LRH: What happened?

Continuing this dissertation on the V and how to audit him.

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

I have given you this data about gravity and its interaction, not because we are politely interested in the effects of planets — although it's rather obvious that Venus and Jupiter and so forth might have some effect upon an individual, therefore, if the sun and the moon and Earth are so — affect him so profoundly.

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

Now, the effect of this is often to pull his body out of shape. Now, preclears would like to have their bodies altered. They seem to favor a body for some reason or other. And a fellow develops a misshapen body, if you want to call it that, quite often, and his face shape goes out of shape, and the length of his nose goes out of shape on this pull. And if you audit him for a while using a double terminal, you will find out that the forces involved here are not inconsiderable.

PC: Mm-hm.

Now, how many ways are there to alter this and to use it? Well, there's any number of ways — any number of ways you can do this, but remember, double-terminal it; that is to say, any way you want to.

LRH: Move a destroyer under you.

Now, you can, for instance, get Earth and Earth being happy. And the sun and the sun being happy. "Now, put those up there and get them all being happy." Or "Put up four moons and get them happy." Or "Put up four suns and get them happy; have them be cheerful," and so on.

PC: Yep.

And the next thing you know, the lines will start appearing. If they don't start appearing on this fellow after a while, tell him to start shoving them in and speed it up just a little bit, because it means he's so light-starved that he can't — they won't start automatically; they're just stopped.

LRH: Move Portsmouth under you.

Now, how a man is going to get sonic and visio and see light and favor light and everything else if his whole impulse is stopping light, is a question which somebody else will have to solve. You can't, in other words, turn on sonic if his impulse is to stop the motion of particles. If he doesn't know the particles are there, how does he know he's stopping them? Interesting problem, isn't it?

PC:Yes. I got the harbor.

Now, there were ways of solving this and that is by building up his force — building up his force. It has been said around in the sticks that we favor rebuilding — or Nietzsche, in other words — we're afraid we're favoring strong men now and therefore, Scientology is fascistic and so forth because we say that a man has to be rehabilitated in the field of force before his perceptics turn on. Well, that doesn't happen to be policy, that just happens to be fact.

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

And you'll find out that the only man you should really fear a little bit is a weak man. Don't ever fear a strong one. The — it's only weak men who become dictators. All right. By the way, poor old Nietzsche was a weakling, with his great parade of force.

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

We're not talking, then, about force as conduct. We are just talking about force as a man in physics would talk about force. We're just talking about flows of particles. You've got to rehabilitate his ability to get — let particles flow before you get much in the way of perception.

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

There are many ways of doing it; we had lots of ways of doing it in the past. I'm demonstrating here a primary source of particle flow shut-off. Because what happens in this setup?

PC: Mm-hm.

When that sun is pulling on him with gravity, it is pushing at him and he gets the idea after a while that he'd better hold on to the sun, so he does. And he starts holding on to the sun but he can never hold on to the sun and he always loses. So he loses, so he says, "I've failed, therefore I cannot control time." And what's our primary aberration? Time. "I cannot alter or control time."

LRH: Got that?

Something else happens. This universe runs backwards compared to what a thetan runs. Why? I'll go into that in just a moment, but what hap-pens is that when he pulls on the sun, he pulls more photons in on him than he can get energy up. It would be like grabbing ahold of a treadmill, and you'll very often find a V on the complete belief that he has to do with tread-mills. People try to walk away from him in mock-ups — what little mock-up he gets — and they're walking on a treadmill.

PC: Mm-hm.

Well, don't look for people to resolve this, because they don't resolve it rapidly at that level of case. Look at this. Every time he pulls on the sun, he gets a flood of particles down on his head. So what's that mean? Every time he tries to push against the sun he gets a flock of particles down on his head. Every time he tries to do anything about the sun he gets a flock of particles down on his head, so therefore he says, "In the face of the great god Ra, I am unable to control my anchor points, therefore, I can't control my anchor points. Furthermore, on certain dark nights, I can't control my anchor points. Although I would like to illuminate all the heavens, when I tried to put out my anchor points on certain dark nights, for some reason or other my anchor points fly back in my face."

LRH: All right, move the Thames_ under you.

That's very early, and it is actually mechanical behavior which hasnever been analyzed by him. He doesn't know this has taken place or whyhe's failed or why he's abandoned it. What's happened is in the dark of themoon, the moon goes overhead and underfoot anyway, and still exerts graviticinfluence. And here you have no admiration from the moon, and so this particle,force, of course, is not run out — if effort, in other words, doesn't run out in theabsence of admiration. People think of the moon as admiring them. All right.Now, when the moon goes over in the dark of the moon, you have a perfectly dark sky, and the sky is so black and so dark that it obviously has noinfluence whatsoever. But what do you know, there's an awful lot of moon upthere, and it's the same moon although it isn't pouring in on him. In otherwords, the moon's behavior, then, is quite different and you have man supposing it to be quite erratic. Civilized man has so long been living in houses andaway from the sight of all this and buried down in this that he's still influenced by it, but it has shifted cycle here and there. But we find the moon stillcontrolling a great deal of his activities, particularly on the second dynamic.You'll find it controlling with absurd accuracy the second dynamic ofanimals who are customarily capable of being outside in the moon. You know, I mean, like rabbits on the plains. There is no shelter; they're just on the plains and they're always in sight of the moon. All right, they're influenced by it very markedly, particularly on the second dynamic. All right.

