Path: rQ!rQdQ!remarQ73!supernews.com!remarQ.com!sunqbc.risq.qc.ca!newsfeed.tli.de!news-x.support.nl!newsgate.cistron.nl!het.net!newshub.bart.net!news.bart.net!news.bart.net!not-for-mail From: Vorlon II Newsgroups: alt.religion.scientology,alt.clearing.technology,alt.scientology Subject: Between Lives part 1 Date: Mon, 08 Mar 1999 16:58:23 -0500 Organization: bART Internet Services Lines: 636 Message-ID: <36E447FF.2552C0E@nym.cypherpunks.org> NNTP-Posting-Host: mickey.2005.bart.nl Mime-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit X-Trace: freyja.bart.nl 920908416 19922 194.158.161.8 (8 Mar 1999 15:53:36 GMT) X-Complaints-To: abuse@bart.nl NNTP-Posting-Date: 8 Mar 1999 15:53:36 GMT X-Mailer: Mozilla 4.5 [en] (Win95; I) X-Accept-Language: en Xref: rQ alt.religion.scientology:548505 alt.clearing.technology:68718 Between Lives Implants 23 July 1963 By L. Ron Hubbard® All right? Okay. What's the date? [Audience:] "23rd". Twenty-third? Well, what do you know! All right, 23rd July AD 13, Saint Hill Special Briefing Course. I had two choices here. I'm working on an assembly line process for you. I'm trying to smooth out your dating problems and that sort of thing. I'm collecting a lot of information on that, all of it very important as far as tone arm action is concerned. I followed through that wrong date or bad dating or misconception of date is the reason the tone arm action is -- and I found out that the pc's time sense is his basic aberration. And therefore I'm working like mad to get you processes that rehabilitate a pc's time sense. Of course, the most exaggerated statement you could make is the time for a pc to run engrams is when he can call the date. And if you did that - if you did that, it'd be absolutely sure that the pc would be getting tone arm action on R3R, see. And discovered a new rundown of R2H. You're using an R2H in a training pattern right now. Well, R2H exists, of course, as a highly therapeutic process, too, prac -- more or less the way you're doing it. But I've been refining it. Refining it. Getting it down to about a ten-step action, which gives the maximum tone arm action. Aims straight -- I looked around for something I could use, you see, to rehabilitate a pc's time sense, and there it was lying right in our laps. And so I'm refining that to just rehabilitate a pc's time sense. And it does wonders for a case. And finally found that I may be looking at a one-shot OT process. And simple as though it -- as it is. Actually, it becomes much simpler as a process to run than the one you're running right now as R2H. But that is not quite ready to release. There are a couple of questions that are being -- still kicking around about it, such as what happens when the pc gets into an engram and you say, "When was that?" and he is very surprised indeed to be in this engram. And then you say, Well, its bypassed charge is so-and-so and so-and-so." And he has to put that together for you while sitting in the middle of one engram -- all very interesting. I've got to answer a couple of questions like that and then I'll release it. The common denominator -- which is what I've been looking for -- of case levels is simply that and no more. It's just the time sense of the individual. That doesn't mean it's how well-timed he is, or this doesn't mean that Gene Krupa and so forth -- that's rhythm sense. But just time sense. The whenness of things. And the deterioration of this sense is what gives you the case levels. And that is about the end of that. There's tremendous ramifications to this. There are lots of other things that can make the pc unhappy or aberrated or significances by the ton. But a common denominator of case levels is time sense. And knowing that, then you could probably establish case levels, which we were trying to do by test a short time ago, by some kind of a test of time sense. The whenness of things. As simple as this: "What's your earliest memory in this lifetime?" you see? And the pc says, "Well let's see, I can remember back to when I was twenty-nine," and so forth. You've probably got a case level -- probably a case level 7 or something like that, you see. We got a case level 6, something like that. And you say, "Well, what's the farthest back you can remember?" and so forth. And he's trying to puzzle around and he looks awful cloudy and you wonder what he's puzzling about so hard. And he's trying to find out if he can remember back to breakfast. Well, you've got a case level 8, don't you see? Or, if he can't grasp what you're asking him. No, but it is an indication here, of this type of thing. Your best -- your best case programing, however, is a discussion with the pc about what process -- because you're dealing mainly with long-time pcs -- what process have they been most interested in. And you're liable to get a very interesting ramification out of the pc, is that they have never been interested in the higher-level process. They were really making gains when they were running -- and they will give you some other process. And that merely gives you the class of process, you