Your main difficulty with techniques - continuing this on what I was saying about Clinical Procedure - your main difficulty on techniques is that they wear out, for the most part, when used on the preclear who is bad off because they depress his reality. And so you've got to have a technique which immediately enhances his reality. And you must not take the chance that the person walks up the stairs - who's got just enough reality to find the doorknob but is looking bright and cheerful and well dressed, just enough reality to find that doorknob, walking on all the automatic machinery you could possibly rack up in a whole universe - will be hit by you with a technique which will be calling you out of bed at eleven o'clock at night with the fact that somebody has a convulsion.

Now, this is not prevention for the clinic and it's not prevention for you as an auditor It's just the fact that if you have a cynical attitude against all these preclears that you're perfectly willing to have be you, too - you got a nice cynical attitude about it and you say, "They're all Step VIIs," you'll win every time. Because most of them are.

Female voice: Half past eight.

Therefore, you won't be up against the problem, every time, of the doctor who must, of necessity, deliver some kind of an effect but who must, of necessity, associate himself with being a person. This always catches up, sooner or later, with a doctor He goes sawing and chawing and madly hacking and beating bodies; then, one day, he's sick, too. Well, there's no reason for you to do this.

?Que' dice?

If you run a technique which doesn't wear out, your own confidence isn't being continually undermined. Because this one doesn't wear out because you're up against the roof on this one, on - for this universe. And it doesn't wear out by the fact that you use it. And you can use it on a preclear and he can foul up and you can use it on him again with equal effectiveness, mostly because he doesn't expect anything radical to happen. And you don't get upset because you don't expect anything radical to happen either. All you expect him to do is get into his head and move three feet back out of it, patch up his body and go home. That's all you want to have happen. So there's no strain.

Female voice: I said, "Half past eight."

Working with one another and working into a "Gosh, are these all the problems you run into?" and "Gee, look at all this randomity," and so forth, that's not the question. But if you're operating clinically, you don't want to have that necessarily as your randomity. Why choose it as your randomity? Just - you just run a technique which steps him into his head and he knows he's in his head finally and knows he's in his head; then he knows he's back of his head and then he knows he can look and he knows his perception's pretty good and he - look over the body and patch it up where it is and then he goes home.

It's not "half past eight"; "Ocho y media" - something like that.

Well, of course, this is actually taking some of the fun out of it for you. We're not trying to make superman here, because after you've done that is when you start to work to really make superman. Now you really have to get clever.

This morning, in spite of being in a good mood, we're going to take up some more about "Rondomity."

Of course, a thetan in real good operating condition can make himself visible. It would be the shock of somebody's life to suddenly realize that he was visible. And it would ruin this whole society and put us squarely in the hands of Bishop Shenanigan if you were to start doing this. Because you as a MEST body would never be able to explain fast enough to tell him you really weren't Christ. They've been looking for him to come back - with blood in their eyes. You know, they only got a few nails in that guy last time.

Male voice: Rondomity.

So - so, it's exteriorization on up. And if you're looking for Clinical Procedure, you merely want to get the guy secure and certain that he's exteriorized and get him to patch up the body and be fairly happy about it. Of course, he'll come back and see you later and say, "I want to - I'm not stable as a Theta Clear. I got uncertain and I popped back in and a lot of other things happened and these were all undesirable," and so on. "And my wife's still mad at me," or "my parents still rack me around. And I tried to bap them the other day and I couldn't do anything about it and I - this war that's coming up with Ugohuvia, I tried to do something about that and I was very sure I was over there in the palace. And I was very sure that I'd bapped Lord Zaggah straight on the coco, but you know I picked up the paper this morning and he's still alive. So this is all very upsetting to me," and so forth.

And automaticity.

Well, you're op- you're into the sphere of operation. When you move into the sphere of operation, you're in a different sphere. You see? See the difference? So Clinical Procedure just continues to aim at just what it says, which is simply curing up and straightening up the guy mentally and physically so that he can be an awful damn good senior superior Homo sapiens or Homo novis or whatever you want to call this boy. That's all right, isn't it? That's good. Well, that's the technique we're hitting hard for. And you'll find out that there's a tremendous amount of data to be run after you've done that.

Automaticity and randomity are actually... What's the matter?

Not one of you here today is visible as a thetan. I just call that to your attention. Now, I don't say that you ought to do this. But I don't say you shouldn't. But like the rooster who rolled in the ostrich egg$ I want to show you what can be done elsewhere.

Male voice: She's driving her auto to the automatic.

All right. What do you do then? Here - here's just rote procedure on it, Orientation Straightwire. Preclear comes in, crawls in, gets over the doorsill. You pick him up, prop him up in the chair and you say, "Where are you?"

Oh, automaticity. That's where you eat - an automaticity.

And he says, "I'm four feet back of my head. I haven't been able to get in my body all day."

Female voice: Yes.

You're all set. You go on from there. But it's very, very few people in this society that will so inform you, in fact there are practically none who will tell you this because it's not the condition. They don't know where they are.

..Because it is a very, very good thing for an auditor to know something about the subject. Period. That's why I'm taking that up this morning. Usually I give a good alibi, but that's the only alibi I can think of this morning for loading you down with these two horrible, incomprehensible subjects once more.

So you ask him, "All right. Now, do you know where you are?"

This morning I want to give you processes which resolve these two things. Let's take automaticity. What is automaticity?

He's liable to get insulted. He'll say, "Of course, I know where I am - I'm right here in your office!"

Automaticity is setting something up to run automatically so that you don't have to pay any attention to it anymore. So you have something which has been hidden from your attention but which is yet activated by your attention. That's very cute. Everybody likes to set up these machines for you; they make a gentleman or a lady out of you; they make you polite at the table; and my God, what do you know, they make you talk English. Nearly anybody who engages in the business of using language for communication has abandoned the use of - nearly everybody - has abandoned the use of direct facsimile manufacture and has certainly abandoned the use of simply direct communication. You know, you think it and that's it.

And you say, "That s good. That's fine. Now, where aren't you?"

But people who have abandoned the use of mock-ups for communication are in a rather bad way because they are unable to mock up a mock-up which then will demonstrate, pictorially - Confucius say, "One picture worth ten thousand words," which will convey pictorially the entire subject of a conversation. And when somebody can't do that - I know there is nobody present who is in this sad and lamentable problem, not confronted by this problem - they have to use language. And language, by demand, is an automaticity.

"Oh I'm - I'm ... I never thought of that before. You know, I'm practically anyplace."

They start in constructing a machine called language - the language machine at the first moment that they happen to notice that the baby says "gub." Everybody is standing around then, trying to make the baby says "gub-gub," and here we go. Because it's an automatic machine. Some people can handle it ably; some people are incapable of handling it.

"Well now, let's not go into that - let's - too far. Let's not worry about it. Where aren't you in the past?"

Their capability of handling the machine determines whether or not they are capable in handling the language. Well, when you can handle the language, remember that ninety-nine and ninety-nine one-hundredths of the people you are talking to are being handled by the language. They're being handled by communications and they're being handled by a machine.

"Uh, practically everywhere, I guess..."

I dare say there are not five hundred writers in the United States today who ably and consistently turn out material for public consumption. There are certainly very, very few people in the United States who talk consistently and continually without recourse to some sort of machinery - very few.

"Well, where aren't you in the future?" you say.

You take Truman; when he came up Tone Scale after he'd been processed enough he got to a point where he could make speeches. But when he first was president he stood up kind of apologetically and he had big sheets of paper in front of him and he read them off. "Today, as I stand in front of the Congress, I wish to convey this message and all those present..." Here he went.

"I don't know, I guess I'm most everyplace. Gee, that's funny. I never thought of that before. You know, I'm not certain where I am." just like that, you see?

What's that? Any time you see somebody reading a speech, hah! he's run by a machine - not a political machine; a machine which feeds him what to say. Now, he's not handling the machine. Actually, he has absolutely no need of such a machine. It is not just a luxury, it's a damn foolishness.

So what do you do? What do you do? Well, there's this one little trick of, "Are you certain that everybody can be certain?"

And yet in school, children are denied space and denied space and denied space until they, at length, have a machine which handles them utterly. Now, because this machine is composed of maybes, their language comes out in the same way. And they start in to talk on some subject and they say, "Well, I don't know, but my scientific opinion of the matter - if, of course, I am allowed to state a scientific opinion on the matter, if there is a science involved in the matter, which of course is questionable - that the opinion of Professor Bunk rests on a great many factors which I have not had the opportunity to completely study." And they let this clown be an authority. What's he - what is he good for? Well, if you could just put hardcover bindings on him and put him on a shelf, he'd serve the same purpose. Because all he is, is a machine. He is not worth paying two cents' worth of attention to.

"No, I'm certain nobody could be certain."