PC: Mm-hm.

Now, we take the action here, then, of the sun, the moon and the Earth and we are dealing with tremendous forces and we're dealing with MEST. If you ask a preclear to mock up a room on top of a room, he will get a flow. He'll get more of a flow and more of a reaction — more of a physical reaction — anytime than he'll get off running people — anytime. So here we have MEST. Here we have lots of MEST.

LRH: Move London Bridge under you.

We have this great big mass of Earth, we have that big mass of a sun, we have the moon — all of them right close by. And we get these interactive forces and they are very difficult to run out and they are very, very hard — not difficult to run out on this principle — but they're very hard for anybody to combat; they're too, too much there.

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

And what do you know, evidently — evidently there's more to know about this, but evidently it's this combination that gives one his sense of time. And all through this universe one gets his sense of time off the interaction of heavenly bodies. And the body itself is timed, the breathing is timed, the heartbeat is timed by what? Gravitic influence. It's like one huge chronometer set up there. And all these bodies act the same toward it. Now, this gives us an answer — irrespective of somebody suddenly stepping up and molding each body to size and shape; it gives you an answer of why a type of body will develop and be a type of body. Why does man have, for instance, a prefrontal lobe? You will find that out when you double-terminal the sun, the Earth. You'll find out that the heavenly body cuts him, and the force of it cuts him right across where the membrane is, where the prefrontal lobe comes in. Why do people have double chins? The chin never gets admired by sunlight or moonlight. Hidden down here. It's fascinating. A lot of odd and absurd data connected with this.

LRH: All right, move Tower Bridge under you.

But remember it if you want to alter the physical body of a V or a IV or a III for that matter, if it's too far out of line. Remember that data.

PC: Mm-hm.

It's a very simple technique. You simply tell him to double-terminal the sun and the Earth and the moon. "Two suns, now put in two Earths." Now, he has an awful time getting two suns, you finally get him to a point where he gets two suns. Now you get him to get two suns and two Earths, and now you get him to get two suns, two Earths and two moons. And then you get him in there. It's very peculiar; it may be the first time you'll ever get three-dimensional visio. His visio up to that moment might have been completely flat.

LRH: Got it?

Now, what do you do about the darkness? What about the darkness? Yes sir, you have to double-terminal darkness. Don't get one sheet of darkness, one sheet of darkness and say — with two planets on it — and say that's double-terminaled. Get a piece of darkness and a piece of darkness, and a planet and a planet. Double-terminal the darkness too.

PC: Mm-hm.

Now, what are you interested in by doing all this? You're going to get somatics just by putting two suns up there. Yes sir, you're going to get somatics by putting up two Earths. But you're interested in the lines because they're there. It's the hidden influence of this universe: the line, the missing line. Those lines are there, they show up and they have mass. And it's lines.

LRH: Have you got a facsimile of Tower Bridge?

You ask somebody to get the concept "Isn't it too bad how the people — how human beings don't have lines amongst them?" Just get them to get that concept, by the way, and they're liable to get the darnedest set of somatics; they're liable to see lines springing up amongst people. The lines are there! That's all; they're just hidden.

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

Now, let's go into it a little bit further. What is the primary control operation of the MEST universe? The primary control operation of the MEST universe could be said to be this: distracting attention to nothing. If you can get somebody to distract his attention to nothing, you've gotten him into a position where he won't have a second terminal and therefore no energy line and so he will decay and fade away.

LRH: What, the facsimile or Tower Bridge?

Now, how do parents do this? They say, "Johnny, look out what you're doing!" He's just sitting in his wagon minding his own business. "Look out what you're doing, Johnny!"

PC:Well, beneath me .. .

How does that distract his attention? Well, he's got his attention on some MEST and pulls it off the MEST to a person. Because the person is capable of reason and the MEST is not capable of reason, his attention is pulled from MEST to people.

LRH: Is it a distorted view or.. .

If you want to make any workman real nervous, if this man customarily works with high speed and dangerous machinery, you just make him — want to make him good and nervous and so forth — you get him walking away from his machinery or any place away from his machinery, you'll make him nervous enough. But get him when he's right there at the machine, walk up to his shoulder, and say to him suddenly, "Say, Joe!" Hm-mm. Blrrrrrr! Because you've made him unfix his attention from something he knows he must not unfix his attention from. And if you do this to him very often, he is going to be in horrible condition. What is nervousness? Nervousness is distracted attention. People say, "I am distracted." Why are they distracted? Distracted attention.

PC: Is it what?

Now, the important thing, as far as aberration is concerned, is the sixth dynamic, but the most important thing of that is the solid object as far as the actual somatic is concerned. The missing thing is the line, the hidden flows of particles.

LRH: Is it a distorted view?

So how would you, how would you go about this? You would pull his attention off the solid object to a person and then you would correct him about what he had just said which puts his attention on the intervening space between the two people where there is no line. You've got him. You've put his attention on, as far as he's concerned, nothing. And you've also put his attention onto another nothing which is the past. And you see how that operation's done?

PC: It's ornamental and real.

The actual aberrative factor is the unpredictability. of MEST, but people are blamed for this, because people go around distracting people's attention from MEST. You know, they argue about MEST, they worry about MEST and they — but — and so on. But they argue with other people about MEST and they keep winding everybody up on big flows of maybes.

