LRH: What happened?
PC: I just get a general sense of — of positioning.
LRH: General sense of position? Well, move the stern of the battleship under you.
PC: Mm-hm.
LRH: Move a destroyer under you.
PC: Yep.
LRH: Move Portsmouth under you.
PC:Yes. I got the harbor.
LRH: Move a church under you, right there in Portsmouth. Go ahead and move a church under you.
PC: I think these are facsimiles because I can — things I can recognize I can do, but things I can't, I can't.
LRH: Well, yeah. All right. Now move London under you.
PC: Mm-hm.
LRH: Got that?
PC: Mm-hm.
LRH: All right, move the Thames_ under you.
PC: Mm-hm.
LRH: Move London Bridge under you.
PC:Well, I've got a bridge, but not London Bridge — don't know the difference.
LRH: All right, move Tower Bridge under you.
PC: Mm-hm.
LRH: Got it?
PC: Mm-hm.
LRH: Have you got a facsimile of Tower Bridge?
PC: It's black on one side and white on the other.
LRH: What, the facsimile or Tower Bridge?
PC:Well, beneath me .. .
LRH: Is it a distorted view or.. .
PC: Is it what?
LRH: Is it a distorted view?
PC: It's ornamental and real.
LRH: Mm-hm. All right. Let's take that view and let's turn it around, look at the back side of it.
PC: I can't get over on the other side. I'm on the starboard quarter.
LRH: Okay, the dickens with that facsimile. Let's move the street corner out here under you. Just move it under you.
PC: A very high view of it.
LRH: A very high view of it, huh? All right, move it closer below you. Move it up to you.
PC:I haven't got this corner here.
LRH: Hm?
PC:I haven't got this corner here.
LRH: Oh, you've got another corner. Well, what corner did you have?
PC:It's .. .
LRH: Oh, it doesn't matter.
PC:Growing a statue in the center of it, and that seems to dominate everything.
LRH: Well, let's not worry about which corner you've got. Now, let's move Buckingham Palace under you.
PC: Mm-hm.
LRH: Let's move one of the guards under you. PC: Mm-hm.
LRH: All right, let's move his head immediately in front of yours.
PC: A big black busby there.
LRH: Yes. Are you allergic to them?
PC:I don't think so.
LRH: All right. Now let's buzz him in the ear. You buzz him in the ear?
PC:Yeah, I lose every sense of reality of that.
LRH: Well, you did that? Privacy. Not to invade these other bodies. That's right.
PC: Hm?
LRH: Okay, okay. Move Hyde Park under you.
PC:Got it now.
LRH: Move, move Madame Tussaud's under you.
PC: Yep.
LRH: Now move the Hall of Fame around you.
PC: Which Hall of Fame?
LRH: The Hall of Fame, just the main hall at Madame Tussaud's .. .
PC: Main hall.
LRH: Main hall. Move it around you.
PC: Mm-hm.
LRH: Now move one of the wax figures close to you.
PC:It's kind of hard to get.
LRH: Hm? What happened?
PC:Well, I got Churchill's face, but as soon as I start getting onto one, they just recede .. .
LRH: Oh, oh — oh, concentration. Okay, that's all right. Now, let's get Churchill's face and move it up in front of yours in the Hall of Fame there, I mean at Madame Tussaud's. He's just wax, you know, just wax.
PC: Mm-hm.
LRH: Let's move his face up in front of you there.
PC:I can't get very close.
LRH: Well, that's all right. Now let's take another figure there and move it in front of you.
PC:I'm getting it over there. I can't get it in front.
LRH: All right, all right. Got this other figure?
PC: Mm-hm.
LRH: All right, move another figure.
PC: I've got one there, but I don't know who it is.
LRH: Well, that's okay. Look at the placard
.PC: Look at the what?
LRH: Look at the placard. Oh, that's right, they just have numbers on them. She's cheap, she makes you buy a book. All right. Now let's move the cashier's wicket downstairs in front of you.
PC: Mm-hm.
LRH: Take a look at the cashier.
PC: Mm-hm.
LRH: How's she look? What happened to her?
PC:I got the brass grill but no cashier.
LRH: Ah-ha, ah-ha, ah-ha, ah-ha. All right.
Now, move the street corner out here below you.
PC: Mm-hm.
LRH: Okay, move a battleship under you.
PC: Yeah.
LRH: All right, move the stern under you.
PC: Yeah.
LRH: Move the bow under you.
PC: Yep.
LRH: All right, move the Indian Ocean under you.
PC:Well, I've got an ocean.
LRH: All right, now move it right up close to you.
PC: It's dark when you get down there.
LRH: Hm?
PC: Dark when you get down there.
LRH: Mm. All right, move the Pacific under you.
PC:The tendency is to move me in front of the thing.
LRH: Oh, yeah? All right, move the Cape of Good Hope under you.
PC: Uh-huh.
LRH: Move the government building in Capetown under you.
PC:Trying to recognize it.
LRH: Hm?
PC:I'm trying to recognize it. I'm losing at it.
LRH: Just pick one out and say, "That's the government building."
PC: Mm-hm.
LRH: Now look around and find a flag and move it in front of you.
PC: Mm-hm. I've got a flag in front of me.
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.