Now, when the public confronts something that is not running on a machine, they become alarmed, because it's not disciplined. Therefore, extemporaneous speaking, fast writing, and that sort of thing, are very badly in question. You'll find people standing around tearing somebody's work to pieces because it was all written in two days or something. "That story couldn't be any good because it was written in two days." That tells you immediately, "What, it wasn't written by a machine?" The only stories in the English language that have endured were written, believe me, in that same ratio of two days - the only ones. They have been torn off at such a mad communication rate that automaticity had very little chance to get in.

"Well, then, you're certain of something, aren't you?" Well, that's kind of turning it in on him and that isn't too good but can be done.

But a fellow has to be pretty able to make mock-ups to really handle language. If he's able to handle mock-ups, he can handle language. When he's not able to handle mock-ups, the language has a tendency to handle him.

The other one is, is "Who's dead?" And we're right back to Book One. "Who's dead?"

So we have a machine. And let's take a look at a book called Dianetics: The Modern Science of Mental Health, written by some obscure fellow back in May the - in the early part of 1950, published on May 9th, in New York City by an outfit which is trying to live up to its name, called "Hermitage House." They have now achieved their goal of becoming hermits in the book world.

All right. He answers you rapidly and he says, "Grandma." That was the last death on the chain.

But this organization on any other thing and things that have gone on, and some things said about the author or things remarked about auditors or things which preclears think they have found, and so on, nothing - nothing that's happened in other words, no opinion of a fellow by the name of Fishcake, Morris Fishcake, writing in such magazines as Newsweek - none of these opinions have been able to invalidate one fact: Language is damned aberrative.

"Who else is dead?" if he answered that very rapidly. "Uh-oooooh, my father."

Let's not overlook that, Because when we look into our low-toned, very low-toned case that is being handled by a language machine, we are looking at somebody whose mock-ups are also being handled by a language machine, and which mock-ups are tremendously crammed with good old automaticity.

"Well, who else is dead?"

We are looking, when we look at language, at the greatest liability a person can have which is an automaticity of language. This finally winds itself down to voices. Now, undoubtedly you've heard of voices; people have voices. And this goes into - when it gets so bad that the person doesn't even have voices anymore, you have circuits. And then the person has opinions which suddenly dart in upon him from nowhere and give him strange impulses, usually not to do something. And this is language at work in the line of automaticity.

"My sister." You needn't ask him. He's giving you - this is the earliest death is the sister's death.

You're not processing anything different today than you were processing three years ago. All the phenomena are still there and every once in a while you're going to have occasion to use it.

"Who else is dead?"

Now, mark this. Mark this carefully: A preclear is asked to get a mockup; he gets the mock-up asked for and does with it what he is told to do. Get that as one setup.

"Well, my baby brother. Uh oooh."

This other one is: The preclear conceives a mock-up, handles a mockup-two different things.

"Who else is dead?"

And get this one: An hypnotic subject is seated in an hypnotist's chair. He is put into a trance and is then fed language which places him in various situations which he believes utterly to be taking place.

"Nobody else."

And get this one. Let's just tear this problem to pieces and drop the veil on all this stuff. Get this one: A preclear under processing who is having trouble with language will get substitute pictures instead of words; he has circuits that push pictures at him. The most notable of these cases used to get a picture before he'd get the phrase. Uniformly, he'd get the picture then get the phrase, get the picture then get the phrase, get the picture and then get the phrase. To give you some kind of an idea of what kind of pictures he got - I'm sorry to be ribald because it's very early in the morning - but he - he had a picture of a horse facing the other way, one time, and it stayed there for some little while until he suddenly recognized that the phrase underlying the thing - and which phrase when touched made the picture go away - was a colloquial expression which means the posterior of a horse. You see that? Now there's automaticity. These pictures suddenly appeared anytime anybody moved him on the time track.

"Who else is?"

Very few people here in this class - in fact, nobody in this class, actually - is under such a duress. You're not getting pictures which pop around in front of your face and jump around and do strange and cute or interesting or upsetting things.

"Well, my grandfather died when I was three."

This brand of pictures is on the inverted language side. Language has turned its heels up and we now have pictures substituted for underlying words. Now get a little higher on the Tone Scale. Language is a substitute for pictures. Pictures are always primary; language is secondary.

You've just about exhausted it. Aside from the fact that he's dead just before he was born, which is what he's having a rough time with. But you don't - needn't upset the American public with this one right off the bat.

So that we're going down, as we see that automaticity suddenly pop up in terms of pictures, instead of the words, which are immediately underlying the pictures in the engram, we see the next stage which is pictures being replaced by words which were never spoken, which had no origin, but being run grandly and with wild abandon by the preclear as an engram. And this is what is known as dub-in. First we had - you have sonic, and then picture dub-in, see, pictures for the sonic and then below that we have words representing the pictures with full sonic - complete automaticity on language.

"What - what's this? What are you asking him this for?"

And this is only - there's nothing more worrying or upsetting than this. It's simply a language machine which started out handling the preclear. And the construction of the machine has to do with setting up symbols called pictures, and then setting up symbols called sound or written words in lieu of the pictures, and then pictures cropping up in lieu of the sound and written words and then being replaced again by sound and written words. Then you've got one of these multiple-deck sandwiches which has to do with words and pictures. And the whole of it consists of pictures and words engraved on force from some time in the past. See what a language machine would look like.

"Well, where did he die?"

Now, how does this come about? You very often - if you had a very low-toned preclear who was having a lot of trouble, you found him sitting with his nurse watching a picture book. This was - you know, you'd say, well, he had some good connotation with pictures or this was some defense or something of the sort. No, he was just interested. And you found that he was - he was very - very easy for him to pick up these visios of somebody showing him pictures.

"In Oklahoma."

How do they teach a child language? That's how we construct the machine. They show him a chair - and it's seldom that anybody has to do this because the word occurs often enough so that he can observe and connect it. Get that: connect it. They show him the chair and they say "chair." So he makes a picture of the chair and then expresses the picture by the sound waves "chair." Okay?

"What part of Oklahoma did he die in? Were you in Oklahoma at the time?"

Now other chairs occur and these are also chairs. So all of this horde of pictures becomes "chair" or "chairs." And that one symbol now is standing for this huge mass of pictures. Now someone shows him a picture of a chair, and that's a chair, too. Well, you know, at that level of training it comes as a little bit of a shock that a picture - something on - colors on a piece of paper can represent a MEST object. This is a - this is a big shocker. This is so much of a big shocker that some of the tribes of Africa - where psychologists always go when they are trying to prove the unprovable, but they only go to them in the pages of the printed brochure brought back by some explorer as to why he should go on another expedition - these boys in Africa can't make that bridge. Or won't. Or they're too bright to. I don't care how you evaluate it, the point is that you show them a photograph, a colored photograph of themselves and they want to know what is it - a fish? What is it? This? What is it? That?

"Uh - um, well, my mother said - uh - my father - no - was my mother - she said that I was at the time. But, you know I don't seem..." See that's good certainty. That's all you're looking for, see, certainty.

They realize you're trying to tell them that it's something else than what it is, and so they just get sarcastic. It isn't anything else! It's a piece of cardboard with some colors slapped on it 6r some black marks on it, that's all. That's a facsimile, too. What's a facsimile? Well, it doesn't belong to anything else; it's itself. Well, you get this association.

And you say, "Well, were you in Texas at the time?"

Well, association takes place too tightly so that everything becomes connected with everything. You know, that's no space. And the way you do that is to take the space out of a person. And to get a person really smart so that he will associate everything with everything, which goes for smartness in this society, you simply put him in a room, consistently and continually, through all the formative years of his life, where he can't have any space; he winds up "smart." Only, does he? No, he winds up with a machine called an educational machine which - the se]f-willed brute - almost never, afterwards, feeds him the right data at the right moment.

"Oh, no!"

You know, he says, "Let's see, Gee, that's a pretty butterfly," he'll say. And the damn machine goes into operation and it says, “That's a Lepidoptercaterwaul." And he looks at it and he says, "What do you know, a Lepidoptercaterwaul."

"Aaaaah."

The machine has been in operation, now, for another fifteen years and he sees this beautiful butterfly flying by and it's going flop, flop, flop, flop, flop, flop. Instead of looking at the butterfly, he just gets the impression of the butterfly - a millionth of an inch of butterfly - and then he's immediately by-bypasses not just the butterfly, but Lepidoptercaterwaul, and goes into the fact that his second wife used to press butterflies in books or whatever you do with butterflies - I think you stick pins in them while they're alive or something, to collect them - and this reminded him, without any further inspection by himself and without knowing he has inspected it, that she was very, very fond of cooking and this makes him hungry. See, you get everything connected with everything. And we're right back to Book One: A=A=A=A, you see.

See what you're doing there? He can't look at the charge because the charge - it's just an energy mass - and it's going "woooooo" right at him and every time he puts an attention unit on it, it sparks and throws his attention off to the side. So you've got to take enough charge off of this thing to get his attention over somewhere close to it. So where do you go? You go to the rooms next door to the operating room where he was operated on and the room next door to the funeral parlor, the building across the street from the funeral parlor; you go next door to the childhood home; you go in the next state if you have to; and my God help you, you may have to go into the next continent. But you're going to get someplace - on what? A specific time.