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

All right then, what's this all about then? Then we get people as the apparent thing, and the next thing we get is the past as being an apparent source of aberration, and it is, but that's because people are always directing one's attention to the past. How do they do that? They say, "You said and I said, but you didn't say what you're saying you said now. You said something else. And in the future, I want you to be very careful never to do that again. Now, I want you to remember this. And the reason I'm punishing you is so you remember this and in the future you will never ..."

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

The — that's — it's being done in the present, but it's putting it right into the past, and that's adding a circuit in, you see. That's punishing somebody so that he won't do something in the future. Well, that's into the past.

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

Or they say, "You'll have to correct your English because you just said something or other, something or other, something or other," and so on. Therefore, instruction which is beaten into somebody actually merely removes him into the past and cancels him.

PC: A very high view of it.

If you — you could probably beat a child hard enough and often enough to a point where he'd never be able to figure anything. He'd just be all circuits; he'd be all circuits and he couldn't be anything. Couldn't even be himself.

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

So the optimum method of instruction would be to have him fit the data to the material universe as he learned it. That would be the optimum method of instruction, wouldn't it? You'd have him experience the data with his own action and beingness as he learned the data. The ideal way to instruct in botany would be with flowers, with herbs and so forth, not so much from a text.

PC:I haven't got this corner here.

You'll find it very interesting, for instance, that if you take a student who has studied for a long, long, long, long time — run this one on him: Have him take the textbook, have him take and change the textbook into him. It's fascinating. Try it sometime. Have him take one of his textbooks and change the textbook into him. Of course, he — what he's trying to do is make the text-book the same as he is. Or just have him mock up there, with the textbook admiring him. He's admired textbooks all the time but no textbook ever admired him, so it's a one-way flow.

LRH: Hm?

It's like you cure people of bad occupational disorders by having their tools admire them, or four-terminal their tools and you'll get the flows of sound and that sort of thing. That is, double-terminal their tools. All right, or change the tools into them. Have the tool there and have the person appear. All right, the — all these would be methods, you see. But it's the MEST universe.

PC:I haven't got this corner here.

Now, the worst thing in the world you could do to an individual would be to distract his attention to a hidden line. Why, nobody would ever be as cruel as to do this, but they say, "You know what they're saying about you behind your back?" "There's a lot of gossip, there's a lot of rumor going around at this time that . . ." See, hidden lines, hidden lines, hidden lines, hidden lines. Let's all go crazy quick.

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

You can never, under God's green earth, use a hidden line for a terminal. A person actually depends for a large amount of his energy as he operates in a body on a second terminal. He must interchange with a second terminal. As he gets such an interchange with a second terminal, he figures he doesn't have energy. That's why loneliness is bad, although loneliness isn't terribly aberrative. That's merely a scarcity of people.

PC:It's .. .

You get somebody who doesn't like people, by the way, there's such a scarcity of people, you'll have to have him throw people away before he'll accept people. There's a terrible hunger for people. Watch a little baby, he just loves people. All right.

LRH: Oh, it doesn't matter.

Now, let's take a look at this, then, in terms of directing attention. We distract attention to people, then they distract attention to the past or to a hidden line. So if we're looking for aberration, we look at those hidden lines, don't we? Where are those hidden lines? And we process, process as to get hidden lines, and that's really what's wrong with a V.

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

Your first analysis of the V, he thinks he's defending himself from every-body, from people. He isn't defending himself from people; he's defending him-self from MEST, really. Or he says, if he's real bad off, he's defending himself from hidden communications, hidden communications, hidden communications. That's what he says he's defending himself from. He's not defending himself from hidden communications. He's defending himself from perfectly good, valid lines! And the second you start double-terminaling them you'll find out that those lines are pretty big and pretty solid and it's MEST at the base and so forth.

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

Don't forget there are three kinds of space. One of the things that a V gets into is a vacuum. Every time you throw a mock-up out there, it disappears. You could make any V get mock-ups, mock-ups, mock-ups, mock-ups, mock-ups, mock-ups, mock-ups, until all of a sudden one appears. I won't say how many thousand mock-ups he'll have to put out there to get one to appear, but it's plenty, plenty of mock-ups. Okay.

PC: Mm-hm.

Now, let's go in straight from that data into how you exteriorize a V and why he doesn't exteriorize. I can tell you a lot about V's. I'll make this word of warning (I've said it before here), anytime you find your V a little bit spinny, throw him into Step VI, next-to-the-last list of Self Analysis — a bunch of mockups — and then take him back onto Step V. What's Step V as it exists now? Is it any of this stuff I've been telling you? No, you've been sitting here very patiently and you haven't heard the piece de resistance: How do you work a V?

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

A thetan can be what he can see. A thetan can see what he can be. A thetan doesn't have to be what he doesn't see. What a thetan doesn't see, he doesn't have to be.

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

Now remember, I said, "thetan." If he sees it with his eyes, that's all right. Something else saw it; he didn't. That's the way he gets around that. But if he sees it as a thetan, he'll have to be able to be it.

PC: A big black busby there.

A communication point is also a space point, so beingness and communication are the same thing. So therefore, perception and beingness to a thetan are identical, same thing. What he can see, he can be.

LRH: Yes. Are you allergic to them?

