Scene 41: Comm Ev

Daisy stands before Amory’s Comm Ev committee, summoned to give them an update on the status of the case. This is the first convening of the group which will determine Amory’s future.

Previously On:

Daisy catches Adam and Amory in an intimate moment.

Last Lines: She must continue her strategy of routing out properly if she ever wants to build a real life for herself one day.

Daisy stands before Amory’s Comm Ev committee, summoned to give them an update on the status of the case. This is the first convening of the group which will determine Amory’s future. Daisy’s hands guard the file of evidence and hold it close to her chest. Each of the uniforms in the room is perfectly pressed, the creases in the sleeves holding firm through each slight movement.

Daisy stands straight upright, her heels lightly touching and her shoulder blades arching in towards each other. She has convinced herself that she must do whatever it takes to get Amory thrown in the RPF, that The Church is in danger otherwise. And she is here to plead her case.

One of the uniforms asks her, “How is the Int Rundown progressing?”

“Well, Sir,” Daisy begins using the correct intonation of “Action,” which is number 20.0 on the tone scale. “We began Amory’s Int Rundown yesterday.”


“And, Sir, to be honest, it did not go very well.” Daisy quiets her reactive mind and does not reveal any emotion on her face. She must be fully in control of this situation.

A different uniform questions her this time, “And why not?”

Daisy straightens her back and looks at him confidently before continuing, “Sir, she had a strong read on the command, ‘recall a time when you were put in something.’ It was almost a Rock Slam, Sir.” Daisy steps closer to the row of officers, her voice revealing a hint of strain at every word. She continues, “I strongly believe that Amory is a threat to the group. Her evil intentions could do serious harm to us. She should be sent to the RPF immediately.”

For a moment, she feels a slight pang of guilt. But she only has to remind herself that she’s working for the greatest good for the greatest number of dynamics to quiet this reaction. She must protect the group against any possible enemies, even if they are her long-time friends.

“Yes, Daisy,” one of the lower officers answers her. “Your opinion is noted and recorded.”

Another uniform jumps in the exchange. “A Rock Slam?” She asks pointedly, “Are you sure?”

“Yes, Sir. Very sure. It surprised me as well. Amory is the last person I would expect to have evil intentions against L. Ron Hubbard. She went on and on about how she was forced to be in The Church. I don’t know what’s happened to her.”

“But it wasn’t a Rock Slam?” a different officer asks, his tone a clear indication of his skepticism.

“Well, it was close, Sir.” She tries to picture the e-meter screen and exactly what the reading was. “It almost was.”

“Well was it or wasn’t it?” the officer asks, his voice growing louder and harsher.

Unprepared for the questions, Daisy scrambles for a defense. She pauses, taking a moment to regain her composure. She continues, “The reading was exactly one notch under a Rock Slam. I thought about alerting you immediately but decided against it since she did not have an actual Rock Slam. I have the evidence here, if you would like …” Daisy approaches her superiors, her file of evidence extended out before her like an offering.

“And who gave you the authority to make that decision?” A different officer throws another sharp question. He grabs the file from her and begins combing through the documents.

“I … I” Daisy searches for the correct words to guard herself. “I though …”

The ranking officer interjects, “If you think she should be in the RPF, make it a Rock Slam next time. You write the report, after all.” He takes Amory’s file from the other officer and waves it in Daisy’s face. “It should say what you need it to say.”

Daisy nods humbly, keeping her eyes cast to the floor. “Of course, Sirs,” she says. “Anything to serve The Church.” She retreats backward, leaving her evidence on the table before them.

“That will be all for now. Keep up apprised of any significant developments.” He turns his back to Daisy and consults with the other officers quietly.

Daisy exits the room silently, hiding the rage she feels at the inaction of her superiors. They must be idiots if they can’t see what a threat Amory really is. Slowly lifting her hand to the door knob, she forces herself to think with her analytic mind. She knows she must examine the situation in order to devise a new battle plan for herself, so she calms the pace of her walk in order to think. She suspects that they are protecting Amory because of her strong record of service and perhaps because of her mother’s high rank. But even those facts do not usually justify privileged treatment in The Church. She wonders if there is something else, a vital fact she is missing. She knows what to do, something that always makes her feel better.