So a Lepidoptercaterwaul flies by and because he's got a machine that initially connected up everything to associate everything with Lepidoptercaterwauls, he's hungry. Well, it's complete illogic but there's where the machine has broken down and there's most machinery.

That's the only reason you want to know who's dead. And you just sort that out and you'll unstick him. Because what are we dealing with here? We're dealing with fixed attention or dispersed attention. And we're making it possible for him to direct his attention, at will, through his ridges and engram banks. Okay? So simple. That's all we're trying to do is cause him to command his own fixation or dispersion of attention. And we do it with Straightwire.

It is fantastic the amount of force which has to be applied to a thetan to make him take on one of these machines. But because of the inverting dynamic factor, that which he resisted he begins, after a while, to desire. First - then he can't have it, you see, and then after a while he desires it. And we go through that cycle and people start to want these machines. And then they go into engineering and work for General Motors or the atom bomb project. In other words, they go completely crazy. And they're making all the time, then, automaticities, automaticities that are supposed to keep on running after they have been... So on. So the whole society is set up to do an automaticity.

How do you do it is, if he can't look at it, you make him look near it. And it's all on the basis of where he is. And if he isn't someplace for certain or wasn't someplace for certain, why, there was a place where he was not for certain - every time. But many of them will simply come right in on "Well, I've - I'm not in - I'm not in Washington, DC, in the past because I was never in Washington, DC." Something like this, see, pam. He's not too bad off.

Everybody, at last, is getting ready endlessly with equipment to play a game but the game itself somehow never starts. And then they lose sight of the fact that there is a game, and there never will be a game, and they just - they say, "Well, now we're working." And then after a while they have no goal in working and that becomes pointless so they stop working. And what do you have there? You have people who can't work. Well, how the hell did they get there? Same way the fellow got from Lepidoptercaterwaul to being hungry. See? Same cycle is being run.

But the person who says, "Just nowhere in the past," he thinks he's all through the past - then you ask for a specific incident. If he has any trouble whatsoever, you come up with this gimmick, "specific incident," and then make him look to the buildings around it until it itself is let go of. Because he's holding on to it and it's holding on to him.

Well, these machine look like multiple-decker sandwiches and they're composed of meaning sandwiched by - with experience, with meaning, with experience, with meaning, with experience, with meaning, experience. And when you take a bite of one of them, they're very indigestible.

To make him let go of it, you show he can shift his attention without all of the world falling in on him, which is exactly what he thinks will happen. "If I shift my attention off of this thing, I will have my head taken off I know this. Matter of fact, one time I was being audited on old techniques," he says, "and so on, and practically half of my head was lopped off by an explosion just because an auditor dropped his cigarette case or something." He'll - he'll give you a lot of that.

Now, the final take-out-of-space of something is to identify everything with everything, isn't it? You're looking at a preclear - anytime - anytime you're looking at an educated person in this modern society, you are unfortunately (and I don't care whether he's educated by himself or educated by the state), you're looking at somebody who has been associating everything with everything at such a mad rate, without getting enough space, that you're going to have to work like mad as an auditor to get some space into him. Because the past is the present is the future is Lepidoptercaterwauls.

By the way, that's true. You can take anybody who's in real bad shape and you've got what is known as Distraction Processing. If you really want to fix them up and make them let go of the whole bank... I'm sure psychiatrists would love this technique. And if it weren't for the fact that they were - they were - we would have to undo afterwards the damages they had done with it, we'd give it to them just for the hell of it!

The very best shape of the very best and sanest, average Homo sapiens in this society today, after the state and the hospitals and so forth have finished with him - the very, very best shape that he'd be in would be stark staring mad. Let's not hit lightly on it.

You put a flashbulb up there in the corner of the room; you put another flashbulb over here in this corner of the room. All, you see, ready to go, with reflectors pointed straight at the preclear; then you put one over on the side of him. He doesn't know where these are; he's in a totally dark room. We flash this bulb, we flash this front bulb, we flash that bulb over on the side and just as he's recovering from that we drop about twenty glass bottles immediately behind him.

The pc who walks in for an appointment is generally running on such a piece of machinery, and so much machinery, that you just have to dig and... If you were going to do it on - on the basis of Dianetics, where you were going to take apart the machinery, you would have to be an awful smart auditor and you'd have to be awfully quick and you'd have to put in an awful lot of time.

What do you think will happen to him?

So that's why, today, we're taking the Pc out of the machinery, which is exteriorization. That's to get the Pc out of the machinery. And that's the best answer to automaticity, is exteriorization. Now, that's a real good answer. You'll find out while he's exteriorized... You ever notice this? See how observant you are.

Male voice: He'd come to present time.

When he's well exteriorized and certainly, even though he's still using his mouth and vocal cords, he says, "Yep. Yep. Yeah, I can see that. Nope. Yep. That's right. Nope. Uh - I did that. Yep. No." You put them back in the body again and they say, "Yes. No. I don't know. Just a minute. Yes. I don't see that."

Female voice: On the first one.

All right. Let me call to your attention a case I processed the other day. This is - I told you about it before; now let me tell you about it again. Exteriorization: Rrrrrrrrr! Fine shape; all over the place; straightened her all out; got a lot of distraction off; so forth. She got up to go - put her back in the body - she got up to go, stood up, and almost fell flat on her face; not because of the sudden change of balance mechanisms near so much as the fact that that alteration of balance was being influenced by so much energy pounding around her on the subject of automaticity. So exteriorized she was in wonderful condition; and the second that she was interiorized she was in terrible condition all over again in spite of my auditing. But because I'd exteriorized her, all I had to do was flip her out again, adjust a few mechanisms, throw away a little bit of energy, square her around. But her communication lag while interiorized was still very, very marked.

He would either be taken out of there on a stretcher or he'd be in present time because you've made him let go of practically everything in the bank. Real violent.

Why's this?

Now, instead of taking his attention off suddenly like that, you take his attention off slowly. You're trying to make him look at present time. He can't look at present time because he's looking at the past in the form of energy: ridges, old machineries, automaticities he's set up in the past located in geographical areas which he knows better than to inhabit since, because the cops are after him and the one thing he's sure of, that's it. He's wanted - but not the right way. That's what's known as inverted appetite. The Police have a terrific appetite according to some preclears. So we don't violently yank his attention off with a flashbulb, we just get him to put his attention over on either side of the thing.

Well, you took the person out of the machinery, out of the automaticity, out of the multiple-deck sandwich; because there's where the deposits, the pictures, the words, the machinery, the automatic responses are - right there in the body. If a person could operate one of these bodies from about five miles away, he'd be in real good shape all the time; very fast communication and so forth.

Now, the other thing you ask him, if he's got a psychosomatic ... Do you know Dianetics? Well, you'd better know Dianetics. Because without running it, you should be able to look at the guy and guess what engram he's in. Then you can thank your stars you know Dianetics on this Straightwire. I mean, you can thank your stars you've run some engrams.

The body, oddly enough, being pounded by this much enthusiasm and fast communication and so forth, would not necessarily be better off (don't make that mistake), because it'd get worked in various ways, shapes and forms. It would not necessarily be better off; it ordinarily is but not necessarily. And as the time goes by, more and more of that stuff is going to cave in on the body - the body's going to rearrange and readjust itself one way or the other

You know a guy that's stuck in birth? You know a guy that's stuck at two? Guys that are stuck here and guys that are stuck there - in what kind of engrams? The guy keeps going, "akh, akh, akh," something like that, "akh,” something's pushing his chest out madly. Probably birth, if it compares with his physical beingness. Or he's in some kind of a fight or something. But something's pushing the wind out of him and that's all the kind of an engram it is. And you can fish around and ask a couple of questions; you can get what kind of an engram it is. But you don't even need to be that specific about it. But you know he's stuck on the track. I've kept telling you right straight along: Remember they get stuck on the track. And if you free them on the track, they're all set.

So you see that there's more to this automaticity than met the eye. If you can imagine somebody sandwiched in the middle of a jabbering menagerie, a couple of insane asylums, three or four radio sets, eight or nine TV sets all playing on different channels, and all this stuff going simultaneously at him, giving him significance, reasons and connections and associations, you've got just about what's happening in the body.

Well, they get stuck in grief charges. There are fifty ways to free somebody on a grief charge. One of them is just Change of Place Processing to the home where the person died, the funeral parlor and the grave. And you just run that back and forth and back and forth and back and forth and the engram has a tendency to key on out. Well, there's more specific Straightwire ways to going about it: You make him look at the house next door to the funeral home, the roof and so forth, by asking him what? "Well, are you on the roof at the funeral?"