The definition of space is a viewpoint of dimension. Therefore, one has to have a viewpoint before he has anchor points. And that's what your V doesn't have. And that's the biggest scarcity in the world, is viewpoints. Your V doesn't have a viewpoint.

PC:I don't think so.

Two ways you can give him a viewpoint: one's to bring him into present time, and that's make him hold on to the corners of the room and not think, let his circuits scream, which is a Step VII. But a good technique anywhere in the bank to get somebody to present time: get him interested in those corners of the room. He'll get nervous and he'll get upset and so forth.

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

But by and large you have on your hands a mechanical difficulty; you have starved lines, no light or admiration in them. Don't have any light in the lines; the lines are all bunched up and you have the bank to some degree collapsed on him. It's a mechanical problem.

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

If you're going to solve this V's body, you're going to have a picnic; you're going to have a real picnic because you've got all the GE's lines collapsed and all the V's lines collapsed.

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

So you want this V out of his body as soon as possible, and let's not take him out of his body Tuesday when we can do it today. Wouldn't that be wonderful if you had a technique? You'd take your most occluded case and have him out of his body, and he'd know he was out of his body five or six minutes. See, wouldn't that be wonderful? Gee, I would like to tell you here today that we have such a technique, so I will.

PC: Hm?

The missing definition in physics was space: viewpoint of dimension. The local yokels have been running around yelling about space, energy and time, and they never said what space was. What is space? Well, let's get awfully simple and we'll say it's a viewpoint of dimension. Well, what marks the dimension? That's an anchor point, and it's the distance from the point of view to the anchor point that is the space. Right?

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

What's wrong with a V? You'll find him all identified with everything. Well why? Why is he identified with things? Well, that's because there is too little space, see? Too little space. What's this tell you immediately? There is too little viewpoint, then. All right, if there's too little viewpoint, what's the matter with his anchor points? Well, they work in reverse; the MEST universe has gotten into him and defeated him one way or another, and his light starvation and a lot of other things. Every time he tries to put out his anchor points, they disappear. Of course they just go into this light-starvation vacuum. He's been in space; he's had all sorts of things happen to him and each one has convinced him that he can't put any anchor points.

PC:Got it now.

So you don't only — you — this boy's in a bad way, see? He not only doesn't have a viewpoint as a thetan, but he doesn't have any anchor points. So where the devil's his space? Well of course it'd be lovely if you could bring this boy to present time. It'd just be wonderful if you could just bring him to present time. You're not going to get him to present time. The reason why you're not going to get him into present time is, the space is too light-starved and the lines are too tight. And if you start pouring too much admiration into those lines, those lines start opening, and the second they start opening he starts to feel like he's squirreling because he goes into one of these frenzies of pain things and he feels like he's going crazy, something. And then you have to drop into Case Level VI, then you bring him back. You could fool around with this for a long time. You don't have to. I did already. I put in a lot of hours on this, and found out it's not profitable! The case was about the same level on the Tone Scale before as after.

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

Oh, I did all sorts of things. I got him to process Fac One cameras: one camera facing the other camera, both of them being MEST, you see, and getting four cameras, so the hidden communication line between the two cameras would show up and the sound would run out, and we got lots of lovely somatics and we did get a glandular change and all that, but nothing happened really. He wasn't out of his body.

PC: Yep.

No viewpoint! Well, if we can't have a viewpoint, by golly, we can't have a guy exteriorized, because there would be no space for him to exteriorize into, will there? Well, if we clip out a few postulates, maybe, you'd think this would be good? No. If we work Self Analysis for a long time it will be all right? Yes, yes, that's true, that's true. You're just feeding the bank gradually and pleasantly enough and so forth over a long enough period of time, he'll eventually get out by uncollapsing lines.

LRH: Now move the Hall of Fame around you.

Well, if there's no viewpoint, there must be some other mistake in thematter. You should be able to create a viewpoint. Some mistake. Should beable to use the room as a viewpoint. Well, he can't see! Why can't he see?Well, because he can't be. Well, if he can't be, then he can't see. Very, verytough, very tough. So must be something else; must be some other mistake.Must be something else; must be some way we could solve this thing becauseotherwise we're just going around and around in circles and have taken along time at it, and it's all very difficult. So is the V making another mistake?Brother, he sure is. This is idiotic. The first time the V notices this hewill almost shoot himself in anguish when he realizes it — one of those simpleones. The V is what's holding on — the thetan of the V is what's holding on toeverything and is everything. And he doesn't know it. He thinks it's the body.Now, let me go into that quietly and smoothly. A Step I exteriorizes apoint. Well, beware of these guys that exteriorize as a point because that'snot so. A thetan isn't a point in this particular universe. He just thinks he is.

PC: Which Hall of Fame?

He's got a theta body but a person can actually get out of his body and then get out of his theta body. He's got a body. He's got a body. It's a composite of all sorts of things.

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

He's also got a personality. What personality is it? It's a pers — the same personality you're looking at, modified. It's modified how? Well, in a human body he knows he has to act more human because he's being observed. And so he just relaxes a little bit and he's much simpler and he thinks of himself as kind of cute. And he all of a sudden spots all of these boxes and so forth around that he's got these circuits in, and so forth, when he's out of his body. So he just thinks he's a little bit cuter and he feels freer and he feels a little sadder when he's outside of his body.

PC: Main hall.

