LRH: Now, do you remember a time when you were really in communication with somebody?

LRH: What happened?

PC: Really in communication? Oh yes, numerous times.

PC: I just get a general sense of — of positioning.

LRH: One.

LRH: General sense of position? Well, move the stern of the battleship under you.

PC: Well, at lunch time.

PC: Mm-hm.

LRH: At lunch time?

LRH: Move a destroyer under you.

PC: Mm-hm.

PC: Yep.

LRH: Good, good. Now, you remember a time when you really knew somebody felt some affinity for you.

LRH: Move Portsmouth under you.

PC: Uh — yes, as I was leaving Auckland .. . Mm-hm.

PC:Yes. I got the harbor.

PC: ... and coming over here.

LRH: Move a church under you, right there in Portsmouth. Go ahead and move a church under you.

LRH: Mm-hm. Now, excuse me, I'll make a comment on this.

PC: I think these are facsimiles because I can — things I can recognize I can do, but things I can't, I can't.

(to audience] Only reason I was showing you this, you've got a fast communication lag index here. And if he hasn't been out of his body under older techniques, somebody ought to be shot.

LRH: Well, yeah. All right. Now move London under you.

LRH: Let's go up and grab ahold of those two corners of the room up there .. .

PC: Mm-hm.

PC: Mm-hm.

LRH: Got that?

LRH: . . . from inside your head. Shut your eyes and grab ahold of those two corners of the room. This would be, by the way, just standard pro — you could just do this just as I'm doing it right here and you'd be safe as a bug in a rug with every case you ran.

PC: Mm-hm.

PC: Yes, I've got them.

LRH: All right, move the Thames_ under you.

LRH: You've got them?

PC: Mm-hm.

PC: Mm-hm.

LRH: Move London Bridge under you.

LRH: Hold on to them for a moment, and don't think.

PC:Well, I've got a bridge, but not London Bridge — don't know the difference.

PC: The "don't think" part comes hard.

LRH: All right, move Tower Bridge under you.

LRH: Mm-hm. Well, just get interested in the corners.

PC: Mm-hm.

PC: Mm-hm.

LRH: Got it?

LRH: Find any old dirt or anything up there?

PC: Mm-hm.

PC: No, they look very, very clean.

LRH: Have you got a facsimile of Tower Bridge?

LRH: Mm-hm.

PC: It's black on one side and white on the other.

PC: The left — the right-hand one's hard to get.

LRH: What, the facsimile or Tower Bridge?

LRH: Mm, well keep putting it back there to get it.

PC:Well, beneath me .. .

That, by the way, is — if you checked bodies on an E-Meter, you'd find out one-half of the body is one sex and the other half of the body is the other sex according to the E-Meter. It's very fascinating.

LRH: Is it a distorted view or.. .

PC: You've got me thinking about that. Now, how will I ever get these corners back here.

PC: Is it what?

LRH: But you know what it will be. You're not supposed to think!

LRH: Is it a distorted view?

You know what'll happen if you check somebody on this. If the right-hand side is (this is something you don't have to know) if the right-hand side is pretty badly out of communication, why, it's doing a life continuum on Papa or Grandpa, like that. And the left-hand side is pretty bad off and so forth, well, you've got a life continuum on women. But when you're running (Mama, Grandma, something like that) but when you're running a case and you find out the left-hand side runs and the right-hand side doesn't run, why, you know — have you ever noticed that? A stroke case? That's a stroke case, you know? I mean, one-half of the body is functioning, the other half of the body isn't functioning, so forth? The half that is functioning will be intimately connected with somebody who's had a stroke. All right, now just bluntly, I don't care whether the preclear says so or not, it just works out that way, that's all.

PC: It's ornamental and real.

So that if the left-hand side of the body was functioning, there's a male member of the family who's had a stroke. That's all there is to it.

LRH: Mm-hm. All right. Let's take that view and let's turn it around, look at the back side of it.

What's the matter with this person then? Is he imbalanced? Are his flows unbalanced or something like that? Well, no, no. You show — you'll see this very marked, though, in some cases, and — that don't immediately show up as having had a stroke. They've had one, one time or another!

PC: I can't get over on the other side. I'm on the starboard quarter.

LRH: Got those corners?

LRH: Okay, the dickens with that facsimile. Let's move the street corner out here under you. Just move it under you.

PC: Yep.

PC: A very high view of it.

LRH: Real good?

LRH: A very high view of it, huh? All right, move it closer below you. Move it up to you.

PC: I've got one.

PC:I haven't got this corner here.

LRH: Get the other one.

LRH: Hm?

See, now, this is — this is a little trick here. This is getting the control centers balanced in present time. And if you kept this up, and made him keep fishing for the other corner, you'd come out in the long run with the control centers balanced.

PC:I haven't got this corner here.

If you want to know something about control centers, they're all there in AP&A; it talks a lot about control centers, a subject that's very, very unimportant: GE; how's the body built; what are the various control centers of the body.

LRH: Oh, you've got another corner. Well, what corner did you have?

Somebody starts talking to you about nerve reflexes, though, what are these nerve reflexes? They're sub-minds; they're old circuits and control centers.

PC:It's .. .

If somebody comes in, no feeling in this elbow and no control on this hand, what's that mean? The control center's shot over here on the right-hand side.

LRH: Oh, it doesn't matter.

Got it yet?

PC:Growing a statue in the center of it, and that seems to dominate everything.

PC: There's one over here on the right, there...

LRH: Well, let's not worry about which corner you've got. Now, let's move Buckingham Palace under you.

LRH: You just keep putting it back there.

PC: Mm-hm.

PC: . . . and the left side here .. .

LRH: Let's move one of the guards under you. PC: Mm-hm.

LRH: You just keep putting it back there.

LRH: All right, let's move his head immediately in front of yours.

PC: . . . the left-hand — back.

PC: A big black busby there.

LRH: Keep putting it back.

LRH: Yes. Are you allergic to them?

PC: I know it's there.

PC:I don't think so.

LRH: It isn't even important to get that side in present time, but we will. Feel it.

LRH: All right. Now let's buzz him in the ear. You buzz him in the ear?

PC: Yep.

PC:Yeah, I lose every sense of reality of that.

LRH: Finally connect?

LRH: Well, you did that? Privacy. Not to invade these other bodies. That's right.

PC: I know the feeling of it.

PC: Hm?

LRH: Get somebody else to feel it from the other side. Now, have two dinosaurs feel it, start to feel it.

LRH: Okay, okay. Move Hyde Park under you.

PC: Two what?

PC:Got it now.

LRH: Dinosaurs.

LRH: Move, move Madame Tussaud's under you.

PC: Oh, yeah.

PC: Yep.

LRH: Two big dinosaurs. They start to feel it. See, it's dark. There must be something in that corner; this is adjudication. Let's just speed up the process instead of fishing. Have these two big dinosaurs...

LRH: Now move the Hall of Fame around you.

PC: Yes.

PC: Which Hall of Fame?

LRH: . . . and have them start to feel it and then suddenly say to each other, "My God, no! That's Turnbull feeling that!" And run like hell! Have them do that now.

LRH: The Hall of Fame, just the main hall at Madame Tussaud's .. .

PC: Here they've come to the other end, yeah

PC: Main hall.

LRH: Now, have two crocodiles come up there to get your anchor point that you're trying to put up there, and have them suddenly notice it's you, and get down and pray.

LRH: Main hall. Move it around you.

PC:Well, the other one's gone.

PC: Mm-hm.

LRH: Well, get them both there now. You get that corner yet?

LRH: Now move one of the wax figures close to you.

PC: Yes, but it seems to be in the wrong place.

PC:It's kind of hard to get.

LRH: The corner's in the wrong place?

LRH: Hm? What happened?

PC: Yeah.

PC:Well, I got Churchill's face, but as soon as I start getting onto one, they just recede .. .

LRH: Well...

LRH: Oh, oh — oh, concentration. Okay, that's all right. Now, let's get Churchill's face and move it up in front of yours in the Hall of Fame there, I mean at Madame Tussaud's. He's just wax, you know, just wax.

PC: Yeah, I'll put it up there again.

PC: Mm-hm.

LRH: No, that's all right. Now, you've got it in the wrong place.

LRH: Let's move his face up in front of you there.

[to audience] I'll just do fancier auditing than you'll ever have to do.

PC:I can't get very close.

[to pc] Have two yeggs — you know, cosh: boys, gangsters .. .

LRH: Well, that's all right. Now let's take another figure there and move it in front of you.

PC:Yeah, I've got them up there.

PC:I'm getting it over there. I can't get it in front.

LRH: All right, all right. Have them holding that out of place, that corner where it's out of place there?

LRH: All right, all right. Got this other figure?

PC: Oh, yes.