That a thetan can remain stable and select out of this enough to remain sensible is one of the greatest feats you could possibly imagine. It is a great feat to be able to do this. So don't be surprised that your preclear is in bad shape; be surprised that he's in good shape. Now, some of the boys have a remarkable time of it in trying to patch together part of their machinery and another part of their machinery and another part of their machinery and try to make up some other kind of new machinery out of it.

"No."

We find a machinist who is trying to change his trade and the darn fool doesn't have enough sense simply to go out and get a job as a ditch digger or get a job as a bus driver or something of the sort; he's got to get a job vaguely associated with, at least, the job which he just quitted. See?

Of course, the average preclear coming in will think you mean his body. Don't disabuse him of it! Because this is the only certainty he's hanging on to. You've got an inversion and an inversion. And the one you work on first is, was his body in these places? Now, he remembers that and now you get him, as an individual, whether he was in these places or not. It may entail a little explanation on your part but the less you explain to him the better off you'll be. You can orient the body into finally orienting him in his own head and then out back. That's the best way to do it.

So he's starting now to patch together - well, you figure he can do this and he can do that and he can do something else and therefore, if he can do all of these things, why, glory, that's fine; he should be able to take enough of his training and make something out of himself Well, actually all you'd do, if you put him in a job which has a great deal of - and here we go, randomity - is you selectively key in and out all this machinery. And the chances are you're going to key in more parts of it than needed and your boy is going to get pretty confused.

Now ask him all over again, now that he's out back, Orientation Straight-wire because now he's operating as a thetan. Only he's not operating - he's limping as a thetan.

You know the fellow who's jack of all trades? Well, the fellow who's really jack of all trades is master of all trades unless he's been trained. And the one trick the society pulls on him is tells him he must be trained; he's got to be trained for this trick. "Yup, takes about twenty-five years to make a good design machinist. Takes about twenty-five years." The poor guy, he had real good ideas before he studied it real hard, then he became very unhappy and then he didn't like it. Because nobody likes to be run by a machine.

Okay? So, you ask him "Who's dead?" And you'll get the same kind of a reaction. But maybe this is too tough a question. Might be, you know. Person looks all shaky when you ask them and they're not in the past; they start looking real shaky. Ask them something very light. You say, "When was the last time you cut your finger?"

So you can expect a society to go on the cycle of being educated toward a goal which they will eventually detest. Don't let that happen to you as an auditor. The only excuse we have for educating anybody at all is so we can uneducate them. The education which - which I'm using is so slight compared to the enormous hammering and pounding that the preclear has received that it's totally justified since it will undo the other part.

Now, in Dianetics, we would have directly tackled the problem, which was why we very often didn't get to first base on a person who was bad off. They couldn't look at the problem. And there is the case you couldn't make look and run the engram.

Well, randomity, then, gets going in the middle of the machinery. We have all these automatic machines and these ridges and these multiple-decker sandwiches of words and pictures and all of that; and we've got all of this and that and something else; and now we've taken pieces of the machine and combined them with pieces of the machine. And each time these things were made to run faster than the preclear - every time. So that the preclear then thinks he can sit back and rest while the machine does the job.

We used to get around this by running light engrams before we ran any heavy engrams and we found out eventually running heavy engrams was pure murder, on sonic preclears. Screamers are just an example of that. There's no reason why a screamer should ever scream. All you have to do is make them look on both sides of what they're stuck in. You got an E-Meter to tell you where the guy's stuck; you've got dates that will tell you where he's stuck.

Just why he wants to rest is a - is a mystery which he has never solved. Because he finds out that although he talks about it all the time, what he means is - it's lack of differentiation - he wants to have a rest from all this automaticity, which means, actually, that he really wants to get busy on his own initiative. And that's what a rest is; a rest is "let's get to work," in the actual definition of what he's doing. Because if he's to get himself enthusiastic and so forth about society once more, why, he'll have to be free. Of what? Of automaticity.

How do you handle it? You make him look on both sides, above and below and in back of it, earlier in time and later in time, until he's got the thing completely spotted. And when he's got it completely spotted, he can take his attention completely off. So when he can take his attention completely off of it, it's done.

Now, it's a strange thing that you can use automobiles and motorcycles and tractors and airplanes and eggbeaters and all sorts of automaticities if these themselves are simply set up to serve a machine which is already principally automatic. You can use all that with great ease to free you from continuous monitoring of a body.

The wrong way to go about it is wear out the mass of energy on any preclear so bad off that he can get stuck. And the only reason he's come to you is that he's stuck. If he's so bad off that he's going to get stuck, he's having trouble with energy. If he's having trouble with energy then you could, theoretically, work lightly enough on running engrams to get him someplace. But that'd be a real long job. So let's just turn around to Straightwire, find out where he's stuck, make him look on this side of it, that side and the other side of it.

Continuous monitoring of a body is onerous. And the reason why it's onerous is because on the subject of bodies you've gone down scale through curious, desire, enforce, inhibit and then you wanted one again. The only reason there was a desire on the line at all, was just like there was a desire on collecting a lot of facsimiles or mock-ups - stealing somebody's facsimiles. This is just - just a game. But this game gets real earnest - real solid game.

Well, all right. If he looks too bad off to really be tackled on exactly where he's stuck, let's take a type of lock. We find out he's stuck in a tonsillectomy at the age of seven. Nothing to this. Clinical Procedure, see? Let's just find this out, not run it blind. You just ask a few questions. This makes him feel comfortable too; it gets him into communication and so forth.

So, as long as one has to continue to use a body, he will continue to run through the fight of automaticity versus self-determinism. That's what it amounts to. And that is the fight that any preclear is fighting. Only your preclear is on the losing side because he was always better when he set up the machine than after he began to use it - always better. Because the use of any automaticity is a use of one's own self-determinism to set up other-determinism which one does not thereafter self-determine.

All right, you get him... By the way, you take his assessment sheet and you look for the operation he didn't put down. You see, what you're looking for is what he's not looking at. So, you're at cross purposes with him; and therefore, you had to - have to add a little duress in order to process at all. If you don't add a little duress he'll never direct his attention to anything.

And a person enters into automaticity only when he is no longer able to have, by his own lights, self-determinism. When he realizes he can no longer be self-determined, then he has to have automaticity. And he gets that way because he set up some automaticity in order to keep from using all of his attention. So attention was the first thing that got scarce; he doesn't think he has enough attention to run every unit and truck, for instance, on a highway. The hell he doesn't.

Let's take the kind of lock that would be on top of such an engram. Tonsillectomy. "All right. Let's get the last time you saw somebody choked." Well, this is - this is using unburdening; the old-time technique, unburdening. Take the lock of it off and have him look above and below and behind and in back of this area, this area in this time. Well, you say this took place... You know that you can actively and accurately spot to a micromillimeter on the time track, the exact instant when the thumb went into the throat, the exact instant when he came into the doctor's office? Remember, too, that you'll recover as you do this - if you keep it up, if you wanted it with that in mind - you can recover full perception on the incident in which he's stuck by making him look over it instead of look at it. And you'll eventually get him to a point where he's looking at it. But you're not interested in getting him to do that. You just want him to be free enough so he knows it's present time.

I was running five cars last night for a short time. It was very interesting. It was amusing. This wasn't anything I was doing just to bemaze and amuse and so forth; I just got tired of driving the car I was driving. So I drove two cars simultaneously three inches apart. It was a very confused driver in the next car because he couldn't turn his steering wheel.

Well, this has the virtue of being a fast technique. How many questions does it take to free somebody up out of a tonsillectomy? Darn few. Fifteen, twenty - something on that order - frees him up well enough so that you can go on with your processing.

Now, I had two cars that were three inches apart, front fender and back fender, and they were just going like mad down the road - two-pass, you know, these double-lane highways. And they were both hitting about sixty-five. And it was very interesting. But the body was very obedient, very good automaticity on driving, you see. All you had to do was activate his ridges to drive precisely for a change. He used the same amount of care he would have applied to just before he hit a wreck or something of the sort - you know, the same amount of care he would have used just after he was in a wreck - to go like hell.

How long would it take if you tackled it directly with Mock-up and Creative Processing? Aw, at least fifteen, twenty times as long. Even with Creative Processing. Very lengthy. Because you're tackling it directly by making him look at symbols.

And it was a terrible strain on the ridge and when the ridge blew up I decided that was enough and - and guided my car back over into - it got - what got into me that I would do such a thing? Well, I say, well, I was only making a scientific test and finding out whether or not this could be done. That's not true. That's not true. It's just - I could tell you that, but that's - it doesn't happen to be true.

Why does Creative Processing work? Evidently, simply because you let him look at the symbol until he's totally accustomed to looking at the symbol and is no longer frightened of the symbol; and then he looks at the thing and it keys out. That's the theory of creative processing. But there's something more than that: You're making him disagree with its command over him. And so, you're making this individual - as you process him with Orientating- Orienting Straightwire - making him disagree, to some degree, with the hold the past, present and future have on him. Geographical area. Simple, huh?