As a V exteriorizes he's usually — gets out into a — and he gets a past death or something will fall in on him or something like that, and he'll feel kind of sad about it all. Well, he's afraid of being anything. Big trouble, besides the mechanical problem, it shows up as fear of being something. You say, "Be this and be that." Well, he can't see it so he doesn't know, and so he has to know the data to see it, and then he can't see it because he can't know the data, and all that. Big trouble here.

LRH: Main hall. Move it around you.

And this, his mistake — this is, this is one of two mistakes — the mistake is that these somatics which he has and these perceptions which he has and this sensory equipment which he has and these nerve lines which he has belong to the body and he's trying to move out without taking them with him. They're his as a thetan. He is this network of circuits. He is this network of nerves and lines. He is this thing. He is a complex mechanism if you ever . . . Why, it would a — it would take a master mechanic weeks to draw the design of what the thetan considers his head! Now, that is not the optimum state for a thetan, to be all fixed up like this, so the thetan has to be audited. But he'd better be audited away from the body to get him away from the GE's bank.

PC: Mm-hm.

But what's this body compared to this thetan? Well, it's just a hulk. It's just like a corn husk. And when he starts to realize this, why, he'll say, "Gee, this is real silly of me." He'd say, "You know, ha! I've had this — I always had this little sinus tickle, and so forth, and I move out and I've got this sinus tickle. I move out of the body and my sinuses tickle. Well, how can my sinuses tickle if I'm out of the body?"

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

Well, they do. And, "I always have this funny feeling in my chest, and I was trying to leave that with the body when I stepped out of the body!" Of course, he's doing this kind of — he isn't telling you this. But he's got it in his chest. That's — that's him!

PC:It's kind of hard to get.

It isn't that the thetan has lungs, but he's got a sensation there which happens to fit in the vicinity of the lungs and when he's in the body, it's irritating to the lungs. You move him out of the body and here he is outside of his body, and he's got this horrible pain in his chest. So you audit him as a thetan to get rid of the pain. And that's very easy to do, because he simply reaches over and he says, "For gosh sakes, here's this pain." He couldn't get through this MEST to grab hold of it, he didn't think — and he says, "Here's this pain. Oh, what do you know, it's a little box says — it says something on it; I don't know. Well, throw it away, anyway." I mean it'll be something silly like that.He plays games with himself. He's got all kinds of circuits all set up.He's got all — is this guy complex as a mechanism. He's got himself several personalities. He's all equipped to be anything, except he doesn't dare be anything because he's got to figure it all out first. That's his first mistake.

LRH: Hm? What happened?

And his second mistake is he thinks he moves. That's — that sounds silly, doesn't it? He thinks he moves.

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

Of course, everybody knows they move. V walks down the street, he, naturally, he goes over to the door and he opens the door, and he goes out and he walks down the street. He's moving. That's obvious, isn't it? Well, it's very obvious, but it doesn't happen to be true! What's moving? You're talking about a viewpoint of dimension. What's moving is the viewpoint of dimension. So what is moving in this case? The street. The street's moving. Why? Your V is using the anchor points of the MEST universe, and he's so dependent upon them that you aren't going to get him anyplace unless you let him use them a little bit. So, you know, get that as the pri — this is real idiocy.

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.

He — he never moves! He has never moved throughout all of time, but his environment has moved. That tells you right there how to process a V. That should be just snap, and you know how to process a V.

PC: Mm-hm.

You say, "All right," to this fellow. You've got him sitting down in the chair, and he's just taken his hat off. And you say, "All right, now, move Nelson's monument under you."

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

"All right," he says, "but I doubt if I ... Well, mmm-mmm-mmm. It doesn't seem very real, though."

PC:I can't get very close.

"Well, that's all right, move the Amazon jungle under you."

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

"Oka " y.

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

"All right, now move Peking under you. That's good. That's good. Now move central Canada under you. That's real good. Now move the North Pole under you. That's good. Now move the Washington Monument under you. That's good. Now move St. Paul's Cathedral under you. That's very, very good. Now move the Nile under you. That's good, that's fine. Now how about — how about Afghanistan? That's real good. Now how about the Pyramids? Okay. How about some palm trees down in the South Pacific? That's very good. How about the east Indian Ocean? Move that under you," so on.

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

In other words, you go on in this line. Every time he gives you, "Uh-huh," why, you move him to something else.

PC: Mm-hm.

He says, "Say, you know, I'm outside." He says, "You're not kidding." He says, "You know what happened? I was just standing there. There's the waves running down there! Yeah, I'm — I'm out."

LRH: All right, move another figure.

Now he isn't — now here will come this beautiful interlude. Now here will come this interlude. He'll say, he'll say, "You know, I didn't think I was out because I've still got my lumbago. It still hurts; my back still hurts, and why is my back still doing . . ." And he'll look around and he'll say, "Well, the body is back there and it doesn't hurt. Well, you know that body is just . . . Well, this is me! Hurrah, hurrah! I think I'll go and sit down on a mountain some-place for a couple of thousand years and recover!"

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

Now, how do you audit him? You audit him just the same way you audit any other thetan; there is just more wrong with him as a thetan. You've been trying to get him out as a point. He's not a point, he's a body. He's the whole universe.