PC: Mm-hm.

LRH: Now have them holding that out of place until they suddenly realize who they're doing this to, and have them both blow their brains out. Okay?

LRH: All right, move another figure.

PC: Yes. I've got them back there again, now

PC: I've got one there, but I don't know who it is.

LRH: Those are back in place now again? Okay, can you get both corners now?

LRH: Well, that's okay. Look at the placard

PC: Yeah, near enough.

.PC: Look at the what?

LRH: Oh, good. Now how about being over Tasmania? Just make your body comfortable there a little bit more, shove down a little bit more .. .

LRH: Look at the placard. Oh, that's right, they just have numbers on them. She's cheap, she makes you buy a book. All right. Now let's move the cashier's wicket downstairs in front of you.

PC: Mm-hm.

PC: Mm-hm.

LRH: . . . so your head — lay your head back. All right, that's right.

LRH: Take a look at the cashier.

PC: I'm more comfortable this way, actually.

PC: Mm-hm.

LRH: Well, just so you can let go of your head. Can you let go of your head?

LRH: How's she look? What happened to her?

PC: Yep.

PC:I got the brass grill but no cashier.

LRH: All right. Now let's be over Tasmania.

LRH: Ah-ha, ah-ha, ah-ha, ah-ha. All right.

PC:Yes.

Now, move the street corner out here below you.

LRH: All right, let's be over the Amazon jungle.

PC: Mm-hm.

PC: Mm-hm.

LRH: Okay, move a battleship under you.

LRH: Let's be over Nelson's monument.

PC: Yeah.

PC: I've got a monument but it's not Nelson's.

LRH: All right, move the stern under you.

LRH: Well, that's all right. Now let's be over St. Paul's Cathedral.

PC: Yeah.

PC: Mm-hm.

LRH: Move the bow under you.

LRH: Let's be over the Cape — Capetown. PC: Mm-hm.

PC: Yep.

LRH: Let's be over the Indian Ocean.

LRH: All right, move the Indian Ocean under you.

PC: Mm, pretty rough.

PC:Well, I've got an ocean.

LRH: Let's be over the North Pole.

LRH: All right, now move it right up close to you.

PC: Mm-hm.

PC: It's dark when you get down there.

LRH: What you got?

LRH: Hm?

PC:Well, I get an ice cap with a pole on it.

PC: Dark when you get down there.

LRH: Okay. Now where is it located with re — in relation to you?

LRH: Mm. All right, move the Pacific under you.

PC:It's just below my feet.

PC:The tendency is to move me in front of the thing.

LRH: Just below your feet?

LRH: Oh, yeah? All right, move the Cape of Good Hope under you.

PC: Mm-hm.

PC: Uh-huh.

LRH: Now are you locating all these below your feet?

LRH: Move the government building in Capetown under you.

PC: Mm-hm.

PC:Trying to recognize it.

LRH: All right, locate them now in front of your face. Now, let's be over Nelson's monument again.

LRH: Hm?

PC: Yes.

PC:I'm trying to recognize it. I'm losing at it.

LRH: Now let's be over the US Capitol building.

LRH: Just pick one out and say, "That's the government building."

PC:Yes.

PC: Mm-hm.

LRH: Now let's be over Sydney.

LRH: Now look around and find a flag and move it in front of you.

PC: I'm stuck there some.

PC: Mm-hm. I've got a flag in front of me.

LRH: Hm? What's the matter?

LRH: Okay. Is it in motion?

PC: I seem to be stuck there.

PC: Yes. Mm-hm.

LRH: You seem to be stuck there over Sydney?

LRH: Good.

PC:Yeah, no, I can't seem to get Sydney.

PC: Looked at the flag.

LRH: Can't seem to get Sydney?

LRH: Okay, now let's move Portsmouth under you.

PC: Mm.

PC:I bet you know I don't like that joint.

LRH: All right, get Melbourne.

LRH: Mm-hm. All right, move Woolwich Arsenal under you.

PC:No. But we'll say it's there.

PC: Mm-hm.

LRH: You got Melbourne?

LRH: Okay, move the Shetland Isles under you.

PC:Yeah, there's houses there.

Now move them up close to you.

LRH: Mm?

Now, move them up real close and sit down.

PC: Mm-hm.

PC: Uh-huh.

LRH: All right, get Brisbane.

LRH: Okay. Now move 163 under you.

PC: I seem to get Auckland.

PC:Difficult. I can get small parts, but not the entire .. .

LRH: All right, make it Auckland. Take a look at Auckland.

LRH: Mm-hm. All right, move this chair and your body under you and sit down.

PC:Yes, I see it.

PC: Uh-huh.

LRH: Be right over Auckland.

LRH: Okay, now what are your general reactions here? What have you been doing, I mean?

PC: Mm-hm.

PC: Fighting against them.

LRH: Now, be over the north end of Auckland.

LRH: Huh?

PC: Mm-hm.

PC:I think I've been fighting against it.

LRH: Now, be over the south end of Auckland.

LRH: You've been fighting against it, huh?

PC: Mm-hm.

PC:I think so.

LRH: Be over the harbor.

LRH: All right, did you have any sensation of being anywhere at all; I mean, reality on that?

PC: Mm-hm.

PC: Mm-hm, yes.

LRH: Be over Wellington.

LRH: Is this better than you have had?

PC: Mm-hm.

PC: Yeah.

LRH: Now, be over Perth, Australia.

LRH: All right, you did have some sensations. Now, what — what general fear was hitting you, or anything like that? I realize these things .. .

PC: Mm, I've got something there.

PC: A loss of bearings. LRH: Ah. Ah, sure.

LRH: Mm-hm. All right. Be over the school building at 163.. .

PC: I was looking for bearings, anchor points all the time.

PC: I've got it out in front of me. That's where you want me there? Mm-hm.

LRH: Sure, sure. You realize that it's difficult doing something like this with this many people looking at you and with the amount of traffic noise out here.

LRH: Mm-hm. Things getting clearer to you? Changing any?

Actually, the technique is very successfully done if the auditor assigns small assignments, such as well, let's look at three places one after the other and move them up, and then come back here, you see? And then the fellow while he is there isn't being called back to the chair. Actually, you're cancelling the technique by continually referring to him in the chair. You see, you're making him use his body for communication whereas you can actually pull this technique yourself, and lying quietly in bed or something like that where you know you're not going to be even vaguely disturbed.

PC: No, that's about the same.

PC: Mm-hm.

LRH: About the same, huh?

LRH: And you can go at it for hours, see. And you just suddenly say to yourself, "Gee, wait a minute, I've got a body back there; I'd better get back there."

PC: Mm-hm.

PC: While you were running Frank, I got a good visio in Ireland; I just went across there with a wall this side, a sandy lane down — with a blond-headed kiddie running down there.

LRH: All right, be over the London Zoo.

LRH: Oh, yeah.

PC: Mm-hm.

PC: It was very clear. Three-dimensional, and very, very clear, and covered everything.

LRH: Did you catch yourself having to know where the zoo was before you could be over it?

LRH: Well, good.

PC: Yep.

PC: That's while I was waiting there, and you were running Frank and you were sending him over there .. .

LRH: All right, be out in front of 163.

LRH: Uh-huh.

PC: Yep.

PC:. . . on assignments.

LRH: Be in the office at 163.

LRH: Well, you notice, your level of run there .. .

PC: Mm-hm.

PC: Mm-hm.

LRH: Be right inside the door of the schoolroom at 163.

LRH: ... is actually, if anything, a little superior to having a lot of concentration on you.

PC: Mm-hm.

PC: Yes, mm-hm.

LRH: Okay. Be in front of my house.

LRH: Now, I picked you because of perceptic; I knew your perceptic had a little bit shut down and so forth, and I really wanted to see how it would work on you. Now, did you have a better sensation of getting somewhere or doing something than you have had?

PC: Mm-hm.

PC:Yes, definitely.

LRH: All right. Be here just in front of the platform.

LRH: Definitely. Okay, thank you.

PC: Mm-hm.

Okay, how about you? Okay, do you remember something real?

LRH: What happens when you do that?

PC: Yes, I remember my breakfast this morning.

PC:Well, I just seem to be in front of the platform.

LRH: Oh, very good, very good. Now why don't you move your school under you?

LRH: Mm-hm. Now have you any chronic somatic?

PC: I suppose I can do that.

PC:Yes, oh,.a beaut.

LRH: Move it under you.

LRH: Hm?

PC:Yes.

PC: Every time I get to do any sort of thing my leg starts to jump around.

LRH: Okay, now move it up close to you.

LRH: Did you just start this?

PC: Yes.

PC:Do I just start it?

LRH: Now move it some distance away from you.

LRH: Did it just start?

PC: Yes.