know. That doesn't give you just -- don't continue to run the process, necessarily, that they were running, that they were interested in. But it tells you where the interest of the pc is along the case levels and therefore you can run the pc and he will feel that he can do these processes. And you may be running a pc who is, uncomplainingly and actually unaware of it himself, running processes he doesn't feel he can do. You understand? You may be doing something like this, you see. And the pc's sitting right there slugging and trying, and sweating at it and that sort of thing, and you just start being -- just a discussion of interest, see. Interest discussion, that's all. And the pc says, "Well, they so-and-so and so-and-so" and they were really interested as they were doing some 8-C at one time or another and they found that was terribly interesting, and actually there's no process more interesting than that 8-C. Don't you see? You've got your answer right there. Now, they've done an objective -- an objective-type process is one that they feel they can do. These are all on the lines of estimation of cases, don't you see? But right now I have a little assignment for you, is just have a discussion with your pc on this basis. There's a bulletin will be out tomorrow on this subject that's scheduled to go to HGCs. But you will find it considerably interesting and it tells you more about this discussion, but actually more or less just what I've just told you. Just have a discussion with your pc as to what process has been the most interesting to him and what does he consider an interesting process and all that sort of thing, and put it down in your auditor's report. And don't necessarily shift his gears, but this is -- might be very revelatory to you and also to the pc. Now, I have a reality on doing a process that is too steep. I've never had this reality before and -- this is the subject of today's lecture -- and I got confused and -- didn't much appeal to me. Process was just a bit too steep. That's a brand-new experience for me, but I can sympathize .with the guy who's wading along now and doing that sort of thing, running something that's a bit over 'is 'ead. And I had some adventures recently that I'm going to tell you about in this lecture. And if any of you faint or anything like that, why fall straight back in the chair, not into the aisle and so forth. And if you start screaming or anything, why the -- I think the pavilion speakers are on, aren't they? You can go out there and scream. Anyway, the difficulties -- the difficulties of exploration are based on the fact that you can most easily go when you know. And I think the British motorist deserves the gold medal amongst all gold medals for knowing before they go. I remember one time getting a routing from the Royal Automobile Club for an African trip and they gave me little cards. And everything was measured off in tenths of a mile. And I read these cards all over. You went over the top of a brow of a hill, you see, and there was a small cairn of stones to the right and that was 1.7 miles from the point you had just left, you see. And then down at the bottom there was a small bridge and it had a barn on the right, you see, and that was 1.85 miles, you see. And that -- going along and -- I read all these cards and didn't bother to take the trip because it was... But exploration has its disadvantages. Definitely has its disadvantages, because more than once, why, one finds himself out at the end of a ridge and there's no way back -- he can't get up the sheer surfaces he's come down -- and he looks in front of him and he finds there's no way down. And that is it. And so it can be too much of a good thing, not knowing before you go. You actually can't know too much about where you're going before you go when you're doing anything like exploration of the time track. And I've been fronting up on this for some little while and I find very few times have I had any faint heart or upset along that until just recently. And I got the creeps, frankly. And well, it starts like this -- it starts like this: I was up in the Van Allen belt -- this is factual, and I don't know why they're scared of the Van Allen belt, because it's simply hot. You'd be surprised how warm space is. Get down amongst the clouds and so forth, it can get pretty cold and damp. But you get well up and sunlight shining around and that sort of thing, it's quite hot. And the Van Allen belt was radioactively hot. A lot of photons get trapped in that area and so forth. And I was up there watching the sunrise. Well, that was very interesting. And my perception was very good, and I was taking a look at Norway and Essex and the places around, you know, and getting myself sort of oriented. And then something happened to me that I didn't know quite what had happened to me. I thought some facsimiles must have appeared in front of me, but they didn't look like facsimiles. And some other things happened and I had a feeling like I might possibly go into the sun. And a few other little uncomfortablenesses there