I just did it because it's a long drive out to Medford Lakes. There's a limited number of things you can do. You can amuse yourself by thinking, you can amuse yourself by mock-ups or you can amuse yourself by influencing other-determinism.

All right. Our next step is to what? Make him put, with great certainty, into the past, things which aren't in the past, things in the present which aren't in the present and things in the future which aren't in the future and make a whole flam-damn liar out of it and by this time you've completely disagreed with the MEST universe.

And it's very interesting when you set up yourself as an automatic machine - as an automatic machine to parallel the automatic machines already set up around bodies. You set yourself up as an automatic machine around a waitress, for instance, and you'll get some real randomity immediately.

He thereafter, in mock-ups, oddly enough, can make water run uphill and gravity work backwards and any other darn thing happen. See? Because the - his agreement with the MEST universe is totally dependent upon the fact that the MEST universe has put him in space and time so often and so accurately that he has faded away in his competition with the MEST universe and he no longer wants to have anything to do with it. He knows he's lost; therefore, he has attention stuck all over the place.

So you can use automatic machinery for the production of randomity, but remember that when one sets up an automatic machine he sets up at the same time "I can't do it all." And you'll find people running on this: "I can't do it all." And that's just so they can set up some automatic machinery so they can't do it all. They can do it all. You get the difference? That's the truth of the matter: They can do it all.

What's this got to do with randomity? Well, it's sure got plenty to do with randomity because it's just randomity that has chased him out of all these places.

If you were any good as a driver at all - and we're talking about you as a thetan now, we're not talking about a thetan-plus-body Homo sapiens - if you were any good as a driver at all, you could sit here and get this entire dissertation this morning and drive five or six cars out there on the street and send a speed cop all over town arresting everybody for no reason whatsoever and just giving out tickets like confetti. For the sake of what? Randomity. Motion. That's all. Motion.

What was his cycle? He got curious about something, he went in there, he chose something out as randomity and then it - then he inhibited - he resisted it and then it resisted him and then he wanted it and then he went down - because then somebody else saw that he had it and they chased him out of there. Just about the same cycle. And it went over and over and over always downhill. So this means he's forgetting everything because all of this got keyed in on automaticity in the first place. So he doesn't remember his past, be doesn't remember anything. You talk about restoring memory! This Orienting Straightwire will restore more memory in less time than you ever heard of. How fast is the process? It is a faster process than any you have used to date if you use it well.

But when you are convinced that you have no right to influence other-determinism and you are already running automatically, you won't engage in randomity, you will try to lower randomity.

You prefer not to unstick him on the track directly. You prefer not to and you only go into that when he obviously is getting hung up. See? But if he slows down too much and you just can't do too much about it, why, you - you unstick him very directly. But remember, for heaven's sakes, this poor guy is stuck all over and to find his first area - it's out of direct recall, and it becomes almost impossible to find his first area.

When you have no right to influence other-determinism, you'll cut madly into your own sphere of randomity and so you'll run slower. And when you run slower, more and more machinery can knock you around. And when you've really got the machinery knocking you around madly, you get occluded.

Now, how do you increase his perception? Same problem. You know you can take somebody who has popped back into his head and he himself... By the way, you don't have to take him, he can do this himself; and you'd better know this technique.

Now, why do you get occluded? What's this an answer to? Well, you're hiding from your own machinery.

He's always asking himself "Let's see, where am I?" and then he can't find himself. This happens to a guy every time he turns around in this universe because he's going on letting everything be his anchor points without having actually claimed these things as anchor points. He's got to make a good out - forthright claim on everything in sight as anchor points - not on a basis of ownership, but just on the basis that they're perfectly legitimate anchor points - before he feels happy about it. See? So, how does he get himself oriented? He says, "Well, let's see where I'm not." That's one for you to remember: "Let's see where I'm not. See, I'm not - I'm not over there in those Venetian blinds; I'm not..."

Now, what are you trying to audit when you audit a preclear? Well, by golly, you'd better not be auditing a machine. And there are several cases in this class that have successfully, with great success - up to when I started springing these bear-trap techniques in the last few days - very successfully gotten their machinery audited. But machinery is cheap; you can get lots of it and you can set it up very rapidly. Preclears as beings aren't quite that cheap. So remember that you could be auditing a machine.

This is after he's been fairly stable outside and he gets into an automobile accident or something happens to him and he gets scrambled. This is a self processing technique, by the way. "Let's see, I'm not - you know I wasn't sure I wasn't in that Venetian blind. Oh dear. Let's see, well, where am I not in the past? Well, what's happened to me? My goodness, I don't know. I'm sure I wasn't somewhere in the past."

Now, the way to keep from auditing a machine is to use techniques which are immediately applicable to the thetan. And there are several techniques which are used on a thetan interior which apply only to the thetan. So let's recognize the difference between subjective-objective processing; interior processing and exterior processing. Every time you stir the thetan up interiorly, you activate some sort of a machine. Now, you could keep stirring him up and keep the machines caving in. The only excuse you'd have to do this is if you were speeding him up; otherwise he will hit his speed factor and away he goes.

He has experienced what is known as key-in. He slammed back into the body, a body ridge caved in; he's got some kind of a key-in which has taken place there and it is now in restimulation and he's stuck slightly at a new place on the track. This is going to happen to somebody who hasn't run randomity exercises after being well and clearly exteriorized. Because he still has chosen and still has space and energy as his randomity. As long as the fellow has chosen just all energy, all space as randomity, which most thetans have - I mean even the thetans right now, right here - the only reason you're having a bad time is, is that you've just chosen those for randomity so you've forgotten things on the whole track and the rest of it.

Now, how do you lick automaticity in somebody who is still interiorized and you can't get him out? And how do you lick it on somebody who is exteriorized and is still going on using a body? You lick it by resolving randomity.

What's the best way to resolve it, however, when the person is confused about it? Just this process: "Where am I not in the past?"

The most direct approach to automaticity is the resolution of the problem of other-determinism, because the machine is other-determinism. And how does other-determinism come into being? It comes into being by selecting something out for an opponent. And that is the way a person gets into randomity.

"Let's see, where am I not in the past? Okay. Let's see, I'm not - uh - I'm not - uh - not - uh - not in Kentucky. Let's see, Louisville, not in Louisville. Never been in - yes, I was in Louisville once so I'm not in Louisville. Gee, am I that bad off today? Huh. Let's see, 1930, was I in Louisville in 1930? No. I wasn't in Louisville in 1930, I was in China! I wasn't in Louisville in 1930. Let's see, where else wasn't I in the past? Where am I not in the past? Washington, DC, Washington, DC, Washington, DC, no - I don't know - I was down there pretty often. Let's see ... In the White House, yeah, I know I'm not in the White House." See? Bong! Here we go.

How does one produce randomity? Now, I said I could send a speed cop, or you could send a speed cop all over town arresting people and giving them out tickets like confetti. Well, there'd be two reasons why I was doing that. One, I was choosing the police force out for randomity. What would this do to the police force? What validity would their tickets have - for after a while? Just none. Nobody would pay any attention to them at all. Everybody would have to fire all the traffic cops, so forth. This would be choosing out the cops as randomity.

All of a sudden he's in present time and then, "Where - let's see, I know I'm not in that corner." And then he's totally certain he's not in that corner and he's totally certain he's not there and he's not there and he's not there and he's not in his feet and he's not in his knees, and so forth.

Now, supposing I did this and was very amused about it for three or four days, but they yet hadn't abandoned or abolished police force? (Of course, I start in with just basically the idea of being amused about a police force.) All right, I do this for several days and they yet haven't abandoned the police force and I'm tired of it. See, it's a good game while it lasted but - I've figured out some other game.

And all of a sudden he realizes he's been standing there with a big, gobby ridge - he's four or five feet from the body - and what he did was exteriorize suddenly or something of the sort and he ran into this ridge and he went (quote) blind (unquote), because energy is still his enemy. MEST universe energy is bad energy, as far as he's concerned, because he feels he can't go into competition with it. So there he's - there is his blindness. And that's why he didn't know where he was. And he suddenly straightens out and his perceptions come right on up.

Well, I could actually set up some kind of a circuit, which you would say "an implant," which would sit out in the middle of the police station, and which would simply put a tremendous compulsion in every traffic cop to give tickets to everybody for - and to dream up things for the person to have done so they could give them tickets. And I'd walk off from that then.

Off and poor perception is simply - just look right straight at the Factors - viewpoint. If you don't have viewpoint, you don't have anchor points. If you don't have anchor points, you're dead. So let's find some anchor points and find that they're not our anchor points so that we can find some anchor points that are our anchor points; and having found those anchor points, then, let's find us as a viewpoint seeing very well.