PC:No, it hadn't started at all this time.

LRH: Now move Buckingham Palace under you.

LRH: It hadn't started at all?

PC: Yes.

PC: Mm-hm. No, it hasn't always started, but after I've been at it for a little while .. .

LRH: Now move that fairly close to you .. .

LRH: Mm-hm.

PC: Yes.

PC:. . . it starts to .. .

LRH: . . . and sit down on it.

LRH: Did you have any feeling of being out here?

PC: Yes.

PC: Ah, well, I don't know.

LRH: All right, now let's take an inventory of you as you're sitting on Buckingham Palace. What have you got with you?

LRH: Did you or didn't you? Yes or no?

PC: I've got a flagstaff behind me.

PC: Well, I lost contact with this part.

LRH: Mm-hm. What have you got of yours?

LRH: Hm?

PC:Oh, I didn't have anything.

PC:Yes, I think I did.

LRH: You haven't got anything?

LRH: All right. Did you have a feeling of having a lot of things with you while you were out?

PC: No.

PC: No.

LRH: What have you done? Left it all with the body?

LRH: You didn't have that feeling?

PC: Yes.

PC: No.

LRH: All right, let's move back here.

LRH: Oh. All right, put two thetans out in front of you saying to each other, "Now I have to abandon my home universe."

PC:Yes.

PC:A bit difficult, yes.

LRH: Let's out here in front of you, have yourself mocked up as a thetan facing yourself mocked up as a thetan saying, "Well, it's too bad that we have to abandon forever the home universe."

LRH: All right, keep putting them out there getting very pleased .. .

PC:Yes.

PC: Two thetans?

LRH: Keep them getting that, saying that to each other. Now, get the feeling of pleasure at abandoning the home universe.

LRH: Yeah, just two circles of light, saying to each other — get them both saying it simultaneously — saying to each other, "Now I have to abandon my home universe."

PC: Yep.

PC:Well, these .. .

LRH: Get that easily?

LRH: Just keep putting them out there saying that to each other. Hm?

PC:Yes.

PC: These light-toned little men like Wrigley's Chewing Gum.

LRH: You got them both there?

LRH: Well, okay. Okay, keep them there and keep putting them there as lights .. .

PC: Yes.

PC: Mm-hm.

LRH: Good. Now get them saying to each other, "Isn't it wonderful that all of me belongs to the body."

LRH: . . . being pleased about abandoning the home universe.

PC:Yes.

PC: Shaking hands with each other, naturally?

LRH: Now get them — get good emotion going back and forth between them on this.

LRH: Can you get them? Have you got them, each one of them, saying that to the other one?

PC:Yes.

PC:Well, I can know they're doing it, yes, mm-hm.

LRH: Okay. Did you get any change of mood or anything?

LRH: Mm-hm. All right, keep putting them there, and get that feeling of pleasure coming from each one of them about abandoning the home universe.

PC:No, I'm quite content.

PC: I can't get any pleasure in them, but I can get a great deal of pleasure myself with the idea of it.

LRH: You're quite content either way about it?

LRH: Oh, you can get a pleasure at the idea of it, huh?

PC:Yes.

PC: Mm-hm.

LRH: All right, move the Cape of Good Hope under you.

LRH: All right, you get the pleasure out there from one of those to the other one.

PC: Yes.

PC:They keep sticking together.

LRH: All right, now let's find a building down there and move that up close to you.

LRH: Well, keep sticking them apart. I mean, just put new ones there all the time. Keep putting new ones there, put new ones there. And each time you put them there, have them both say, "Oh, how wonderful it is to abandon all of my facsimiles." This time have them say, "How wonderful it is to abandon all my facsimiles."

PC: Yes. I've got the impression I'm holding on to a flagstaff and I'm right on the knob of the flagstaff

PC:Well, every time I put this bloke out here, this one runs into it.

LRH: Good. Now, let's take a look at you as the thetan and tell me what you've got with you.

LRH: All right, keep putting it out.

PC:Oh, I can't see anything. I just see just this knob of the flagstaff

PC: Yeah.

LRH: Uh-huh, I see. Well, now, let — let's just take a look at you and see what you've got there.

LRH: Just keep putting them out. What's the postulate they're giving to each other there?

PC: I'm just conscious of the knob of the flagstaff

PC: How happy they are that we're leaving the home universe.

LRH: That's all, huh? Well, how about moving China under you?

LRH: Abandoning it! Not just leaving it!

PC: Yes.

PC: Abandoning it. Oh.

LRH: Moving Russia under you.

LRH: Abandoning it forever!

PC: Yes.

PC: Have I got to get these two out here before they can — I can get them to postulate, you know.

LRH: The Kremlin.

LRH: Oh, you get them, you can just get that postulate out there. Throw the postulate out there. Getting it now?

PC: Yes.

PC: Up to a moment ago I had quite a sad feeling.

LRH: Move the Kremlin right up close to you now.

LRH: Oh, no. Well, what do you know. All right, let's put it out there again. Put it out there, "How happy they are to abandon forever and never see again the home universe." Getting it now?

PC: Yes, I've got the idea of the wall on the Red Square.

PC: No, I'm putting that postulate out there and I can get one over here reasonably well, but this other bloke — hard to control.

LRH: All right, now let's move up Lenin's tomb right up close to you.

LRH: Well, just keep putting them out there until you can get them both there. Still get the feeling of sadness on it?

PC:Yes, I've got that location too.

PC: Just a moment ago I got another one. It's silly, isn't it. I nearly found myself putting a feel — a postulate of how sad I was.

LRH: All right, let's move Lenin's face right up close to you.

LRH: How happy you are.

PC: Yes.

PC: Hm. I'm actually getting a little steadier now.

LRH: Got it there? PC:Yes, face to face.

LRH: Good. Now change it to, "Abandon my memory and never know who I am again."

LRH: Good, good. Tell him hello for me and move New York under you.

Get them both out there. "How happy you are to abandon your personal memory and never know who you are again."

PC:Yes.

PC: These two thetans are saying that to each other?

LRH: All right, now let's move the moon close to you.

LRH: Yeah.

PC:Yes.

PC: How happy they are?

LRH: What's the matter?

LRH: Mm-hm. They're you!

PC: Nothing.

PC: Oh!

LRH: All right, let's move it real close to you.

LRH: They're you. How happy — how happy you are. Mock yourself up twice as a thetan, in other words.

PC: Yes. I seem to be down amongst the — of the Alps.

PC: Mm-hm.

LRH: The Alps, huh?

LRH: Abandon all the facsimiles.

PC: Yeah.

PC: This bloke on this side seems to do all the talking. Could I have this fellow doing it too?

LRH: All right, let's — on the moon? PC: On the moon.

LRH: Yes, sir, both of them. Get them feeling cheerful about it.

LRH: Uh-huh. All right, now let's find part of a plain there that has a lot of pumice, a perfect mound of pumice.

PC: Oh, yeah, they're all happy as Larry now.

PC:Yes, I'm on the plain.

LRH: Real happy now?

LRH: Good. Now let's just sit there and take a look around until you see a meteorite land or something like that, and the pumice go poof. Is this plain like that?

PC: Mm-hm.

PC:Yes.

LRH: Now, how are we doing?

LRH: Did you do that?

PC:Yeah, they're out there.

PC:Yes, I see that.

LRH: Doing better?

LRH: Good. About thirty thousand of them a day land up there, so you can see them almost any time.

PC: Being quite as happy as they can be.

PC:It's just like showers landing on the sand and throwing up.

LRH: Mm-hm.

LRH: Mm-hm. How's it look?

PC: Just real happy.

PC:Oh, it looks pretty bare; it looks very bare.

LRH: That's you now?

LRH: Mm-hm.

PC: Yeah.

PC: Impression of things falling on it and throwing it up in a form of dust.

LRH: Mm-hm.

LRH: Mm-hm.

PC: Oh, I'm real happy, yeah.

PC:Throwing it up high just like a shell hitting it. Not an explosive shell but just a shell, a blown shell.

LRH: You're real happy?

LRH: Mm-hm.

PC: Yeah.

PC: Ora dud.

LRH: Never have any memory or anything?

LRH: Going slow or fast?

PC: Facsimiles? No, I wouldn't.

PC: Pardon?

LRH: No facsimiles?

LRH: Is it going slow or fast?

PC: No.

PC: No, it's hitting jus — I can hardly see the shell, it just hits it hard .. .

LRH: I said no memories.

LRH: Uh-huh.

PC: Mm-hm.

PC:. . . and then goes into dust.

LRH: Now get them having no personal identity anymore. How happy they are never to have a personal identity anymore.

LRH: All right, now move the black-and-white border; that is to say, the place where the sun is hitting and isn't hitting .. .

