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

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

LRH: One.

PC: Well, at lunch time.

LRH: At lunch time?

PC: Mm-hm.

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

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

PC: ... and coming over here.

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

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

PC: Mm-hm.

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: Yes, I've got them.

LRH: You've got them?

PC: Mm-hm.

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

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

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

PC: Mm-hm.

LRH: Find any old dirt or anything up there?

PC: No, they look very, very clean.

LRH: Mm-hm.

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

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

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.

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

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

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.

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.

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!

LRH: Got those corners?

PC: Yep.

LRH: Real good?

PC: I've got one.

LRH: Get the other one.

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.

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.

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.

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.

Got it yet?

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

LRH: You just keep putting it back there.

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

LRH: You just keep putting it back there.

PC: . . . the left-hand — back.

LRH: Keep putting it back.

PC: I know it's there.

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

PC: Yep.

LRH: Finally connect?

PC: I know the feeling of it.

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

PC: Two what?

LRH: Dinosaurs.

PC: Oh, yeah.

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...

PC: Yes.

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.

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

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.

PC:Well, the other one's gone.

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

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

LRH: The corner's in the wrong place?

PC: Yeah.

LRH: Well...

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

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

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

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

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

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

PC: Oh, yes.

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?

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

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

PC: Yeah, near enough.

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 .. .

PC: Mm-hm.

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

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

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

PC: Yep.

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

PC:Yes.

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

PC: Mm-hm.

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

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

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

PC: Mm-hm.

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

LRH: Let's be over the Indian Ocean.

PC: Mm, pretty rough.

LRH: Let's be over the North Pole.

PC: Mm-hm.

LRH: What you got?

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

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

PC:It's just below my feet.

LRH: Just below your feet?

PC: Mm-hm.

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

PC: Mm-hm.

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

PC: Yes.

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

PC:Yes.

LRH: Now let's be over Sydney.

PC: I'm stuck there some.

LRH: Hm? What's the matter?

PC: I seem to be stuck there.

LRH: You seem to be stuck there over Sydney?

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

LRH: Can't seem to get Sydney?

PC: Mm.

LRH: All right, get Melbourne.

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

LRH: You got Melbourne?

PC:Yeah, there's houses there.

LRH: Mm?

PC: Mm-hm.

LRH: All right, get Brisbane.

PC: I seem to get Auckland.

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

PC:Yes, I see it.

LRH: Be right over Auckland.

PC: Mm-hm.

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

PC: Mm-hm.

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

PC: Mm-hm.

LRH: Be over the harbor.

PC: Mm-hm.

LRH: Be over Wellington.

PC: Mm-hm.

LRH: Now, be over Perth, Australia.

PC: Mm, I've got something there.

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

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

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

PC: No, that's about the same.

LRH: About the same, huh?

PC: Mm-hm.

LRH: All right, be over the London Zoo.

PC: Mm-hm.

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

PC: Yep.

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

PC: Yep.

LRH: Be in the office at 163.

PC: Mm-hm.

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

PC: Mm-hm.

LRH: Okay. Be in front of my house.

PC: Mm-hm.

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

PC: Mm-hm.

LRH: What happens when you do that?

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

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

PC:Yes, oh,.a beaut.

LRH: Hm?

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

LRH: Did you just start this?

PC:Do I just start it?

LRH: Did it just start?

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

LRH: It hadn't started at all?

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

LRH: Mm-hm.

PC:. . . it starts to .. .

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

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

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

PC: Well, I lost contact with this part.

LRH: Hm?

PC:Yes, I think I did.

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

PC: No.

LRH: You didn't have that feeling?

PC: No.

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:A bit difficult, yes.

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

PC: Two thetans?

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:Well, these .. .

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

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

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

PC: Mm-hm.

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

PC: Shaking hands with each other, naturally?

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

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

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

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

PC: Mm-hm.

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

PC:They keep sticking together.

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

LRH: All right, keep putting it out.

PC: Yeah.

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

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

LRH: Abandoning it! Not just leaving it!

PC: Abandoning it. Oh.

LRH: Abandoning it forever!

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

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

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

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

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: How happy you are.

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

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

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

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

LRH: Yeah.

PC: How happy they are?

LRH: Mm-hm. They're you!

PC: Oh!

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

PC: Mm-hm.

LRH: Abandon all the facsimiles.

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

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

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

LRH: Real happy now?

PC: Mm-hm.

LRH: Now, how are we doing?

PC:Yeah, they're out there.

LRH: Doing better?

PC: Being quite as happy as they can be.

LRH: Mm-hm.

PC: Just real happy.

LRH: That's you now?

PC: Yeah.

LRH: Mm-hm.

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

LRH: You're real happy?

PC: Yeah.