where... That wasn't what awed me. But I got confused. I got confused because the sun was suddenly larger and then it was smaller and somehow or another I was doing a change of space process that I myself was not familiar with. And it made me sort of bite off my thetan fingernails just a little bit, you know? And I said, "Well, I'd better look this over a little more thoroughly." And proceeded to do so. And a bit later that day, why I did some reach and withdraw on the polar cap and so on -- orientation. And we got quite a bit out of this because I was able to establish some reach and withdraw process - I knew how the world must look to somebody who was in a body and had pictures appearing in front of them and that sort of thing. I knew they could get kind of queasy about this situation. Well, that wasn't what overawed me. What overawed me was when I found out I hadn't been looking at pictures. That was upsetting, becau -- I was invalidating my own perception. It didn't look like pictures, don't you see. And I was busy invalidating my own perception and so on, and I wondered why I was nervous. That was what was really puzzling me. What was this all about? And I couldn't quite figure out what had happened and then I finally did find out what had happened. And I had actually appeared in a dispatcher's tower on Venus and had appeared back where I was above here. And had done it like that. With no volition on my own part at all. That was upsetting. You start doing appear and disappear, you see, automatically and you say, "What's happening? What's happening? You mean to say I'm going to be prowling around in the stratosphere and all of a sudden find myself appearing and disappearing elsewhere without any volition on my own part?" Actually, I didn't think all this through until later. But I thought, "Well, prowling around up here is a little bit over my head just now. And I'd better know a little bit more before I go." So, that was some weeks ago, and since that time I've been exploring around and finally found out what I was looking at. And you talk about a fellow -- he's brought home this nice pet, tame variety of snake, you see, and he's put it in a box. And then a snakeologist comes along and he says, "Good heavens, man! Where did you find that king cobra?" That's the way I felt. I'd been looking at where you go every time you die, see? And I finally found out what this planet is and why life is so loopy. Now, we've got some of this back in 52. Dishing it out intellectually; I had a good intellectual reality on it. We'd talk about between lives area and we'd dished all this off the cuff. This is not data which is unknown to us, don't you see? But that isn't the same as going there. That isn't the same as going there with your eyes wide open. And realizing that all you had to do was to be there at the exact point which you're supposed to appear at and willy-nilly you would have gone over Niagara Falls through the implant, you see? And that is what has happened to me last few weeks, and... So I've been studying this situation very hard and, as I say, I've come up with the data with regard to it. Of all the nasty, mean and vicious implants that have ever been invented, this one is it. And has been going on for thousands of years. It's the most complete memory wipeout system and the biggest bunch of lies that anybody ever had anything to do with. Now your understanding is that when you die, why somehow or another about fifteen minutes later you appear in another body. Let's look at this thing from a time disorientation basis. That is a lie. It takes sixty-nine days plus. More than sixty-nine days. And you very often go -- see, this has upset some of our calculations. We've wondered what has happened to some of our people, why they didn't show up again immediately, that sort of thing. You've gone as long as eight or nine years between death and birth. Now what happens -- I'll just give you a fast rundown on this situation -- what happens is, is you've got a compulsion to appear; this was why this yo-yo. see? You got a compulsion to appear at the between lives return-point. And, of course, you just do a disappear at death and an appear there. You don't travel to there, see. It's all nicely implanted and you're supposed to arrive at this exact point. And having arrived at this point you go through the works. And the works consist of a false death given to you in pictures. You're caught there and beamed in, and you get a bunch of pictures which they have taken -- these aren't your pictures -- and it tells you all about the death you just died. Only that's not the death you just died. They give you a completely false death. Now, this gives us a moment of pause, right at this point. This is alleged by the way, to be a fifteen-day time track. It isn't. It isn't. It's days, but it isn't fifteen days. And it says it's a fifteen-day time track, see, and this is fifteen days from where you last were. It starts with a repetitive picture which gets you good and lost. In other words they keep giving you this same picture and this same