PC: Mm. They're jumping for joy.

PC: Oh, yes.

LRH: What's the matter?

LRH: . . . directly under you.

PC: They're doing handstands — happiness.

PC: Yes.

LRH: Okay, okay. Now, now we got that. Let's be over Auckland again.

LRH: Now, let's test the temperature on the sun side, and then move the dark side under you and test the temperature there.

PC: Mm-hm.

PC:Oh, yes, I can get a draft of cold air .. .

LRH: Be over the north end of Auckland.

LRH: Mm-hm.

PC: Mm-hm.

PC:... if there is such a thing, but I can get the cold on the cold side.

LRH: South end of Auckland.

LRH: Mm-hm. All right, now move the hot side under you.

PC: Mm-hm.

PC:It's the right — the right-hand side of the body is cold and the left-hand side is warm.

LRH: Over Tasmania again.

LRH: Mm-hm. Of your theta body, or your body in the chair?

PC: Mm-hm. I get an .. .

PC:The body in the chair.

LRH: Hm?

LRH: Oh, it's reacting. Okay. Now let's move London under you.

PC: I get an island with a lot of .. .

PC: Yes.

LRH: Now, let's be real close to it.

LRH: Nelson's monument.

PC: Well, all I seem to get is a forest.

PC: Yes.

LRH: You got a forest!

LRH: Let's take a facsimile and hang it on his hat.

PC: Mm-hm.

PC:Well, the facsimile was his hat, so I haveto hang his hat on his hat there.

LRH: Pick out a particular tree and be close to that.

LRH: Okay. All right, now move that about a mile away from you.

PC: Mm-hm.

PC: Yes.

LRH: You got it?

LRH: Now, move St. Paul's under you.

PC: Yeah.

PC: Yes.

LRH: All right. Now be a little distance away from that tree.

LRH: Move Tower Bridge under you.

PC: About eight feet.

PC: Yes.

LRH: Okay. Now be over Hobart.

LRH: Move the Tower of London under you.

PC: Over Hobart. No, I'm figuring again.

PC:Yes.

LRH: Yes, sure, you're figuring. Let's be over Hobart.

LRH: Okay, move Hyde Park under you.

PC: Well, I know I'm over Adelaide now.

PC:Yes.

LRH: All right, now let's be right here.

LRH: Now, move the place where they generally give their speeches under you.

PC: Mm-hm.

PC:Yes.

LRH: I want to show you something. Your demonstration here so far and up to this moment, I have been using the word be, if you will notice. And if you have been recording this as a way to do it, I — you've missed the point.

LRH: Anybody giving a speech?

We had a circuit working here like mad, didn't we?

PC: Well, no, nothing there; let me see. Yes. I see he must be giving a speech to about three people.

PC: Yeah.

LRH: He is, huh?

LRH: Let's see now how far is Hobart from the — let's see. And where are the forests? But yet you did have some little feeling, didn't you?

PC: Yeah.

PC: Yes, very definitely. I lost consciousness of this...

LRH: All right. Move him directly in front of you.

LRH: Yeah, all right, all right.

PC:Yes.

[to audience] So we have a level of workability. We're actually not working a V Level Case here. The auditor that's been working this case and hasn't had him out of his body and working well should be shot anyway. Because this isn't a Case Level V I'm working with, it's about a III with a tape.

LRH: Okay, now let's reach out and touch his hair, stroke his hair very affectionately.

By the way, these tapes are terribly interesting. You'll run into somebody sometime or other, and everything they read you off — the postulates they read you off — they're reading. You want to find out about that. It's an automaticity gimmick that they have worked up. And it's one of the favorite ways of fixing up a circuit.

PC: Yes.

[to pc] You haven't got a tape, but a couple of times when you were mentioning these little men, you said, with great surprise, these little men with chewing gum, they were — I tell you to get a couple of thetans . . .

LRH: What happens?

PC: Mm-hm.

PC:Oh, it's quite amusing. He's holding forth on some religious topic, and stroking his hair seems to be soothing him down a little.

LRH: . . . and so on. Well, that's a specimen of automaticity. Well, that can go so far as everything the person is going to say appears on a little tape up here, you see, and he reads it off. And he says, "How are you, Joe?" See? That goes so far, but I'm just showing you a gradient scale of automaticity. We have a certain amount of automaticity, so we've got a circuit here. The second he says something like that, we say, "All right boy, we're going to be working on this basis: We got to know where we are before we can be there." Now, you've seen that circuit to some degree in action.

LRH: Good, good; let's soothe him down further. Let's get him very beamish on the subject of capitalism, or something.

Now, let's alter this technique down to a very proper technique.

PC:Oh, yes, he is friendly on that.

Okay, shut your eyes now.

LRH: Mm-hm. All right, stroke his hair even further. Make him very calm.

PC: Mm-hm.

PC:Seems like long sticky hair; it's not very comfortable, you know?

LRH: All right. Now move St. Paul's Cathedral under you.

LRH: Mm-hm. Okay.

PC: Mm-hm.

PC: Yes.

LRH: Move it to the right.

LRH: Okay, now let's look at the people watching him there.

PC: Mm-hm.

PC: Yes.

LRH: Move it to the left.

LRH: Let's move them in front of you.

PC: Mm-hm.

PC: Yes.

LRH: Move Nelson's monument under you.

LRH: Now, let's give them the idea they ought to leave, just by looking at them and sort of saying out loud, "Leave."

PC: Mm-hm.

PC:Yes, they've gone.

LRH: Now, move Tasmania under you.

LRH: All right, now move 163 under you.

PC: I've got something moving under me, anyway.

PC: Ah, yes.

LRH: Yeah, all right. Now, move Hobart under you.

LRH: Move the chair under you .. .

PC: Mm-hm.

PC:Yes.

LRH: Okay, now move Auckland under you.

LRH: . . . and sit down.

PC: I've got the whole lot moving under me now; I've got the world.

PC: Right.

LRH: Oh yeah? Well, how about easing back under now and getting out — picking out Auckland and moving it under you.

LRH: Okay, what was your reaction on being out?

PC: Okay.

PC:Ah, fairly real .. .

LRH: Phew! Okay, picking out Auckland and moving it under you.

LRH: Mm-hm.

PC:Well, I'll have to dispose of this around .. .

PC:. . . most of the time.

LRH: Hm? Dispose of it?

LRH: Mm-hm. Of course, keeping a communication line here is probably .. .

PC: Mm.

PC:Yes.

LRH: Well, just bring it up to your face. Move it up closer to you.

LRH: . . . cuts it back a little bit. You've been out before, though, many times?

PC: Mm-hm.

PC:No, it's — this is the second time.

LRH: Does it move further away when you do that?

LRH: The second time?

PC: No, it comes up.

PC:Yes, yes.

LRH: All right, just move it right on up close to you. Now move it up close to you to a point where you've got your .. .

LRH: Mm-hm. And you knew you were out, and so on.

PC: Got it on the end of my nose now.

PC: Oh, yes. I had that with Frank to my — satisfactory. Yeah.

LRH: All right, you've got — where's, where's Hobart?

LRH: Good, fine. What do you think of this as a technique?

PC: Maybe it's the point I've got my nose stuck to.

PC: It seems to be quite wonderful.

LRH: Okay. Move yourself much closer to Hobart.

LRH: Mm-hm. Good-oh.

PC:Well...

All right, let's call another one. Now, let's see, shall I give you one more demonstration or are you tired?

LRH: What's the matter?

Male voice: Yes, sure.

PC: This is too silly for words. I've got a ball here with — with a Plasticine map on it. Like a .. .

LRH: You want one? All right. Have you ever been out before?

LRH: Oh, where is that? Where is that?

PC:Well, not with certainty.

PC: Well, I've just got it here.

LRH: Huh? Not with certainty. Oh, well, we'll see if we can make it a little more certain. See, I don't promise this.

LRH: Yeah, I know, but where is that globe?

You understand that a demonstration of this character is always under stress, mostly for the auditor. Nobody cares about the preclear. Now I want to show you how I'm operating on this. Let me see, would you come up and sit in that chair?

PC: Where is it?

That's right. Now, I've got a double terminal. As a matter of fact, I was starting to skid out of contact with this body. Like watching it through the camera.

LRH: Yeah, where's the original of that globe you're using there?

Okay, why don't you be in this room and be in your body?

PC: Oh, I don't know.

PC: Okay.

LRH: You got that? Have you got that at home?

LRH: All right, you move your body around you?

PC: No.

PC: Yes, I can feel it around me.

LRH: Hm?

LRH: Good. Were you there?

PC:Oh, wait, yes. I have too.

PC:Yes, in the center of the head.

LRH: Yes, yes, you have too. Well, I didn't tell you to look it up on a globe. Look it up on this globe.