And then one day - I'd forgotten all about it because that's the way you have to set the thing up automatically, is you have to forget about it. In other words, take your attention off of it. But then you have to set up circuits so that some of your attention gets to it. So you put it on a circuit - shunt system so that you have lookout posts and there's all sorts of awareness and alertness posts and memory posts and things like that. And when you think a thought you get this one beam of energy - you're going to use energy to think this thought, you see, that's the first stupidity that you could engage in - and you're going to fix it up so this thought goes around through all of these outposts and activates, one way or the other, all the lookouts and then activates all the other - all the machines that you've got running and they'll go flick and twitch and go into operation.

Now, nearly everybody who exteriorizes, after a short space of time, gets the feeling that what they're looking at isn't quite as bright and clear as it might be. They have the experience of looking happily and quickly around the room and seeing all the ashtrays in the room or something like that, all the beautiful red ashtrays, and then they open their MEST eyes and the damned ashtrays are glass, white glass. "Aaaaaah, I'm not seeing," they say.

Now, you see, I'd be down here - I'd forgotten all about it, you see, and be driving down the street minding my own business, and a cop would come up and give me a ticket! And I'd say, "Well, blankety-blankety-blankety-blankety-blank! What's the idea of this?" Well, in this indirect fashion, I had chosen out the police force for randomity. It started out as a good joke and all of a sudden the engineer is hoist with his own petard. (That, by the way, I found out was being blown up by a bomb. That was very interesting. They didn't tell me that in high school.)

One - one fellow who will probably be listening to this tape in a few weeks from now, and so forth, so I won't mention him by name - this fellow had an interesting experience with regard to that. He practically ruined a preclear. By the way, this is - this was the early days of Theta Clearing in England and Dennis never - very - he was never very slow on the draw and anything bad like this - some of the damnedest things happened to him - but if anything bad like this showed up, believe me, it never happened again and he came around and told you about it rather quick so nobody else would have it occur.

So the choosing out something for randomity, just directly, as a self-determined thing, that's one thing; but setting up some randomity which then makes a person a victim is quite another thing. But the things that this has in common with all other randomities is just that: randomity.

But he told this fellow - he had him exteriorized and the fellow had the ceiling of the hospital and, oh boy! Did he have that scenery scrambled and jammed up, and he said, "You're in for an awful shock," he said, "now be careful when you open your eyes because you're in for an awful shock as you look at the room." And of course this practically ruined the boy. When he came back in the body and opened his eyes, and so forth, he saw he had not been observing the room correctly and therefore, his what? His anchor points were wrong and he was uncertain, then, of his anchor points.

We want more motion, so we have opponents. Well, it's the hidden opponents that we ourselves have set up which really foul us up. We set up something and then by this circuit - quite like the police force - we finally fall into our own traps. Who set up all these theta traps through the universe? Well, you did, of course. See?

Well now, what would we do for that preclear'? This, of course, happened in days when we didn't have a very happy, fast patch-up, see? What would you do for him? He'd been made uncertain of his anchor points. We didn't go to Step VII or VI or anything of the sort. Invalidation is only being made uncertain of anchor points. All right What do you do? What did I just say the process of Orienting Straightwire is?

Now, you get somebody as he goes down scale and he's running lower and lower in speed, slower and slower speed - he begins to complain that people are after him, people have got it in for him, that the inflow is so tremendous that he's being hammered and pounded by so many things that he's real upset that he can't function. It's true enough; he can't function.

First, you find some anchor points that he can be certain of and then find they're not his anchor points. This is the formula.

Well, what's hammering and pounding him? Is it other people? No, hell, they're just people. They can't hammer and pound anything. But he sure can pound and hammer himself with his own automaticity. And how did he get that way? Because it accidentally slipped into a randomity - a forgotten and hidden randomity. In other words it had just skidded out of sight and now it's kicking him.

And then you find some anchor points of which he can be certain and then he finds they're not his present anchor points.

And that ridge he complains about, caved in on his nose, Was set up by no other person than John Q Preclear - he's the one that set it up. That facsimile, which he says is terribly agonizing, and so forth, be made into, at some point of the track, or put into shape, at some point of the track, of a machine, And these machines are composed of facsimiles, And he's all of a sudden experiencing all sorts of agony on the subject of this machine.

And then some anchor points of which he can be certain and then find that they're not his present anchor points. Until he finds his present anchor points. And you just go through that invertive cycle and you are inverting the dynamics every time. It's a continuing cycle. Well, how high up can a thetan go on this? Believe me, he can go aw - plenty high. He can go plenty high.

What's the matter with him? It isn't that he has - because all this is a - is an indirect thing, and because it's hidden, it's a sort of a covert thing, it actually takes a technique line which in itself is rather covert.

Dennis pulled another one, by the way, while I'm just talking about it. He himself was having a rough time with his case. So a preclear came in, just walked - somebody walked in off of the street more or less, and he says to him, "All right, be three feet back of your head," and the preclear didn't say anything.

All right. What do we have here? We take apart automaticity. Now, you've looked at automaticity. You've probably seen what it did and you've probably run some mock-ups of machines and blown them up and made them disappear. You probably found this wasn't terribly successful because this isn't the way you handle it; but you got acquainted, anyway, with the machine. Did you get acquainted with these machines?

And Dennis says, "Well, Ron said, that every once in a while a preclear was looking straight at the facsimile in which he was stuck; so I'll just ask this fellow to look and see what he sees."

All right. The way to handle it is to run a randomity process. And by running out the randomity, you will take the entire - to be impolite - the guts out of the automaticity. Now, you want to yank the innards out of one of these machines and just throw it on the scrap heap without worrying about whether or not you're coming up in speed, without worrying about the preclear's speed vector or anything of the sort; let's go straight into randomity and beingness. That's all.

So he says, "All right," and he says, "Now, what do you see?"

The only way a person could get any randomity is to say he isn't something and then have it produce a conflict with him. Follow that? It's very simple. I mean, there's two books; they sit there for a long time and they never argue with each other till somebody comes along and says that one of the books is the reason why he should shoot somebody who is reading the other book. See, you've got to have an argument.

Fellow, "A train."

Now, let's take a checker game. Checker board will sit there. Checker men - they'll sit there for a long time; they won't move; nothing will happen to them. Fellow comes along and he says, "Well, I think this is a game of some sort. I'll sit down on this side of the board and put out the men and make a move. Now, I'll sit on the other side of the board and Ill make a countermove; and then I'll sit on this side of the board and I'll make a move; and I'll sit on the other.”

Remember that one? And he - he had the guy - no he had the guy in and out of a girl's head and sitting down on the train track and all over the place, the poor preclear, and Dennis thought he was right in the room and was running Creative Processing. It'll take Dennis a long time to live that one down. But he told it on himself. No one else would have known about it.

He says, "Hell, I'm playing myself, you know, and this is dull! Now, let's see. I'll even..." He usually says, "Well, I'll get somebody else to play me a game of checkers." He gets some perfectly good friend of his and the next thing you know they're involved in a terrible-throat-cutting argument on the subject of whether that king was legitimate or not. You see?

Well, we look at a preclear, then, as somebody who is disoriented. And first he's disoriented on the MEST universe anchor points and then he's disoriented on his own anchor points and we have to run it that way. So he's disoriented on the MEST universe anchor points, so we orient him on them. And then we disorient him on them by showing him he doesn't have them - by this same Straightwire - and we keep unbaling it until he realizes, suddenly, that he doesn't either have or need MEST universe anchor points.

The next thing that he would do, actually, if you were plotting this out early on the track, would be, he would simply mock up somebody else - this is what your basis is on automaticity - he'd mock up somebody else and then give that person an independent memory and motivation so that he'd have an opponent to play checkers with.

Well, at this stage you could say to him, "All right. Now put a terrible operation in the year 1946, June the 1st."

And then this person would become a deadly enemy of his and would have other-determinism and would go off someplace and it would be entirely different and you'd have two new civilizations starting up and then a war being fought and all this sort of thing on - what happened? Well, he set up some randomity, and then with it set up the fact he had to set up the fact that he must forget that he made the other person; he must forget that he made the machine. And every preclear is doing that today.

"Yes, sir!" And what do you know, he could even show you the facsimile and the somatic. See, terrific certainty. "Yeah, it happened." Because the process is to make a liar out of the MEST universe. Make a real liar out of it. If you do that real good, why, fine. You made it agree with you and only after you've made it agree with you can you start handling MEST.

And learning language is "I must forget that I have learned." One of the things you can do to an actor - you can just ruin an actor - is ask him several times how does he produce such an effect with his words; how does he say this? And this fellow, if he's been in the business for quite a while and is running mostly on machinery, will just be shattered. He'll go up in front of a microphone or on a stage and he'll say, "B-b-b-b-b-shhoo." He won't know what to do, how to talk, anything.

If you wonder why these poor thetans come out and you say, "Move that match." You might as well say, "Move that match, you weak namby-pamby little bum," because that's just about the way he feels after he tries to move the match and then he's sure he moved the match and then he finds out he moved a facsimile of the match. Well, of course his automatic mock-up machine is simply automatically mocking up matches and he can move his automatic mock-up without a match moving because other people don't agree with him. He agrees with others, he - they don't agree with him. You get the difference? The command value of this preclear over the MEST universe is, then, very slight.