picture and this same picture so that when you try to back out of the incident you keep running into the same picture, and you keep thinking that you've got the beginning of the incident and you haven't. You've got a picture in the incident, see, and then you go to an earlier picture and you think you've got the picture now that starts the incident, and that's wrong, too. So the trick is to get ahead of it. But that is -- can be varied one way or the other, and I needn't go on about this, but usually you see an actual scene and then you see a picture of a scene. So then you can't really get outside the pictures in order to begin the incident, see, so you can't find basic on the incident. That's all that amounts to. All right, well this whole series of pictures represented as happening in the space of fifteen days, counted off day after day, gives you your death which is a false death. And it's not the right death at all. Matter of fact, in scouting this in session, I found a death whereby I got me 'ead blown off about 1150. And they showed me a picture of a death by exploding bombards. It was very interesting, because they didn't have bombards in 1150. Get the idea? They didn't have them for another couple of hundred years, see. They weren't common. So they slip. But these pictures they show of your death are all Earth pictures. I don't know how we explain this. It could be explained by them coming down and taking some pictures. I'd hate to explain it so esoterically as they pick up somebody's photograph and photograph his facsimiles, because in this particular character it wasn't possible. Either that or they, in some fashion, preordain the destination of the society at that point and expect your pictures will be concerned with that, don't you see? But they are Earth pictures, and they compare to the historical periods of Earth. For instance, a death at 750 -- you get knocked off your horse, or something of the sort or die in bed with your boots off, and you go up there and find yourself having died in a battle amongst knights. And have a helmet sitting on a cross as your grave and so forth. That's not your grave, but it's a Norman helmet. Interesting, you see. Messed up like fire drill. In other words, they give you the wrong death. That's the way it begins. Now, you move up to a point called the year zero. And thank God they've got a year zero, because you can always date the incident by dating the year zero, because there is no year zero on your time track. So, when you want to look -- take one of these incidents apart for dating, always look for a hole, Look for a hole in the incident, you see, and you'll find something like, well there's a year zero there. Well, good -- date the year zero. For God's sakes don't date the incident! And I'll show you why in just a moment. Because they give you a future history of your life: This is going to be your life. Television program "This Is Your Life" has no bearing on the thing at all, but I often wondered why I could never bear the stinking program. But this is "This Will Be Your Life." And they now give you from the year zero, which they communicate to you as the year zero -- this is given in another room. This is given in a room alongside -- another chamber. See, your first fifteen-day period, that all finishes up, see -- alleged fifteen days, see? Then you go to the year zero, and this is a great big room -- great big room. And this screen is a whitish colored screen -- surround -- a whitish surround to a copper grid. This copper grid is many feet long. I wouldn't -- haven't tape measured it; didn't have a tape measure! I'm not really up there very high yet, I can't carry things around with me. Anyway, it's -- oh, I don't know -- at a guess, seventy-five feet, hundred and twenty-five feet, hundred and fifty feet, something like that, copper grid. And it's very long and high, but it's much narrower than it is long, don't you see? Be on the order of about three feet high and seventy-five feet long, or five feet high and a hundred and fifty feet long, something of that sort, you see. And this has some compulsive effect upon the thetan, and the whole thing is to make him make pictures. And they don't show you your future life at all. They show you your -- what happened to you at the year zero, at the time you entered the universe. Now it so happens that there are a lot of incidents where people have told you you entered the universe, and some happened not so long ago and some happened a long time ago. And there can be such a thing as a guard room or something like that, and there's a bunch of angels sitting around in the guard room and you walk in in a doll body -- at the beginning of the universe, you walk in in a doll body, you see? Slight discrepancy there. You're madly out of valence, you see. That's you over there. But it's a facsimile of some kind or another. And the year zero usually takes one of these facsimiles. Now, there isn't really a picture in the whole sequence of the next section of this. There aren't any pictures, you understand, except yours. So