LRH: Mm-hm. All right, now let's move Tower Bridge under you.

All right, now let's move over St. Paul's.

PC: Mm-hm.

PC: Mm-hm.

LRH: Okay, let's move the tower closest to the Tower of London directly under you.

LRH: Move it under you.

PC: Yes.

PC: Mm-hm.

LRH: Now, is there anything moving on the river?

LRH: Now, move it right up close to you.

PC:Yes, there's a couple of barges.

PC: Mm-hm.

LRH: All right, move one of those barges under you and move it up close to you.

LRH: Now, let's inspect the engraving on top of it, or whatever you find there on top of it. I don't know what's on top of it, but there might be a cross or something up there.

PC: Mm-hm.

PC: When you said that, I — there was a cross there.

LRH: All right, is there something towing it?

LRH: All right. Well, what is there there? Just look it over; I don't know.

PC:I think it's at the anchor.

PC:I've got a gold cross.

LRH: Mm-hm. Well, is there another — is there any barge running — I mean, any tug or something?

LRH: Okay, let's look it over.

PC: Yes, yes there is. One going under the bridge.

PC:Well, it just seems to have rich writing on it; I don't know what the writing is.

LRH: Well, move that under you.

LRH: All right.

PC: Mm-hm.

PC: Rich writing.

LRH: Move its engine room up alongside of you.

LRH: Now let's move it much closer and see if you can get a little tactile on it.

PC: Mm-hm.

PC: Nah.

LRH: Okay, move its pilothouse up alongside of you.

LRH: Okay, okay. Now let's move Nelson's monument under you.

PC: Yes.

PC: Well, I got a whole swag of monuments then.

LRH: All right, now let's move Tower Bridge under you again.

LRH: A whole bunch of them, huh?

PC: All right.

PC: Mm. The most outstanding one was theone I've just seen in Edinburgh.

LRH: Move that moving barge under you again.

LRH: Well, let's move Nelson's monument under you. Now, let's move Piccadilly Circus under you.

PC: Mm-hm.

PC: Mm-hm.

LRH: Move Tower Bridge under you again.

LRH: Now, let's — let's put St. Paul's Cathedral a certain distance from Nelson's monument. Let's put a brace between them and block them apart.

PC: Yes.

PC:Well, I've got a — I've got someone riding a horse here. Is that Nelson's monument?

LRH: Move the barge under you again.

LRH: Well, put the — put it at a certain distance.

PC: Mm-hm.

PC: Yes.

LRH: Move the engine room alongside of you again.

LRH: All right, now be over the school.

PC: Mm-hm.

PC: Mm-hm.

LRH: All right, give some heat to the motors — whatever you've got there. Now move the pilothouse alongside of you.

LRH: Now move the school under you.

PC: Mm-hm.

PC: Mm-hm.

LRH: Okay, move the Tower of London under you.

LRH: All right. Now move the top of the school — the edge of the ledge — directly under you so that you're sitting on it. Just move it up under you so you're sitting on it.

PC: Mm-hm.

PC: Mm-hm.

LRH: Now move that island that was recently flooded under you.

LRH: Got that?

PC: Mm-hm.

PC: Mm-hm.

LRH: Got that?

LRH: Now, let's inspect the view.

PC: Mm.

PC: Oh, I can see the street out here.

LRH: All right, move some of the damaged area under you.

LRH: All right.

PC: Yes.

PC: Postbox.

LRH: Move the Kremlin under you.

LRH: Now, let's be the same height above the street, but move the middle of the street under you.

PC: Mm-hm.

PC: Mm-hm.

LRH: Move the Amazon jungle under you. The Amazon River.

LRH: Now move the edge of the building under you.

PC: Mm-hm.

PC: Mm-hm.

LRH: Move it right up close to you.

LRH: Now move the middle of the street under you.

PC: I'm scared at the moment.

PC: Mm-hm.

LRH: Hm?

LRH: Now move the edge of the building under you.

PC: I get scared of that.

PC: Mm-hm.

LRH: Mm-hm. I don't blame you. All right, move the Nile under you.

LRH: Now move the middle of the street under you.

PC: Mm-hm.

PC: Mm-hm.

LRH: Move the Nile up close to you.

LRH: Now move the edge of the building under you. What you got?

PC:A lot of crocodiles.

PC: Well, I'm realizing that I've got to move over to the building to move the edge of the building under me.

LRH: Mm-hm. Okay, mock up and throw into the Nile three or four new crocodiles.

LRH: You're realizing this now, huh?

PC: Mm-hm.

PC:Well, I have been doing that.

LRH: Got that? Okay, move the Thames under you again.

LRH: Ho. All right, now let's get a tactile on the edge of the building.

PC: Mm-hm.

PC: Mm-hm, I can imagine the feel of it.

LRH: Move the Pyramids under you.

LRH: All right, let's just feel it, though.

PC: Mm-hm.

PC:I get very conscious of this chair as soon as Igo do that.

LRH: Move the peak of one pyramid directly below you.

LRH: Mm! Mm-mm! Would it be very upsetting if you did feel it?

PC: Mm.

PC: No.

LRH: Move yourself very close to this. PC: Mm-hm.

LRH: It wouldn't, huh? All right, move that edge of the building under you again, and this time just above the thing put a mock-up.

LRH: All right, now move yourself around so that you're sitting on it.

PC: Move the edge of the building under me?

PC: Mm-hm.

LRH: Mm-hm. And put a mock-up just above the tactile and feel — the thing you're going to get a tactile of — and then feel the mock-up. In other words, mock up a tactile for it. Do that?

LRH: Got it?

PC: Mock up someone on the edge of the building, have them feeling the building?

PC: Mm-hm.

LRH: Well, oh, all right, if you want to do it that way.

LRH: All right, let's get a tactile on the stone.

PC: Is that what you want me to do?

PC:I don't have quite the feel of it. Yes, I touched it.

LRH: Sure.

LRH: Mm-hm. All right, now move a palm tree under you in Egypt.

PC: Yeah, I can mock up someone standing there.

PC: Mm-hm.

LRH: All right, now move the edge of the building under you again.

LRH: Move a camel under you.

PC: Now I'm sitting on the edge of the building.

PC: Mm-hm.

LRH: All right, now move that place they just touched under you.

LRH: Move Rome under you.

PC: Mm-hm.

PC: Mm-hm.

LRH: Now touch it.

LRH: Move the Colosseum under you.

PC: I just become very conscious of the chair again.

PC: Mm-hm.

LRH: Uh-huh, direct communication. Okay. Now, move a lorry out here under you on the street.

LRH: Move the Colosseum all up around you so that you're standing in the center of the Colosseum.

PC: Mm-hm.

What's the matter? What happened?

LRH: Got one?

PC:I wanted to be let out of here, that's what it is.

PC: Mm-hm.

LRH: Okay. All right, mock it up full of lions. Now, move one of the Alpine chateaux under you.

LRH: All right. Keep it moving on up the street.

PC: Mm-hm.

PC: Keep it moving on up the street?

LRH: Now move an Alpine peak — move the Matterhorn under you.

LRH: Well, keep moving it on up the street.

PC: Mm-hm. I like those peaks.

PC: I've got it moved under me; I can move it on...

LRH: Mm. All right, let's move the Matterhorn right up close to you.

LRH: Got it moving under you?

PC: Mm-hm.

PC: I've got it under me here.

LRH: All right. Now let's get a tactile on the peak there, the Matterhorn.

LRH: Huh?

PC:Yes, it's really nice.

PC: I've got it under me — under me here.

LRH: Okay, let's sit down on it. Take a look around. I'm not going to talk to you for three or four minutes here, why don't you take a breather; take a look around. Take a look from the top of Matterhorn and a few other things.

LRH: You're in the chair?

PC: Very pleasant up here.

PC: Yeah.

LRH: Okay. Now let's move the chair under you and your body under you.

LRH: And it's under you here?

PC: Mm-hm.

PC: Yeah.

LRH: Okay?

LRH: No. You move the lorry under you in the street. Is the street under your chair?

PC:Thank you. That's interesting.

PC: No, I've got to get out there to get over it.

LRH: Well, tell us what happened.

LRH: That's what we're doing, isn't it? You've got to get out there to get over it.

PC: Well, I liked those tops of the Pyramids, and the — the Matterhorn.

PC: All right. I've got the street back under me.

LRH: Mm-hm.

LRH: Oh, you've got that, now?

PC: I didn't like the water.

PC: Yeah, I've got the lorry, too.

LRH: Mm-hm.

LRH: You've got the lorry? Huh? All right, now, let's just get that lorry moving along. Let's just check up on this conductor.

PC: I didn't like — I didn't like the Colosseum a bit.

PC: Oh, I had an ordinary lorry. I call a lorry one that carts shingles.