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

Now, how long do we keep this up? Move this under him and move that under him? Now, understand this, never say, "Move over the" or "Be over the monument." Say, "Move the monument under you." "Move the environment" is the key to all this — "Move the environment," and he'll move around like a dream. He just audits like a dream; there's nothing to this. You give him a few of these — most of these V's — you give him a few of these and they say, "Well, well, well, well." They start to get real excited. Why? Because they're really out.

.PC: Look at the what?

But remember, they've started using the MEST universe as anchor points and they're depending upon the MEST universe to keep their anchor points apart, so what? So the MEST universe is also depended upon to keep the distance apart between their facsimiles. Oh, isn't that horrible? I mean, this guy has got an engram bank and he's depending on something else to keep his engrams apart, and nothing is going to keep his engrams apart or off of his body or off of him as a theta body.

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.

He's going to be sailing around out there over the east Indian Ocean, and all of a sudden he says, "You know, I just — still got this space opera engram hanging on my jaw." And you say, "Well, all right. Now let's see, let's be over Zanzibar. Now let's find a palm tree there in Zanzibar. That's real good. That's real good. Now take that facsimile and park it eight feet from the palm tree. Now, you got it there? Get that distance fixed right there, right at that palm tree. Eight feet, not eight feet and one inch, now just eight feet. Got it there fixed? Okay. Now, you get it fixed and don't let it move now! Now, be over the Washington Monument. Snap."

PC: Mm-hm.

Now, you say, "You over the Washington Monument?"

LRH: Take a look at the cashier.

"Oh, yes, yes, yup, I'm here" and so on and so forth. "You know, I used to think I was afraid of — hoop! Whoops! I am — I am a little bit scared of height, yet, but ... I used to be very scared of it."

PC: Mm-hm.

Now, you say, "Where is that facsimile?"

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

"Oh, that's back there in Zanzibar."

PC:I got the brass grill but no cashier.

"Oh," you say, "it's back there in Zanzibar. In other words, you're depending on the MEST universe to keep these things apart, huh? Well, how about you taking a couple of these facsimiles and pull them apart and tell them to stay apart? Okay, you did that?"

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

"Yeah, they did too!"

Now, move the street corner out here below you.

"Well, how about picking the rest of the facsimiles off of the back of your neck there, and those past deaths off of your feet, and the time the auto — well, just take that automobile off of your face, and a few of these things and put them out here and put them at exact distances, one from another."

PC: Mm-hm.

"Okay," he'll say. New idea to him. A new idea!

LRH: Okay, move a battleship under you.

"Ah," you'll say to him, "now that you're out there in space or wherever you are, you can put out a beam. Why don't you try to put out a beam?" "Oh, I couldn't do that." And yet he can.

PC: Yeah.

But what do you do? You just put him through the drills of the rest of the steps. But those I've just given you are absolutely essential to the V.

LRH: All right, move the stern under you.

Now, I do not know whether your cases will uniformly crack under this. I believe, however, that you will have made an essential error if you don't find the V cracking immediately. And that error is simply this: You have mistaken a V for a VI. What is a V? He not only doesn't get mock-ups easily, you could say offhand he gets them patchily or none. He's pretty bad. He's pretty bad on mock-ups. He isn't putting out anchor points. When you tell him to throw his anchor points out they disappear. That's a V.

PC: Yeah.

What's a VI? A VI is neurotic. What's the test of being neurotic? That isn't saying he's damned. What is the test of being neurotic? It's simply this: He's unable to easily recall the things in the next-to-the-last list of Self Analysis: something really real, the time he was really in communication, and so forth.

LRH: Move the bow under you.

And boy, don't you ever let me catch you missing on that one. And you get a guy and you get him all the way down to W, don't test him as a V, test him as a VI, just as routine. Don't miss on it, please, because I've seen a preclear audited for eighty-five hours without anybody asking him, "Can you remember something real?" And he almost fell off the end of the couch with complete delight. He remembered something real; he remembered coming in the door of the Foundation that morning. So we shot the auditor and went on with the business. Well, anyway, there is your test. Don't test a V. Just ask him to remember something real; he'll maybe struggle around with it and ask him the list, and so on.

PC: Yep.

If you get to Case IV, Level IV, just skip ... And, he would — he doesn't do IV easily, just skip over it. Ask him something really real. And then you go on with this other act.

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

But if he's very, very bad at something really real; in other words, he's got a communication lag index there of fifteen, twenty seconds on each one of those questions, half a minute on something really real, the time he was really in communication, and all that sort of thing, boy he's a VI.

PC:Well, I've got an ocean.

And what you want to do is go right to work with your little book, and say, "All right, now here's an exercise about time. Now, can you remember a time that was a long time ago? Can you create a scene that has to do with a long time ago? That's real good. Fine. Create a scene for that and create a scene for something else." And we go on down the line and we do some Self Analysis, and after we've done some Self Analysis then we simply move him out of his body by moving the MEST universe under him, and it gives him a viewpoint of dimension. He's completely overlooked the fact that he is his own viewpoint of dimension.

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

And you take a lot of these I's; you ask them to step out of their heads and they're pretty foggy and they don't know whether it's up or down or so forth. And they tell you they're a little point and they can't change their minds rapidly and they don't appear to you to be any I. You could tell a I. They're young most of the time. Kids mostly.