Scenes from the Next:

Daisy recruits an ally.

Scene 12: Contact Assist

Early the next morning, Riley knocks on the door of Amory’s apartment so they can walk down the breakfast together. McKenna answers the door, and Riley asks her where Amory is.

Early the next morning, Riley knocks on the door of Amory’s apartment so they can walk down to breakfast together. McKenna answers the door, and Riley asks her where Amory is.

“She’s still sleeping,” the roommate says.

A look of bewilderment sweeps across Riley’s face, and she asks, “Sleeping? It’s time for breakfast.” She walks past McKenna and finds Amory resting peacefully in her bed. She brushes Amory’s hair and whispers, “Sissy, Wake up. You’re going to be late.”

But the body does not move. Riley rubs her arm, but Amory’s skin feels cold. Riley realizes something is wrong. She shakes Amory more forcefully and begins to shout, “Sis! Wake up!” But Amory remains motionless. She looks dead.

Riley shakes harder, trying to awaken her sister. “Sis! Sis!” she calls, but Amory does not respond. Riley’s pulse races and her heart jumps rapidly from her chest as she forces her brain to think practically and devise a reaction to the incomprehensible.

An idea pops into her head with the force and clarity reserved for moments of insight. A contact assist. She learned The Bring Back to Life assist in one of the many LRH films she studied, so she knows the tech. It’s a simple assist that works by restoring communication between the spirit and her body. The film promised that this process can save lives.

Riley breathes, trying to remain in control. She sits down on the mattress next to her sister, her back bolt upright. She finds the perfect intonation and commands loudly, “Amory! Get back here and bring this body to life!”

She waits a brief moment before touching Amory’s hand, but she only feels absence where there should be life. The assist has not worked. She puts Amory’s hand back and searches for an alternative approach, trying to remain logical and not be overwhelmed by her emotions. Riley changes plans and decides to use CCH1, a different assist.

Riley’s warm, sweaty hand, which shakes despite a desperate desire to remain clam, caresses Amory’s frigid skin. She orders the first command: “Give me that hand … Thank you.” She pauses to wait for a reaction, breathing deeply to control her own heartbeat. When Amory does not respond, she returns her sister’s hand to its former position.

After waiting two seconds, Riley picks up Amory’s hand and again repeats the command: “Give me that hand … Thank you.” After waiting a moment, she puts the hand back. Still no response—no muscle movement, no breath in her lungs, nothing at all. A wave of panic runs through Riley’s body, but she uses a lifetime of training to contain her feelings.

Riley picks up Amory’s hand, repeats the command, waits for a reaction, then returns the lifeless hand to the mattress. In the rhythm of a well-timed symphony, she repeats the process five, six, seven times, her voice growing shaky with each reiteration. Hopeful that the contact assist is beginning to work, she continues the process.

On the eighth reprise, Riley feels the slightest resistance in Amory’s hand, which faintly withdraws from hers. Still no conscious movements, but Riley believes that the contact assist is accomplishing its goal of bringing Amory back to life. She continues.

Riley’s heart has relaxed its pace. With a calm grip and confident voice, she gives her order again. Nine, ten, eleven, twelve commands, each time Riley taking Amory’s hand and putting it back, taking her hand and putting it back.

On the thirteenth command, Amory’s brow creases in anger and she mumbles sharp gibberish. This means she is moving up the Tone Scale—from body death, through apathy, covert hostility, and into anger, just as LRH explained. Riley continues.

Right when Riley is about to take Amory’s hand again, Amory grabs Riley antagonistically. Riley releases a breath of joy even as her fingers crumple in Amory’s grasp. “We have reached antagonism. Thank you Amory” she responds and continues the process.

Riley returns to the rhythm she has been using—give command, take hand, put back; give command, take hand, put back; give command, take hand, put back. Other than the movement of one arm, Amory lays on the bed silently.

On the twenty-second command, Amory anticipates the next move and gives Riley her hand, and then takes it back to the same beat Riley has been using.

Suddenly, Amory opens her eyes and sits up. “I need to use the restroom,” she says and walks out of the room.

Breathing a sigh of relief, Riley wants to smother her sister in a hug. But she pauses, allowing the tech to work fully. She declares, “End of Assist.”