LRH: Not a bit, huh?

LRH: Okay.

PC: No.

PC: I check up on the driver?

LRH: Strange.

LRH: Mm-hm. Check up on the driver. Now move the driver's head just in front of yours.

PC: Funny. When I was on the top of the Matterhorn I got out of the body again on the top of the Matterhorn. Sort of a double .. .

PC: Wait a minute. I've got this all tangled up again. The street .. .

LRH: Sure. Well, the thetan has a body that is a mock-up of the body which he is running, of course. How otherwise would he control this body if he didn't have a mock-up of the body?

LRH: Just take ahold of his head and move it in front of yours. Just move his head in front of you.

PC: I've never had that feeling before.

PC: I've got his head up here.

LRH: You never had that feeling.

LRH: That's all right.

PC: Being out and taking one.

PC: Mm-hm. Head. God, what a queer looking head!

LRH: Yeah, okay. Okay.

LRH: You're in this chair?

PC: Thank you.

PC: Yep.

You understand this technique?

LRH: Huh?

All right, now, on those cases — on those cases there that you found that were not quite up to optimum, this is partially — partially audience consciousness. After all, that's a lot. So a being says it's liable to eat a guy up, you know. And it's quite remarkable on that.

PC: Yep.

In regard to, by the way, stage demonstrations, I possibly ought to say just a phrase or two here about it. It is not an optimum proceeding. It is not something, for instance, which you ought to attempt before a couple of hundred or thirty or three thousand people, unless, unless you use great caution in picking up your preclear.

LRH: Oh, I see.

And if you're going to demonstrate — if you're going to demonstrate before three thou-sand or thirty thousand people, you look around and find yourself a screamer. You find somebody who is completely mad, and you run them into an engram. And then you open them up to high C and blow the heads off of people in the back of the hall, and then they know that Dianetics or Scientology work. Then you have the screamer wheeled off the stage and audited so that they return to present time vaguely.

PC: Mm-hm.

Otherwise, you give a perfectly good, smooth demonstration on a stage before a large number of people and they're utterly unimpressed, completely unimpressed. It just makes no difference to them at all.

LRH: Well, you have a lovely mock-up sitting there. There's an automatic mock-up; it's wonderful, wonderful!

I audited a girl one time who had been completely mute and dull in the hands of three of the leading psychiatrists — pardon me — four of the leading psychiatrists of Oak-land, California. And they were so convinced that all of this was charlatanism or something of the sort, that they gave me a ringer. They gave me this girl that they knew nobody could get a yeep out of. Well, this girl had never seen her father and mother, so I got her picked out of the crowd, threw her back into early childhood and turned her up to high C, and I swear they could hear it two blocks away from the Civic Auditorium, see? The hall was packed the next night; it was a series of lectures. But these people went away citizens. Actually, the auditing was not — was not bad, the auditing was just at a level to interest people.

That's real great! You don't have to feel anything, you see, when you do that. Now, look-a-here, you just move out there and grab ahold of the lorry, move it under you. Just move that lorry.

Are they there to be instructed? No! They're there to see Christians eaten in the arena. And if you want to do that kind of auditing for lots of people, why, rig it up so that you have somebody who is very bombastic or something of the sort. Be very careful of picking somebody who — who wants to give a show. They just ruin your demonstration because they answer you with a lot of smart cracks or something of the sort. Wise guys or something like that; you be very careful on it.

PC: Bring the lorry in here and move it under me here?

Otherwise, otherwise don't give demonstrations. A party of people, for instance, gather around. They want to find out how this works and they want you to do this and they want you to do that. Well, you have techniques which are lead-pipe cinches. But don't pull such techniques as — that you've seen me demonstrating here today. If you want to demonstrate on a crowd of people, you get yourself the smart ones. That is to say, take the person who has been ridiculing you, you see, or something like that, who is really egging things on, and do something to him. With what? Well, anything as mild as ARC Straightwire. You can very easily and very quickly estimate a preclear and with some ARC Straightwire, right in present time, why, you can generally do some interesting things to people like this. But you don't want much of a show. Don't try to get very technical about this subject and really don't try to explain it to people.

LRH: No, sir! You leave that lorry right where ii is and move it under you.

Now that's a big problem. Talk about — talk about what it does very widely, or something of the sort or talk about what it does for children or talk about something interesting in connection with what could happen if the dictators of the world got audited or something of the sort. But just this business of trying to explain the whole subject to them in five minutes as a professional; nobody expects a doctor to tell them how to do a transorbital leukotomy (which I think all medicine knows how to do on this subject). Nobody expects a doctor to tell them how to do this in twelve easy lessons. But you can tell them how a doctor does this; you go and get the books on it and find out how you do a transorbital leukotomy and it makes very interesting material.

PC:All right, I'm — yes, I've got a lorry moving out from under me and I'm out in the street moving it under me.

But people conversationally, generally want the spectacular and want blood. And as much as you think people want reason and people want to know, it's not true. If you go into the greatest philosophic tomes in the library and break them out, you will open them up and you will find there carefully marked where the philosopher has said what this person wanted him to say. These people wanted to be agreed with, and so the philosopher is picked on. So you see these heavy underscorings. And here's Hegel or somebody like that, you know, and he goes on sonorously and synonymously and erroneously in all directions for page after page, they're saying very, very wise things, and all that sort of thing. And when you finally come down to a simple phrase (I don't even think Hegel said this, but) "God is good." And we find somebody has taken a crayon, see, and they've underscored this and put big checks out here in the margin.

LRH: Okay, all right. Now move the inside of the lorry around.

Or "Some men are wicked." You know, I mean, this is the kind of stuff. So it's the banality that goes over.

PC: Now, I jump back here again each time.

And you, knowing your subject, can so far overshoot an audience thatthey don't even see the airplane. They don't even hear the jet. And you sitthere, if you say, "Well, you know, it's a funny thing, but man is basicallygood. There are some men give something to charities." My, they think you'rewise. It's a wise, kindly observation. Or go in for blood. Tell them about transorbital leukotomies and that sort of thing; anything you want to talk about.And you can now get into a horrendous raving discussion on the subjectof religion. And you can get people talking about religion, you won't have to say a word the rest of the evening. I just — just throw something in like that, you see, just say, "Religion" and then just sit back. They say, "Why don't you explain Scientology? You've been studying this, I understand it's a new cult. Ha! I understand about this." And you say "Religion." The conversation goes on the rest of the evening.

LRH: Oh, uh-huh. All right, now reach out and grab the inside of a lorry .. .

And it's very fascinating, but it's quite, quite odd to demonstrate this material. You understand what's happening here, but the people — a guy who is watching something like this happen will say, "What the hell's coming off around here?" And you'd be surprised how many of those people there are always in your audience. They go away completely befuddled.

PC: Yup.

About your highest level of conversation on the thing is, "Do you know that the dynamic principle of existence is survive? Yeah, men are trying to survive." You can actually throw that in and it makes a full topic. It's just a full topic from there on. And it gets — somebody else can talk about this, too. They say, "Well, no, I believe in ethics and stuff like that. I know, I've been a pawnbroker all my life, and ethics are really what I go for. And I think there are higher things in life than survival, and so on. And I have often said to myself, 'Ethics, like the Ten Commandments, are ...' " See, these guys are really off the beam, see?

LRH: . . . and move that around you.

But trying to drive something across with a demonstration — the only thing I'm trying to put across to you here is practically — there's hardly a person here that won't be called upon to demonstrate this technique or these techniques. Well if you are, for gosh sakes, don't demonstrate something beyond the ability of the audience to follow — ARC Straightwire. Tell the per-son to mock up something, anything. Just the mildest to the simplest.

PC: Mm-hm.

Now, they're going to say, "Theta Clear. Now why don't you — why don't you knock so-and-so's hat off?"

LRH: Got that moved around you?

And you'd say, "Well, you made the suggestion; why don't you?" This is very, very fascinating.

PC: Yep.

Anyway just on the subject of this in technique, your preclear should be that aware, and he shouldn't have noises around him. If you are to choose an office, for heaven's sakes, get it a quiet office. You'll be surprised how many cases will not run, even be accessible enough to talk to, in the presence of a noisy office. An office that has a hall where doors are slammed may knock your preclear out of accessibility as far as you're concerned and may one day knock one into apathy and cause you many hours of unnecessary work. It can happen, can happen; you get a touchy case and get it to running.

LRH: Look at the signs.