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

And you say, "Well, all right, now where you got your facsimiles? You got a package of facsimiles there?" And this I will say, "Oh, yeah, I've got all of those facsimiles right here and . . ." Oh, he's all right. I mean, he's got these facsimiles wherever he is and he's got all this bric-a-brac, and he says, "Yes, I've got circuits and that sort of thing." But you say, "All right, now where's your facsimiles?"

LRH: Hm?

"Why, I left those with the . . ." He doesn't know he's outside; he's kid-ding you. He doesn't even vaguely suspect he's outside. He's got some kind of a dim idea that maybe he's outside but he's already read a big long book on astral walking or something of the sort, and that's what he's doing and he's not a I. So don't let yourself get fooled on that.

PC: Dark when you get down there.

The test is, does he come out complete? And what's complete? That's fully equipped with circuits and facsimiles and, in many cases, somatics.

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

How do you move him out, then, at the hot — toughest level to move any-body out on? How do you move him out? By moving the environment piece by piece under him. You'll find at first when you do this, he'll be scared. What do you do about this?

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

He says, "But it doesn't look real to me." Don't pay any attention. You do this until he finally breaks loose with a bright smile and says, "What do you know, that is the Indian Ocean. There is a ship! And look at the sea gull sitting on the bell buoy." And he's gotten real interested. You'll find him doing all sorts of things. You'll find him wanting to go down over the water and doing this and that and so forth. Let him, it's a big adventure.

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

Is a V's perception any worse in the body than out of the body? No. What the devil is he using those eyes for and what's he got glasses on them for?

PC: Uh-huh.

Well, that's something you'll have to answer. I'm sure I wouldn't have any-thing to do with his pretending to be human.

LRH: Move the government building in Capetown under you.

What's the primary thing that you can expect to change in him? He'll think maybe he hasn't got any goals or anything of the sort, or that he's liable to fail. Or he may come back and say, "What do you know, I can do some of the things I wanted to do!" What you do is run him on the rest of the steps out of his body, not in his body. And what happens if he gets sent back in his body and gets stuck again? You move more environment under him in that kind of a drill. Now, these are geographical locations on the face of the Earth, and the further apart the better. And the further from his MEST body, the better.

PC:Trying to recognize it.

And do you do the exercise of double-terminaling him with his body? That is, Step II? Well, you can omit it if you want to for a long time because when he gets close to that body he's liable to snap in. He's going to say, "Wait a minute, I'm outside of my body." Or he's liable to get such a re-echo, because he's the same shape, size and general description of the body.

LRH: Hm?

Now, another thing a V has is terrible feeling of pretense. He feels he's pretending. He feels like everything is pretense. Everything is insincerity and everything is pretense and it's all pretense anyway, and that's all there is in the universe and that's horrible. Well, listen, don't let this worry you. That — that is the result of people telling him, "Oh, it doesn't hurt either."

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

He cuts his finger; little kid. He says, "It hurts! It hurts!"

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

"No, it doesn't hurt. You're just pretending. It doesn't hurt," this, that, so on. "Oh, it's not really as bad." In other words, invalidation of his aches and pains and sorrow.

PC: Mm-hm.

Now, you can expect a V to have been very badly invalidated on the subject of sorrow, unhappiness and so forth. He hasn't been permitted to be unhappy; he hasn't been permitted to be sad; he hasn't been permitted to be anything. Boy, he's really restricted to the dickens. So don't feel strange if this character is in a little bit sad shape when he comes outside. How do you remedy this? Well, you can look on your mimeographed sheet of steps and you will see there Step III and Step IV — Step IV, Step III given to him while he's out of his body will remedy this.

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

And that, I hope, pending further reports from auditors saying, "We are not able to pronounce the word 'move,' or something," I hope that finishes and buttons up the case of the V.

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

Thank you very much.

LRH: Okay. Is it in motion?

PC: Yes. Mm-hm.

LRH: Good.

PC: Looked at the flag.

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

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

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

PC: Mm-hm.

LRH: Okay, move the Shetland Isles under you.

Now move them up close to you.

Now, move them up real close and sit down.

PC: Uh-huh.

LRH: Okay. Now move 163 under you.

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

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

PC: Uh-huh.

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

PC: Fighting against them.

LRH: Huh?

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

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

PC:I think so.

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

PC: Mm-hm, yes.

LRH: Is this better than you have had?

PC: Yeah.

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

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

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.

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: Mm-hm.

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: 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: Oh, yeah.

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

LRH: Well, good.

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

LRH: Uh-huh.

PC:. . . on assignments.

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

PC: Mm-hm.

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

PC: Yes, mm-hm.

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:Yes, definitely.

LRH: Definitely. Okay, thank you.

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

PC: Yes, I remember my breakfast this morning.

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

PC: I suppose I can do that.

LRH: Move it under you.

PC:Yes.

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

PC: Yes.

LRH: Now move it some distance away from you.

PC: Yes.

LRH: Now move Buckingham Palace under you.

PC: Yes.

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

PC: Yes.

LRH: . . . and sit down on it.

PC: Yes.

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

PC: I've got a flagstaff behind me.

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

PC:Oh, I didn't have anything.

LRH: You haven't got anything?

PC: No.

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

PC: Yes.

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

PC: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."

PC:Yes.

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

PC: Yep.

LRH: Get that easily?

PC:Yes.

LRH: You got them both there?

PC: Yes.

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

PC:Yes.