what actually happens is from the year zero to the year one trillion trillion trillion trillion trillion years in the future, you're given a compulsion to mock up your own track on this screen. And date by date by date by date by date, from the year zero forward to one trillion trillion trillion trillion trillion years, you're given a compulsion to put your time track up there. And all that's very interesting. You finally come to the second significant date, which is one trillion trillion trillion trillion trillion years in the future. This is the wrong date, the wrong-date cake if there ever was any. But you actually have put your own facsimiles from your own year zero forward to that far from what you considered the year zero. Of course, this makes a scramble, too. But they're just your own pictures. Remember, there wasn't a single picture in the whole thing except what you put there. But what did you put up there? Man, you put up the early implants -- you put up the Glade, the Bear, the Gorilla, the Helatrobus Implants. You put up the whole lousy lot; entrapments and everything else. And you just did that, and this was probably in the course of the next sixty days. Not fifteen minutes -- sixty days. Long time, isn't it? Sixty days of restimulation. And wrong dates. Those are all your pictures. You scan somebody through that sequence and what are you scanning him through? You're scanning him through the misdated Helatrobus Implants. You're scanning him through anything and everything that you can think of, all misdated. So you'd say, "Well, all right, you can't scan through these things, so it's impossible to get through it." And this was about the time I started to feel queasy and felt that I was just being run just a little bit over my head. I was scanned through it twice and I felt that was a little bit over my head. Because to take at a gulp a scan through all of the goals of the Helatrobus Implant in one single pass, it made me feel just a little bit odd. And I felt, "This is a little bit too steep for me. I'd better find some way to take this thing apart so it can be taken apart." All right, so there's this middle period. That's in the main room, the middle period. And how a thetan is moved through there I don't know yet. I think he must be moved there -- through there on a very slow endless belt proposition. Very slowly. Fantastic slow speed! Because he spends sixty days going past this cotton-picking screen, see? It's not that big. Putting his pictures on it. Now we get to the third sequence. And this is far more interesting because they furnish all the pictures, which I think is very sweet of them. They don't now try to pick up any pictures. They throw you, usually -- nearly always the same sequence. This is a very, very stable sequence. It's a bunch of pictures, and they have some -- there's a -- they use a wavelength communication system, by the way. Thought-concept wavelength communication system is all I can make out of it. Not words. But you do hear some sound, and part of it is a baby crying, and they show you picking up a body and so forth. And then they show you departing. And of course you depart and then you get another picture of departing and you get another picture of departing, so you really never get out of that one either, see. And then they show you a picture of being sent directly down to Earth and channeled straight into the body of a newborn baby. I think it's awfully nice. And you even hear the baby cry. I think that's good. That's good, it's very clever. And part of this -- and all through this thing, you've got a false emotion of "We're just good Joes and we're doing our best for you." And you get the feeling, "Well, we've..." I can imagine -- there's one thought concept in there which is terribly interesting, which I imagine you girls have occasionally been startled at, which is "We've treated you like a gentleman. Remember, we've treated you like a gentleman." Anyway -- you want to know why the girls are always wearing men's sweaters and so on. But the whole idea and the whole emotional tone that's shot at you all during the rest of this duress, knock-about, restimulation, misdating, scramble-up washout is, "We're being nice." See? As a matter of fact you'll find that this -- I'll bet that you'll occasionally get a pc who will say, "Well, they treated me well. I couldn't get along without this." You know, that sort of thing. Because that's the prevailing emotion. No anger, there's nothing there. The light touch, see. The most effective possible touch. Anyway, you then see a picture of yourself separating from this planet. And how they explain that I don't know, but it's sort of -- it's just thrown in for good measure because it said so on the blueprint, I suppose. You've already been sent to Earth, you see, in a -- the thing is kind of mixed up. And you even get a picture of yourself being scooted across a desert on Earth with yucca trees down under you and that sort of thing. And there you are. You're on your way and you're going down to pick up this baby and everything is