Now, I want you to notice particularly about this technique, there's this little gimmick I was throwing in here about abandoning the home universe, you see? Very often if the fellow isn't seeing too well, if he doesn't see his body as a theta body, if he isn't aware of all this bric-a-brac and circuits and all of this sort of thing — his anatomy — why, he may be hiding even success-fully from himself the fact that he's packing a little capsule that has some of the most beautiful facsimiles in it he has. And when your preclear gets out, as a point, he is actually condescending to momentarily abandon that to the body. He thinks he is. The truth of the matter is he packs all this around with him. And preclears who get out, just as a point, and who have no further bric-a-brac around them are either church mice amongst preclears — and this is possible; I mean he could be a poor thetan, you know — dispossessed or he got money on an installment plan sometime or something of the sort. And it could be, only I've not run into one. They've always got bric-a-brac — always.

PC: The sides?

And the main trouble with the I, the reason he fools you so easily, is he can work well outside without taking any of his bric-a-brac with him. And you can work yourself ragged with this I. And he can actually go all over the place and get back again, but as a thetan, he's not going to reach Operating Thetan, that's all. Why? You're exteriorizing him and he is condescending to let the body take custody of his choicest and fondest possessions for a few minutes.

LRH: Signs, posters, advertisements.

Now, this is very, very true of a preclear who can get out of his body but can't get out of his house. Or, he can get out of his body and go places as a thetan, get a few blocks, but can't take his body out of the house very far, or has claustrophobia, something of the sort. See, he's afraid to abandon these very, very choice possessions. And he thinks that when you ask him as a Theta Clear to — I mean to clear in theta — to just be outside and be here and be there, he thinks that you ask him to leave those things behind you. Because he's convinced that he does.

PC: Mickey Mouse came into my mind for some reason or other.

So you run this little Double Terminal — run Matching Terminals or Double Terminal on this, and as a matter of fact on this first case I was working here, that ought to be run by the hour! I mean, there ought to be a couple hours of that thrown in. Just because we got a flick of sadness, and then we got another flick, but there was no consequency in that. That tells you that there is a lot of stuff there, and we're doing a dodge, see? Dodge — a dodge on it.

LRH: Hm. How's the inside of this lorry look? Here's the bus, look. Look, is the bus in motion?

All right, so we just let that slide at the moment. But you as an auditor would pick it up and work it right there. He isn't very — isn't very loose about being out. He gets — he has certainty about this and that, but he isn't as certain as you want him, as an auditor. He isn't as positive about this, so you realize that he must be letting the body continue in custody of some of his fondest and choicest, so you want to take care of that.

PC: Now, I've got ahold of it and I'm moving it around me.

Another thing is your person will very often have this fantastic idea that a Theta Clear has no personality. The thetan doesn't have any personality. The body has all the feeling and all the sensation and all the personality; the body has all these things, and they get outside, and they're serene and . . . "I know when I'm outside, yes, I'm perfectly serene, and I'm calm and so forth, and I'm just sort of, you know, disembodied spirit sort of a thing, and I have my — I have my body and so forth, but I don't want to be like that outside, so of course I want to be back in the . . ." This guy is telling you phrase by phrase by phrase that he didn't take anything with him. He parked it all and he isn't very thoroughly exteriorized, and quite in addition to that, he hasn't any of the bric-a-brac of which he's so fond. He hasn't taken his personality along, in other words. He left that with the body. He's assigned everything to the body so heavily that the body's the only thing that can emote.

LRH: Now where are you?

Well, if he gets out of himself with this technique of move this and that under you — move this and that under you, so forth, next thing you know, he'll become aware of something very funny. He'll say, "You know, I'm all rigged up. I have got — I've got a lot of lines and I've got a lot of stuff, and so forth. And I'm — I'm sitting here examining these grains of sand, what I'm doing, examining these grains of sand." You really got somebody out.

PC:I'm out in the street.

The thetan is a simple, naive, rather sweet character. He — they, you see, they immediately — I don't care if your preclear is sixty years old, he gets out-side and he kind of feels like he's oh, maybe, what's that terribly sincere age kids go through? Oh, about twelve, when they make good boy scouts and so forth, and yet they're very interested and they're very alert and very imaginative, quite practical and very naive and simple. Well, that's actually what the pervasive personality strips down to, and you'll recognize it when you see it. You process a person for a few hours, even at the level of V with this technique, and you'll see that showing up.

LRH: You're out in the street moving it around you. Well, you grab ahold of a real bus; they don't bite. Now the one; grab ahold of that bus, move it under you. Just hold it under you and let it go on down the street.

So don't be satisfied with a point exteriorization. This fellow is abandoning all. And don't be satisfied with these other partial ones.

PC: The more I try to do that, the more I become conscious of this chair.

Now, if you'll notice, I'm purposely — fixed up this first demonstration; it became the least successful of the demonstrations. I said, "Be here, be there, be someplace else." We had a vast trouble with beingness on this case. All right. Now we follow that up with "move" and so on, it isn't as successful. I did that for an excellent reason, not for a show, because I wanted to test it on a preclear. All right. Not for your benefit, for mine.

LRH: Oh? Oh? All right, push that lorry away from you.

This tells you, then, that if you as an auditor take one look at this per-son, look him over and more or less spot him for a III, IV, V, something like that, I would say just start in with this technique. Ask him "Remember something real," if you haven't already taped his communication lags. If his communication lag is fairly good, just hit him with this technique — pam — don't run the risk of slowing him down. I slowed this preclear down by asking him to be for a while and then asking him to move for a while and we got a cross between the two. (Probably his case is ruined; he'll probably never be the same again.) But you get the general idea.

PC: Yep.

There is another little gimmick that — you don't know about it yet, it has to do with this strange thing: You ask some preclear, you say now, "Who was some woman you know who was very forceful?" Well, he'll think for a while and he'll think for a while and then he'll say, "You know, my first wife — a very forceful person."

LRH: What happens when you do that?

"All right, now, what did she used to do?"

PC:I can push it up the street.

"Oh, she was very forceful, very energetic."

LRH: Push it away harder.

"Well, what'd she used to do?"

PC: It keeps coming back again.

He thinks for a long time and he says, "Well, she — she — she sat around the house quite a bit."

LRH: No! Push it away real hard!

"Well, how did she act in company?"

PC: Yep.

"She never said anything in company, come to remember."

LRH: Where are you?

"Well what did she — how did she used to act with regard to your affairs? She used to push those?"

PC: As soon as you said that, I'm back in the chair.

"Well, come to think about it, she didn't care."

LRH: Okay. Now push it away real hard now, and keep pushing it away. Now fight it. Shove it off of you. Move it away from you! Got it?

This preclear has just got through describing himself to you. He's sitting around; he's doing nothing; he doesn't care. Well, what's this interchange? This is actually an interchange of beingness has occurred here. He was very forceful; he was very forceful around his first wife and he was particularly forceful to her. So he keeps talking and acting forcefully to her and he's carrying this thing around, and now he's convinced she was a forceful woman because whenever she comes up or whenever forcefulness comes up, he gets a facsimile of her.

PC: Let's see, I sort of swing out there and then here and .. .

Now, if you will double-terminal or even just match terminals on her against her, you will recover to him his forcefulness because she was the girl who ran him into the ground. It's an interesting — an interesting way of going about it.

LRH: Mm-hm, mm-hm. All right, now let's move it away from you. But I tell you what you do. Let's move — let's move the street corner out here as far away from you as you can get. Just give it a hard shove and move it way away from you.

Or you say to this young girl — you get this girl as a preclear and she is very sneering about everything. "Well, did you ever know anybody that was sincere?"

PC: Mm-hm.

She'll say, "Well, my father was a very sincere person, extremely sincere person. He believed everything, he was very enthusiastic, was very sincere. Yes, sir."

LRH: You got it? What happened?

"Well, what was he particularly sincere about?"

PC: Well, I'm moving it — the street corner further down the street.

"Well, well, come to think about it, when he used to talk to my mother, he used to sneer all the time about everything. Hmm."

LRH: Moving it further down the street?

"Well, what was he sincere about?"

PC: Mm-hm.

"Well . . . Say, you know, come to think about it, nothing!" And it takes that mechanism.

LRH: Uh-huh. Is it detached from the sidewalk or anything?

You want to know where the preclear's enthusiasm went, you see, where their forcefulness went, where their sincerity went, and all these other various characteristics, just ask them if you — the track is, if you want to find out what happened and you want to do a fast restoration of his modus operandi, we simply will ask him, "Now, who is the loudest voiced, most firm-voiced person in your family, that you know?" See, we want to restore his voice.

PC: Yeah, the whole thing is sort of gone away from me. I pushed it away from me.

All right, who is it?

LRH: Oh, you did push it away from you that time?

Which person did you know in your youth that was a very forcefully spoken person? Who spoke extremely forcefully?

PC: Mm-hm.

Male voice: I remember naval instructors.

LRH: Well, good! Grab ahold of it and move it under you.

Naval instructors?

PC: Mm-hm.

