No.

LRH: Picture change when you do that?

PC: It becomes more real.

LRH: Ah, it does!

PC: Yup.

LRH: Yeah, that's not so good?

PC: Well, I don't know, I don't mind. I like looking at beautiful women.

LRH: All right. Okay.

Well, our time is running out here, but I've given your auditor a clue. He's sitting there, he doesn't know what about though.

Male voice: I sure do.

LRH: You do? Really? All right.

[to audience] Now, what would be death? Would a total closure of not letting something know much, and so on?

I'm glad this came up, so I could give you an example of a — of an occlusion of knowledge accompanied by the fact that somebody would let the girl know she was dead.

[to pc] I don't mean to evaluate for you, these demonstration processes ...

PC: That's all right. Yeah.

LRH: All right. I'll tell you what we're going to do here now. Although I picked you up at "M" I have a suspicion that as soon as we end the session, why you'll go back up to "M."

PC: Oh, no.

LRH: Hm?

PC: I was just very frightened, that was all.

LRH: Huh?

PC: I was withholding like hell.

LRH: Oh, yeah?

PC: Yeah.

LRH: Oh, all right.

PC: I could see you just splattering me all over the wall, and everybody looking at it.

LRH: All right. Fine. Well, you fared all right though, didn't you?

PC: Ah, yes, sure.

LRH: Yeah. This is not too bad.

PC: No, it was very good, Ron.

LRH: Now, are you all right — is it all right for your auditor to go on auditing you after this session — short session with me?

PC: Most certainly, yeah.

LRH: You betcha. And do you think I have damaged you irrevocably?

PC: Not a bit.

LRH: Not a bit. All right.

Anything you care to say before we end this session?

PC: No. But I do appreciate the experience.

LRH: All right. Very good. Very good. If it's all right with you, we'll then say, "End of session." Okay?

PC: Good.

LRH: All right.

PC: Thank you, chief

LRH: You betcha.

PC: Good.

LRH: Okay, thank you very much.

PC: Thank you.

Well there's the — the extent of it. Just showing you actually patch up, fool around sort of auditing. You understand?

I wasn't trying to give you anything very significant. Get the idea?

But we shook some information out. We loosened the pc up, we did some interesting things here and actually didn't get the pc to lay his whole heart and soul on the table and be crucified, did we, hm?

The pc started in a little bit alarmed and upset and he calmed down. Huh? Well, you'd assign that to familiarity with the experience but also he must have had some confidence in his auditor. Don't you see? He didn't have it at the beginning. Isn't that right?

So, in handling cases, why, actually you get just as far as you establish confidence in the pc and as far as you find out — not so much horrible things he's done, you know, and that sort of thing, gruesome gore and all that sort of thing — but find out what he's doing, what he's reacting to, what it's all about and so forth. You got it?

Because he actually saw this thing on a general process, and then he not-ised it. You get the idea? And it isn't that you should have stopped and Qed-and-Aed with it, and taken it up, or something of this sort. But there must have been a shift, a kind of a wild shift on the tone arm, right about that time. And you as the auditor should have had all that gen, and more. Got the idea?

[to auditor] I'm not berating you publicly. There isn't another one here would have done it. Hardly any ...

Male voice: How far should you go?

Hm?

Male voice: How far should you go?

Far enough to know.

Male voice: Yeah, well I handled that.

Yeah. But the pc is sitting in a total mystery with regard to this particu­lar thing and has actually run into something in the session that had him pinned on the track. Got it? There's something — something was there. See? And he ran into it, and pinned on the track, and evidently the process wasn't taking care of it to amount to anything. Okay?

Hm? Now how far should you have gone with it? It's a bad idea to tell you that you should Q-and-A with everything that happens to the pc. It's bad auditing. It is, it's bad auditing. But to find out what's going on and so forth, why, the process would now have to be run till we get around to that one again. See? We wouldn't go leaving the pc hung up.

If we suddenly ended session or an intensive with this pc, what would we do?

We would for sure make sure that such phenomena as occurred weren't left for some other auditor to mop up. Now, you've got a wonderful indicator! That's just wonderful, that indicator is. And I can tell you right now the assessment of the pc. That's how valuable it was.

"What part of a female body would you be willing to create?"

It's the only thing that's going to shift that picture easily. See? Oh, you could monkey around with it. We saw it moving out, running just thought-up­on-the-moment process, "What would you let her know?" you know, and beingness and so forth. Do those things.

But that thing is going to start blowing out through the roof, see?

A case will run on some kind of machinery. It will run on a woman, female body. "Female body" preferred to "woman." The case will run on "a body," "a machine," run on any of these things. You just have to pick the one that seemed hottest on the assessment. Naturally you're wasting time with a "victim." See?

If you want to see this case sail, why get in there, do another assessment on the thing, pick out one of these, and get it whizzing. Got it?

Male voice: Oh, in other words, there's no need to flatten "victim." Nah.

Male voice: That's what I ...

Why don't you run that, why don't you run "create" for a while, and get two or three terminals, and then flatten "victim" in a half an hour? Okay?

You can always put a process off a bit into the future to flatten provid­ing you reach it again. You understand?

Male voice: Mm-hm.

You've got to come back and hit it again.

But you can very often do two or three more processes and then you hit it again, and it goes brrzpppp, gone! You got it?

Male voice: Mm-hm.

All right. Now, do you forgive me?

Male voice: Sure.

All right. Okay.

Thanks a lot. Good night.