LRH: Never have any memory or anything?

PC: Facsimiles? No, I wouldn't.

LRH: No facsimiles?

PC: No.

LRH: I said no memories.

PC: Mm-hm.

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

PC: Mm. They're jumping for joy.

LRH: What's the matter?

PC: They're doing handstands — happiness.

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

PC: Mm-hm.

LRH: Be over the north end of Auckland.

PC: Mm-hm.

LRH: South end of Auckland.

PC: Mm-hm.

LRH: Over Tasmania again.

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

LRH: Hm?

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

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

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

LRH: You got a forest!

PC: Mm-hm.

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

PC: Mm-hm.

LRH: You got it?

PC: Yeah.

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

PC: About eight feet.

LRH: Okay. Now be over Hobart.

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

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

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

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

PC: Mm-hm.

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.

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

PC: Yeah.

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

LRH: Yeah, all right, all right.

[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.

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.

[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 . . .

PC: Mm-hm.

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.

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

Okay, shut your eyes now.

PC: Mm-hm.

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

PC: Mm-hm.

LRH: Move it to the right.

PC: Mm-hm.

LRH: Move it to the left.

PC: Mm-hm.

LRH: Move Nelson's monument under you.

PC: Mm-hm.

LRH: Now, move Tasmania under you.

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

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

PC: Mm-hm.

LRH: Okay, now move Auckland under you.

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

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

PC: Okay.

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

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

LRH: Hm? Dispose of it?

PC: Mm.

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

PC: Mm-hm.

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

PC: No, it comes up.

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 .. .

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

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

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

LRH: Okay. Move yourself much closer to Hobart.

PC:Well...

LRH: What's the matter?

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

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

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

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

PC: Where is it?

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

PC: Oh, I don't know.

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

PC: No.

LRH: Hm?

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

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.

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

PC: Mm-hm.

LRH: Move it under you.

PC: Mm-hm.

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

PC: Mm-hm.

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

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

PC:I've got a gold cross.

LRH: Okay, let's look it over.

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

LRH: All right.

PC: Rich writing.

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

PC: Nah.

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

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

LRH: A whole bunch of them, huh?

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

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

PC: Mm-hm.

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

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

PC: Yes.

LRH: All right, now be over the school.

PC: Mm-hm.

LRH: Now move the school under you.

PC: Mm-hm.

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.

LRH: Got that?

PC: Mm-hm.

LRH: Now, let's inspect the view.

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

LRH: All right.

PC: Postbox.

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

PC: Mm-hm.

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

PC: Mm-hm.

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

PC: Mm-hm.

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

PC: Mm-hm.

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

PC: Mm-hm.

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

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: You're realizing this now, huh?

PC:Well, I have been doing that.

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

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

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

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

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

PC: No.

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.

PC: Move the edge of the building under me?

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?

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

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

PC: Is that what you want me to do?

LRH: Sure.

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

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

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

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

PC: Mm-hm.

LRH: Now touch it.

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

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

PC: Mm-hm.

LRH: Got one?

PC: Mm-hm.

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

PC: Keep it moving on up the street?

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

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

LRH: Got it moving under you?

PC: I've got it under me here.

LRH: Huh?

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

LRH: You're in the chair?

PC: Yeah.

LRH: And it's under you here?

PC: Yeah.

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

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

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

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

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

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

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

LRH: Okay.

PC: I check up on the driver?

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

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

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 got his head up here.

LRH: That's all right.

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

LRH: You're in this chair?

PC: Yep.

LRH: Huh?

PC: Yep.

LRH: Oh, I see.

PC: Mm-hm.

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

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.

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

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

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.

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

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

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

PC: Yup.

LRH: . . . and move that around you.

PC: Mm-hm.

LRH: Got that moved around you?

PC: Yep.

LRH: Look at the signs.

PC: The sides?

LRH: Signs, posters, advertisements.

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

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

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

LRH: Now where are you?

PC:I'm out in the street.

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.

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

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

PC: Yep.

LRH: What happens when you do that?

PC:I can push it up the street.

LRH: Push it away harder.

PC: It keeps coming back again.

LRH: No! Push it away real hard!

PC: Yep.

LRH: Where are you?

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

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?

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

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.

PC: Mm-hm.

LRH: You got it? What happened?

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

LRH: Moving it further down the street?

PC: Mm-hm.

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

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

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

PC: Mm-hm.

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

PC: Mm-hm.

LRH: You got it now?

PC: Mm-hm.

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

PC: 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?

PC: Mm-hm.

LRH: All right, let's do that.

PC: Mm-hm.

LRH: You back?

PC: Mm-hm.

LRH: All right, what happened?

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

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

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

LRH: Oh, you did. Okay.

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.