fine. See, you couldn't pick up a kid without them, you know? Ha-ha-ha-ha! You couldn't do that, so on. Magic, you see, they have all these babies beamed, you know. And all they do is ride you down the beam and you pick up the baby and you're all set. And there you are and so forth. And this thing, then, with the multiple end so that you can't find the end of it easily (you know, the end and then the end and then the end and then the end -- which is the end? and so forth) finally winds up with what actually happens to you: you're simply capsuled and dumped in the gulf of lower California. Splash! To hell with you. And you're on your own, man. And if you can get out of that and through that and wander around through the cities and find some girl who looks like she's going to get married or have a baby or something like that, you're all set. And if you can find a maternity ward to a hospital or something, you're okay. And you just eventually just pick up a baby. You're strictly on your own, man. In a state of total amnesia and gahh! Having been lied to to this degree with your track all scrambled, see. Well, in this sequence you're given a compulsion that the next time you die you must appear on the landing stage. And that's it. That's the whole ruddy, lousy, cotton-picking lot. This is an interesting -- an interesting thing, because this is the most vicious engram I have ever seen set up. To scan through that thing is asking you to scan through a restimulation of a trillion trillion trillion trillion trillion years of your own time track. Just asking you to do it like -- just like that, see. "Oh, that's all right, just scan through it, you know. Ho-ho!" Can't do it, man. And to find the beginning of it -- well, there are other ones with false beginnings and false endings so that you can't get out of them easily, but the time lie: this is specifically fifteen days. This is your last fifteen days, you see, on Earth, you know? Only it isn't. And it's not even fifteen days. And then the last section tells you that it's a hundred days long. You get a hundred days counted off to you in there. But it isn't a hundred days, it's more like about nine days. And then having channeled you squarely into the head of your new body, they dump you in the gulf of lower California. Very interesting. Because by the time you get out of that, this is a type of facsimile that can't be run. Nobody has ever been able to approach even looking at it, so it gives you enough queasiness so that you just tend to back right straight off from the thing -- how the devil can you undo that? Now, because you've been given such a -- such a compulsion to appear there... Here I am up in the Van Allen belt and I take a look around and I see the sun and I get myself oriented and I'm just spotting myself around, you know, getting ready to flex a bicep or something like this, and I just glance in the direction of Venus and I go -- I'm on the landing stage. See, the compulsions shift me in space. I didn't stay on the landing stage. Still, I went up and looked around the airport, took a look around the airport. I found, oddly enough, that I'd gotten curious about this place before, some hundreds of years ago, and had simply hung around for a while and hadn't gone through the implant. But this has been going on for as long as you've been on this planet. There's lots of these -- they run somewhere in the neighborhood of two to three per century. If you've been on this planet ten thousand years you've got -- what? Quite a few of them. Figure it out for yourself. That's how many of these confounded things you got. And as far as I know it hasn't changed an iota. I could -- I'm saying a little bit more than I know now. But I think it -- it apparently was simply set up and it's continued on. There's been no vast change of pattern, as far as I know. But I'm prepared to amend that when I start looking at a few early facsimiles on it, which I haven't yet. The point is this: the Helatrobus Implants, the Gorilla Implants, the Bear Implants, way back thetan fights and all of this kind of thing -- you got through all that. You got through all that and you were still OT. They used to say about me that I'd never been the same after the second Helatrobus, you know? I used to occasionally snarl at people more than I used to earlier. But before I hit this place I was on the same post for eighty trillion years, same post, same name. Give you some idea of stability of identity. Mary Sue gave the cue on this thing. She said, "Look at how hard they have to work to keep you from being OT!" Hey, now, that's quite a thought! Isn't that quite a thought? Hm? Now you look at this. You look at this, now. The complete idiocy of it. Somebody sits up on Venus -- there are probably some other stations around up in the system. This one's on Venus. I notice that we all believe that Venus has a methane atmosphere and is unlivable. I almost got run down by a freight locomotive the other day -- didn't look very uncivilized to me. I'm allergic to freight locomotives, they're always running into you.