How do you do that? You say, "How do you produce such an effect?" You smile sweetly. And if he's producing that effect on an automaticity, the automaticity will cave in because you started to knock out one postulate out of it which is that he must forget it.

Well, there's no use in - in giving you any false ideas concerning this. It is essentially a tricky technique. But an auditor doesn't have to be anywhere near as smart as he used to.

See, he has to examine and he, for a moment, scans and examines his skill. And the second he does this he sets into activation the entire machinery, and not in good order because it's delicately set up. You must never forget this about automaticity: It's real difficult to set one up so that it will be functional and that you never remember it. This is real, real hard to do.

The preclear's attention is stuck at a point where he is being dispersed from. If you can untangle that, you see exactly what kind of a fix he's in. So you get him to look sideways from the place and find out he's not over there, and that he's not over there; and then you get him to look at the place he is and he knows he's not there. You've got him out of that. And so you bail him out, and you can bail him out all over the universe.

It's - how hard is it to hide something from yourself? Supposing you made up your mind right now that you were going to take some possession of yours and hide it. Now, I want you to take some possession. (You've got a cigarette lighter) Each one of you take a possession of yours and determine you're going to hide it. Now determine you're going to hide it - a MEST object; now determine you're going to hide it. Now, what do you have to do to hide this possession from yourself?

Now, you can take any process - I mean, pardon me, any Change of Space area and you can go over it the same way. But it's not a good pay-off. It is - does not pay the auditor to run this technique exhaustingly and exhaustively to exhaust every position in the MEST universe in this fashion. Doesn't pay off. Because he only needs to run it until he gets a very thorough, beautiful exteriorization. And this does not depend upon the MEST universe having been run out. But the perception depends upon it because a person can't view if he doesn't know where he's viewing from. And the only thing that will tell him where he's viewing from is what he is viewing.

Male voice: What possession?

So we've apparently gotten into something very wicked and that's around and round and round: "If I can't tell where I am unless I can see something and then I can't see anything then I won't know where I am, so I'll never get out of this squirrel cage." That's what he thinks.

Yeah, what... Yeah, that's right. What do you have to do? You have to answer your questions that way. A guy has gotten to a point as a thetan; he's done this so darned often he isn't even there; he's hiding himself at last. You got what postulates you'd have to make in order to do this? Have you sensed all of a sudden that there's a little difficulty with regard to it? You haven't, huh?

Well, the truth of the matter is, is you've got him on a level of think before you have him on a level of effort and you free him, then, with thinking. And so you've freed a completely collapsed case. And you've gotten him beautifully exteriorized - he's certain he's exteriorized at last - now you can really start to run him because you're not running into, constantly, his automaticities. He's out of the body's area of automaticity and so he runs rapidly. Now you can run any doggone thing on him that suits you. Anything you please you can run on him. Postulate changing is what it all bakes down to, finally. But this is probably the first thing that you will run on him after you get him into this next position.

Well, now, how do you hide things from yourself? How do you hide things from yourself?

Straightwire, you got him out of his head. You sneaked him out. Now, the next thing you find is wrong with his case is, of course, he thinks of a place and he goes there. Well, the remedy for this is very simple - I did this morning - it's a very simple remedy. Better mention it to you while I’m thinking about it because these things kind of skid. Once in a while I forget that this can be so idiotic.

Male voice: Well, I just decide I never had it.

You have the fellow mock up a machine with a postulate. in it and a good working machine. You find out, every time he thinks of a place he goes there. Mock up a good, workable machine and then have him hide it and - which sends him any place he thinks of - and then have him hide it and forget about it and then say, "Where are you?"

Uh-huh. Well, how do you put them away so that you won't uncover them accidentally?

"Huh!"

Male voice: Well, if I don't have them, I don't have to put them away.

"Where are you not?" you say.

Mm-hm. Well, how do you produce such an effect?

And he says, "I'm no place but just here. I'm no place else than here."

Male voice: You run simply...

That's all right, This is acceptable. Except his perception at this stage of his clearing is not acceptable to you or him either.

Male voice: "Have to forget."

"I'm no place but here. I know that."

Yeah. But if you made a postulate, a thin, little thing like a postulate, on hiding what you just hid, the fact that you were being asked how you made these postulates would certainly not throw it into light but stir it up. And you become kind of anxious about hiding it; that's one thing you mustn't look at. And that's basic on "Mustn't look at." See?

"Where are you not?"

And then this goes on down to the point where the person doesn't know his past from his present from his future, where everything is connected with everything because he must have hid it all because he couldn't have hid it all and he knows in desperation at last, "Look, look, honest to Pete, me, I really done it." See? I - that's an indicator on a technique.

"I don't know."

Let's - let's recognize, now, that randomity is at least two-sided. Probably very often some people set up such things as triangular wars. I fought a lovely triangular war one time, There's a real triangular war went down in the Southwest where the Indians were fighting Americans and Mexicans alike, with no discrimination, and Mexicans were fighting Americans and Indians alike, with no discrimination, and Americans, same way; and it was a beautiful triangular war.

"All right, let's think of a place."

In Midshipman Easy, there's the wonderful triangular duel. Well, it wasn't an all-out affair; they did know who they were shooting at. They didn't get lost in it.

"Oh, I don't know. North Pole. South Pole. Yeah," he says, "I have a tendency to go there."

There are many ways you take apart randomity. But you take apart automaticity by knocking into pieces randomity. There's something wrong with randomity if the fellow has automaticity. So we don't pay much attention to automaticity because you're never going to get the preclear to look at what he's postulated that he can't look at. So you have to come in the side door and you start handling speed. And you handle speed directly by resizing that he chose something out.

You say, "Well, blow up the machine."

Now, let's say we have this fellow who has a fear of disease. Here's one way to solve the randomity in this case. We'd say, "All right. Now be yourself as a body. Now be the disease attacking the body. Now be the disease attacking some other body." See that?

And you say, "All right. Now think of a place and don't go to it."

"Now be the disease; be your body. Be the disease." Basic technique is: "Be the disease. Be your body. Be the disease. Be the body. Be the disease. Be the body. Be the disease getting all through the body. Now, be all through the body resisting the disease." See?

"Mexico City."

In other words, we find a war in progress and we take it out by making the thetan, first, be both sides of it, then have him be willing to fight such a war which is the next thing you've got to solve and next by just being an observer of both sides of it. And because he's holding on to both sides of it, it'll collapse.

"What do you get now?"

And what will go to pieces? A part of the machinery of automaticity which he's using is what will go to pieces. Figure out how that is? Well, automaticity starts to go to pieces. Well, he had to choose something out. And if he's got - he's - the body has a fear of disease, and if he, therefore, has shared this and sided on the part of the body against disease, then he has set up automatic machinery in the body in order to defend the body against disease. And then this machinery is resisting disease which is on the wavelength of disease which eventually will cave in and get to the point where it demands and desires disease.

"Oh, I get a little picture of Mexico City now. I mean, I don't go to Mexico City; I get a picture of Mexico City."

Acceptance Level Process gives you an immediate test of this. Somebody has a phobia about some particular illness; if you just toss it up in the air a few times he'll find all of a sudden it's going right into the bank. He - you have him mock it up and he can't fend it off of him. He'll develop, if you run it, a feeling of great hunger for this disease. He's just going up Tone Scale, you see? And you can run it up high - as high on the Tone Scale as you want to.

"All right. Mock up a machine that gives you pictures of every place you think of. Now blow it up."

It's a piece of automatic machinery is set up to resist something; it gets onto the same wavelength as that something and after that it - its screens and shields on protection, so on, cave in and it develops, then, an actual desire for the thing. In other words, there's just a vacuum of it set up there. You follow this?

You can do the same process, see? Mock up and then forget about it, and hide it, and so forth, and now think of some place and demonstrate to him that the machine works and then blow it up again.

So that by being the disease and being the body and the disease of the body, one is being both sides of something which is resisting something else. And then they just merge. But remember, you always have to solve the idea of fighting to resolve randomity. Now, any randomity is resolved in this fashion.

Then have him mock up a machine which sends him places and then forget - having forgotten about it, have him mock up a machine which stops him from going places, as though he were impatient in the first place at this, you see? Mock up the machine that stops him from going places. Of course, this locks him up solid. He doesn't know what the hell is happening to him by this time.

The fellow keeps talking to you all the time about ridges, ridges, ridges, ridges, ridges until you're ready to slit his throat. You get rid of one ridge, he's got another ridge for you. He's chosen ridges or energy out as randomity.

Well, oddly enough, you have to do this to him several times. You have to have him mock up - make actual working machines, thetawise, that he then hides and forgets, which send him places, which give him pictures and which keep him from going places, and so on. And it's a very short technique; it doesn't take very long. And when you've done this several times he can then think of a place and not go there. This is his worst malady. That's all that's wrong with him. His old automaticity is shipping him all over the universe, see. He's between this place and that. He also has automatic machines which are giving him pictures of things instead of looking at the things.