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

PC:Yes.

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

PC:No, I'm quite content.

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

PC:Yes.

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

PC: Yes.

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

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

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

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

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

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

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

PC: Yes.

LRH: Moving Russia under you.

PC: Yes.

LRH: The Kremlin.

PC: Yes.

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

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

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

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

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

PC: Yes.

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

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

PC:Yes.

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

PC:Yes.

LRH: What's the matter?

PC: Nothing.

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

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

LRH: The Alps, huh?

PC: Yeah.

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

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:Yes, I'm on the plain.

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:Yes.

LRH: Did you do that?

PC:Yes, I see that.

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

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

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

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

LRH: Mm-hm.

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

LRH: Mm-hm.

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

LRH: Mm-hm.

PC: Ora dud.

LRH: Going slow or fast?

PC: Pardon?

LRH: Is it going slow or fast?

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

LRH: Uh-huh.

PC:. . . and then goes into dust.

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: Oh, yes.

LRH: . . . directly under you.

PC: Yes.

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

LRH: Mm-hm.

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

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

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

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

PC:The body in the chair.

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

PC: Yes.

LRH: Nelson's monument.

PC: Yes.

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

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

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

PC: Yes.

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

PC: Yes.

LRH: Move Tower Bridge under you.

PC: Yes.

LRH: Move the Tower of London under you.

PC:Yes.

LRH: Okay, move Hyde Park under you.

PC:Yes.

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

PC:Yes.

LRH: Anybody giving a speech?

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

LRH: He is, huh?

PC: Yeah.

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

PC:Yes.

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

PC: Yes.

LRH: What happens?

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

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

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

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

LRH: Mm-hm. Okay.

PC: Yes.

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

PC: Yes.

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

PC: Yes.

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:Yes, they've gone.

LRH: All right, now move 163 under you.

PC: Ah, yes.

LRH: Move the chair under you .. .

PC:Yes.

LRH: . . . and sit down.

PC: Right.

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

PC:Ah, fairly real .. .

LRH: Mm-hm.

PC:. . . most of the time.

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

PC:Yes.

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

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

LRH: The second time?

PC:Yes, yes.

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

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

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

PC: It seems to be quite wonderful.

LRH: Mm-hm. Good-oh.

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

Male voice: Yes, sure.

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

PC:Well, not with certainty.

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.

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?

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.

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

PC: Okay.

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

PC: Yes, I can feel it around me.

LRH: Good. Were you there?

PC:Yes, in the center of the head.

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

PC: Mm-hm.

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

PC: Yes.

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

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

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

PC: Mm-hm.

LRH: All right, is there something towing it?

PC:I think it's at the anchor.

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

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

LRH: Well, move that under you.

PC: Mm-hm.

LRH: Move its engine room up alongside of you.

PC: Mm-hm.

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

PC: Yes.

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

PC: All right.

LRH: Move that moving barge under you again.

PC: Mm-hm.

LRH: Move Tower Bridge under you again.

PC: Yes.

LRH: Move the barge under you again.

PC: Mm-hm.

LRH: Move the engine room alongside of you again.

PC: Mm-hm.

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

PC: Mm-hm.

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

PC: Mm-hm.

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

PC: Mm-hm.

LRH: Got that?

PC: Mm.

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

PC: Yes.

LRH: Move the Kremlin under you.

PC: Mm-hm.

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

PC: Mm-hm.

LRH: Move it right up close to you.

PC: I'm scared at the moment.

LRH: Hm?

PC: I get scared of that.

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

PC: Mm-hm.

LRH: Move the Nile up close to you.

PC:A lot of crocodiles.

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

PC: Mm-hm.

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

PC: Mm-hm.

LRH: Move the Pyramids under you.

PC: Mm-hm.

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

PC: Mm.

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

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

PC: Mm-hm.

LRH: Got it?

PC: Mm-hm.

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

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

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

PC: Mm-hm.

LRH: Move a camel under you.

PC: Mm-hm.

LRH: Move Rome under you.

PC: Mm-hm.

LRH: Move the Colosseum under you.

PC: Mm-hm.

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

What's the matter? What happened?

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

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

PC: Mm-hm.

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

PC: Mm-hm. I like those peaks.

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

PC: Mm-hm.

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

PC:Yes, it's really nice.

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.

PC: Very pleasant up here.

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

PC: Mm-hm.

LRH: Okay?

PC:Thank you. That's interesting.

LRH: Well, tell us what happened.

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

LRH: Mm-hm.

PC: I didn't like the water.

LRH: Mm-hm.

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

LRH: Not a bit, huh?

PC: No.

LRH: Strange.

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 .. .

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?

PC: I've never had that feeling before.

LRH: You never had that feeling.

PC: Being out and taking one.

LRH: Yeah, okay. Okay.

PC: Thank you.

You understand this technique?

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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?

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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."

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

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

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

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

"Well, how did she act in company?"

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

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

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

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.

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.

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?"

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."

"Well, what was he particularly sincere about?"

"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."

"Well, what was he sincere about?"

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

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.

All right, who is it?

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

Male voice: I remember naval instructors.

Naval instructors?

Male voice: Mm-hm. Academy instructors.

How about your family?

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

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?

Male voice: Mm-hm.

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?

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?"

"Oh, that was my mother."

"Yeah?"

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

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?"

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

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?"

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.

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?

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