Male voice: Mm-hm. Academy instructors.

LRH: You got it now?

How about your family?

PC: Mm-hm.

Male voice: No, not the family; I left home when I was fifteen. Do you remember any of them as being forcefully spoken?

LRH: Now, how's that? More satisfactory?

This actually will register on an E-Meter if you want to transfer it down. I mean if you — what was the job we were trying to do that night, remember?

PC: Mm-hm.

Male voice: Mm-hm.

LRH: Now, I want you, without any orders from me, to move yourself over each one of the five continents. And everybody is going to be very quiet and we'll make sure nobody eats your body up. And just move yourself over each one of the five continents, move yourself down close, take a look and then move yourself over a couple of oceans, and then move back here with no further communication to you, via this body. Okay?

And we were trying to turn up there this and that, we were picking up a few things. We could have used this technique to a very great advantage. You see, I could have E-Metered and said, "Now, who is the most forcefully spoken person in your youth?" And maybe you wouldn't have remembered. I'd put you on the E-Meter: "Now, was it your mother? Was it your father? Is it something else?" All of a sudden you would have turned up with somebody who was terribly forcefully spoken. And then, as we picked it apart which — not necessarily happened in your case, but just as a demonstration — and we picked it apart, we would have suddenly found this person couldn't speak, and that you had to stand there and yell at them all the time. And we'd get a varied datum in that fashion, but the facsimile would show up as, "Forceful speech means this image." And so he'd say afterwards, "Well that person wasn't forcefully spoken. That person couldn't talk." See how this thing works?

PC: Mm-hm.

Who was the most — now you say, "Who was the most moral person," you talk to this young girl — she's very immoral — you say, "Who was the most moral person you ever met?"

LRH: All right, let's do that.

"Oh, that was my mother."

PC: Mm-hm.

"Yeah?"

LRH: You back?

"Oh, very moral. Lectured all the time about morals, just morals, just all the time, day and night."

PC: Mm-hm.

And you say, "Well, all right. Now, your mother lived with your father?" "Well, no, as a matter of fact, my father left home when I was five." "Well, all right. Um — urn, your mother is a member of the church?"

LRH: All right, what happened?

"Say, that's right. Heavens no! Say, do you know, we got kicked out of a town once. I'd forgotten that."

PC:Well, I visualized each of the places in turn, and .. .

You suddenly pick up the fact that this young girl spent all of her youth, you see, pounding and beating at Mama saying, "Be moral, Mama, be moral," and finally just gave up; just failed, see? "Who's the most moral person you know?"

LRH: You visualized them, or did you move them under you?

Well, a thetan gets out and he starts sorting these things out. See, he gets outside and you give him a little time and he'll just sort these various factors out but he won't think too much about them. He's getting too interested again in the MEST universe.

PC: Well, they were under me — under me. I went down to them each time.

But I say, in a case of a perceptic, in a case of a pair of glasses, you say, "Who is the most sharp-eyed person you know?" And you very well might find the person in the child's youth that the person had to look with all the time. You'll find Mother, and Mother couldn't see anything. You get the idea?

LRH: Oh, you did. Okay.

This is a reversal factor which is part of a life continuum factor.

PC: Mm-hm. And I just came up again. Had a feeling of coming up.

LRH: What did you — what did you see?

PC:Well, in each case I'd seen a scene of a particular place I was in. One was Iceland with a scene of ice; that was an easy one.

LRH: Mm-hm.

PC: China — a Chinese scene. And in France.

LRH: Were they in motion? What was your feeling of reality about these scenes?

PC:Oh, very, very slight.

LRH: Hm?

PC: Very slight.

LRH: Very slight?

PC: Mm-hm.

LRH: Your reality is very slight on these things?

PC:Very slight, yes.

LRH: Was it better than it had been before?

PC:Oh, yes, definitely yes. I had a feeling of lifting up and down through them.

LRH: Good, good, good. All right. Now this time why don't you — why don't you — you know, there's a number of islands here...

PC: Mm-hm.

LRH: . . . in the British Isles.

PC: Mm-hm.

LRH: And why don't you just sit there and move now to the — way you do it, you know — just move these — move Ireland under you and one by one, every time you see an island — every time you see an island or a new one you'd like to move under you, you just move that one under you. And just go rapidly in sequence and take a close-up look at each one of these.

PC: Mm-hm.

LRH: And we won't tell the transport companies what we're doing here, because they lose money on this. Okay, nobody will disturb you here or make any noise in the room.

PC: Hm. These places or something seems to move under me, but I can't seem to get down to it.

LRH: Oh, having a rough time.

PC: Mm.

LRH: Well, did it occur to you to move it up to you?

PC:No, it didn't.

LRH: Okay, let's go on the same tour again, and each time now let's move it up to you.

PC: We've gone haywire here.

LRH: What's happened?

PC: Well, it seems when I got to Germany I seem to be sitting on the boat. And on the boat there's a German — kinda got this — memories of childhood ideas, too — and there's a German with one of those hats with a spike on the top. He's leaning over the front with a woman, both in old-fashioned dress.

LRH: Mm-hm. All right, what happened when you went over these islands?

PC:Well, there seemed to be scenes come in to my mind. I seemed to see scenes very similar to what one would see in the cinema.

LRH: Mm-hm. Did you move these .. .

PC: One cinema I've seen did come in actually.

LRH: Mm-hm. All right, did you move these islands under you?

PC: Mm-hm.

LRH: Each time?

PC: Mm-hm.

LRH: Did you move yourself down to them?

PC: Yes.

LRH: Back away?

PC: Mm-hm.

LRH: What was the change in the island?

PC:Well, I just seemed to land in a certain particular part of the town that I cared to move under. I moved a town, I moved France under me.

LRH: Yeah.

PC: And I seemed to go down to a particular part of a town of France.

LRH: Mm-hm.

PC: And this particular instance, a scene — a cinema scene came in.

LRH: Oh, I see.

PC: Hm.

LRH: All right.

PC: Mm-hm.

LRH: All right, now let's move — let's move that town under you again.

PC: Mm-hm.

LRH: Got that under you?

PC: Mm-hm.

LRH: All right. Now let's take this cinema scene and pin it to some of the — or move it a certain distance away from some of the furniture around that town.

PC: I've got a whole lot of chimney tops underneath me.

LRH: Oh, all right. Now take that cinema scene and put it alongside of one of these chimney tops.

PC:I've plugged it down one, little bit.

LRH: Okay.

PC: Mm-hm.

LRH: Okay, now move that town away from you several miles.

PC: It's gone, anyway. Mm-hm.

LRH: All right, now take the facsimile of what you've just seen .. .

PC: Mm-hm.

LRH: . . . and what — are you near anything now?

PC:No, I've just got a facsimile there.

LRH: You've got a facsimile there? PC: Mm-hm.

LRH: Well, move this monument you've been calling Nelson's monument near you.

PC: Mm-hm.

LRH: Now put this on the horse's nose.

PC: In the form of a piece of rig? Mm-hm.

LRH: Mm-hm. Got that facsimile on his nose?

PC: Mm-hm.

LRH: Now move St. Paul's Cathedral under you.

PC: Mm-hm.

LRH: Got it?

PC: Yep.

LRH: Now take the facsimile of having put that on the horse's nose. You got that picture?

PC: I've got the picture with the facsimile — I've got the horse with the facsimile wrapped around his nose — yes.

LRH: The facsimile of it, you know.

PC: Mm-hm.

LRH: This is a picture of it. All right, now put that on the cross at St. Paul's.

PC: Mm-hm.

LRH: Got that?

PC: Mm-hm.

LRH: Now, move 163 Holland Park under you.

PC: Mm-hm.

LRH: Got that?

PC: Mm-hm.

LRH: Now move the chair under you.

PC: Move the chair under me? The chair?

LRH: Yeah, the chair on the platform under you.

PC: Mm-hm.

LRH: Got that?

PC: Mm-hm.

LRH: All right, sit down there.

PC:Yeah, I'm fine there.

LRH: Hm?

PC: Yes.

LRH: Okay. Now do you see any differentiation on facsimiles and anything else?

PC: Can I differentiate between the facsimiles and .. .

LRH: Yeah, the facsimile you're making of something, and the picture you get of something when you move it under you. You get the difference between these two things?

PC: Yes. Mm-hm.

LRH: There's a difference between the .. .

PC:There definitely is!

LRH: Yeah.

PC: Mm-hm.

LRH: Okay. Okay, that's all.

PC:Good.

LRH: Well, just tell me, did you — do you have any better sense of being out this time during this drill?

PC:Yes, definitely. I felt the sense of movement.

LRH: Mm-hm.

PC: Moving out away from the chair.

LRH: Mm-hm. Okay, okay. Let's get another run at this.