Now, choosing energy out as randomity is real peculiar in view of the fact that he's an energy manufacturing unit. He'll immediately wind up in an unwillingness to put out beams by which he himself can perceive; and it will also be unwillingness to exert effort, which we get eventually into the no-work band. And that is in common with all neurosis and psychosis: no work. So this is - this is a serious one; not that it's serious at the time he's doing it but it might get so.

It's very remarkable. A thetan gets so wary that he'll put out some flitter, out - like across the street there, and then he drags... Well, what do you know, it's - it's true! I brought it down and put it on my own MEST eyes. A window across the street over there just got - it's very dusty, it needs dusting, like mad; I just brought a facsimile of it across the street. I demonstrate too well sometimes. Very sneezy window. A girl in there too. Well, on with the lecture. So what was I talking about?

So you have him be a ridge and attack the body, and then be the body and attack ridges, and be the body and withdraw from ridges, and be the ridges and withdraw from the body.

You - he'll put out some flitter and haul it hack in and look at the facsimile he made. Well, this is something like the amateur photographer, wearing a blindfold, rushing out in the street, snapping his Brownie box camera, coming back in and developing it and looking at it to find out what he could see. Very silly, you see? Real, real, real silly. All he had to do was while he was out in the street, see, was just look. Well, the thetan will very often do this and you can actually gauge the state of a case by asking him to put out a lot of flitter and bring back in a picture of something. And he will and if the picture's entirely different than the thing he was trying to take pictures of; he's real bad off. If he's taking a picture of a bird and he merely gets a different species, he's not bad off at all. It's just how wary he is. If he gets the same birds, he's merely seeing by facsimiles. And when you finally get a - in the final analysis, he ought to simply look, as a thetan, and see the bird.

Now, after a while he'll get some very spooky feelings about this whole thing. He'll get real spooky about it because the body starts to get insensitive or starts to get too sensitive, and he'll get the idea of - of being the environment, and so forth, and he'll find out a lot of things about his case in a hurry.

So a lot of your thetans only get up to the stage of taking a very beautiful, nearly accurate facsimile of what they're supposed to be looking at rather than get blown up themselves, because they're afraid they'll - they're afraid they'll come out of hiding.

Well, this universe, to a fellow who has gone away from using energy which he himself made, is a constant, pounding inflow and it's making the thetan a target - 360-degree sphere; he's a target. So you wonder why he's small, why he tries to escape from the body, why he tries to get out of this target area and that sort of thing.

Well, how do you solve this? Well, you solve this by solving energy and space. And you have him be space attacking himself and be himself attacking space and be horrible monsters attacking him and himself attacking horrible monsters and lightning bolts attacking him and being the lightning bolts that are attacking him and being him tackling the lightning bolts; and so in other words, get him over this idea of fighting energy - because, in the essence, that's all that's wrong with him - then get him over the idea of fighting space so that at least he doesn't fight all space, so that he doesn't fight all energy. Because that, in essence, is the reactive mind at work and those are automatic machines.

Well, what's his trouble? All you have him be is the waves which are - the MEST universe waves and emanations which are pounding the body, the voices and noises which are pounding the body. "Now be the body. Now be the voices and noises pounding the body. Now be voices and noises pounding other bodies. Now be other bodies resisting." Be, in other words, be, rather than conceptually.

So this is all you have to do with your preclear - is merely orient him and get him over the ideas that space and energy should be chosen out as randomity. And get him over the idea of going automatically to places or automatically departing from places or doing something automatically in relationship to geographical position in the MEST universe.

And how do you do this spatially? You get him to move into the actual space. And he'll find out he's in a hell of a mess if he's not exteriorized yet.

He either has to get into a position whereby he owns or is willing to own - not owns, but willing to own - all the universe's anchor points and all the anchor points in the universe, or, on the other side, so certain of his own anchor points that he puts those up and he doesn't even have to bother with geographical position or anything else in the MEST universe. Do you see that?

You say, "All right. Now, be the waves pounding the body." Well, he tries and tries to figure out. Well, maybe he could figure out he was outside the body and sort of collapse in on the body while still facing out of the body in order to be the waves which are attacking the body. And then to be in the center of the body he's got to back out and resist the body. This gets real complicated. See?

Two routes of processing - one you just start right out in high gear and you give him a black point and you get the black point in good shape and you set it up around him and he knows he's got anchor points and that's real good, see? Now by pushing around the anchor points and putting them in relationship to this and that and so forth, why, the first thing you know he's - he's there with some certainty. You've increased his certainty when you've done this. But actually, that technique belongs above, in Clinical Procedure, Orienting Straightwire. Now, we're not going to talk very much more about Clinical Procedure today, because there's quite a little bit to know about it one way or the other But we are just going to nail down and leave it that way, the entrance of the case.

So then it'll suddenly occur to him that he's been sort of - he's been promoting waves to attack other people's bodies, too. Well, you can have him be those waves, and be bodies, and be waves attacking his own body, be sunlight attacking his own body and you'll restimulate all the sunburn in the bank. (It'll run out, though.)

Case comes in, crawls over the doormat, lifts the doormat up and says, "I want some processing."

Why? You don't have to run any of this stuff out. All you have to do is promote his willingness to be something.

So you put him in a chair and prop him up very carefully with toothpicks all around and you say, "All right, now, where are you?"

Anything he's against, he's chosen out as randomity. And if he doesn't like being against it, then it's running on an automaticity; so you solve it.

"Well," he says, "I'm right here."

You don't just solve all of his randomity. If you think you solve all of his randomity, that's wrong; you only solve that kind of randomity that's making him real complaintive.

"Well, where aren't you?"

He's doing it, that's the truth of the matter. Because he's unwilling to be these MEST waves pounding in, he can't get out of his body. And - or he's out of his body and he can't get in so he can get out.

"It's funny, You say every place I am - I - I think of, I am there. I mean, of course I am there - I think of these places."

You see how you resolve that, then? This is the essence; this is simplicity itself.

And you say, "Well, where aren't you in the past?"

"Everywhere, I guess."

"Where aren't you in the future?"

"Everywhere."

"Well, who's dead?"

"Oh, nobody. Nobody's dead."

"When did you have an accident last?"

"I don't know. Did I ever have an accident?"

"What are you into there?"

And, "Did I ever have an accident at all? Well, I don't know. Maybe," and so on,

"Well, let's recall a moment that's real to you," is your next question.

"Oh, I don't know."

"Well, how about - how about when you came out of the elevator or when you came up to the top of the stairs?"

"Oh, do you have stairs?"

"Well, now let's look around you and find something that looks real to you, as you sit there in the chair."

Oh boy, you - he just elected himself. You've got to establish this boy as a body in relationship to some anchor points because he's lost his - not only lost himself; he's lost his body, too. He's lost his past and he hasn't got any present so he hasn't got a present time anchor point. Well now, how the heck does this differ?

The body in this case hasn't got an anchor point so you have to go, whether you like it or not, into something real in the room itself. And you simply start addressing the chair. By - you preferably have an armchair to do processing with; and the reason why is because you want to be ready for that case and you want to be ready for cases that are blind. These cases are really lost.

Get him to feel those two anchor points of that chair. What are they? Anchor points. The two arms of the chair. Feel one, then feel the other, then reach for the back of the chair and feel those two points back there. Feel those real good and then reach out of the back of their head and try to feel the wall behind them, then feel the front of their nose, then feel the wall in front of them, then try to feel the wall behind them and try to feel the back of their head. Then reach back here, feel the back of this chair; reach forward and feel the arms of this chair.

How long can you keep that up? Well, believe me, you can keep that up a long time. But if the person is blind, you'll have to start with that technique.

Now that you've gotten the body established at least as being in the room, you have to establish the body in time: Is the body here, is the body there, is the body someplace else? No, it's here. He knows it's here. You finally shred it out where the body isn't in the past. Now you've rescued the body.

Now, let's rescue the guy as a thinkingness. Is he in the past? And oddly enough, he will differentiate to some degree on that. Is he in the past anyplace? No. Finally get him up to that point.

Just reverse the procedure. But how far south do you have to go? It's always solved by getting an anchor point - always solved by getting an anchor point at least for the body.

You wouldn't bother then, by coaxing him in on Straightwire, as we used to have to do, about remembering back to the elevator and then remembering back to breakfast and then remembering - so on. Because you re hitting the wrong track. Just because he can remember it is no reason he's certain he's found it. But you can make him tap the two front arms and the two back arms of the chair, make him feel his nose and feel the back of his head and feel the wall behind him and the anchor points of the wall in front of him, the two upper corners. He will do this, even if he's practically blind. He will eventually feel that wall in front of him.

But remember, that in this ease, when he gets that low and you've gone that far south, don't ask him to look. Just remember that: Don't ask him to look. Because you know that if they were that dim geographically, why, they can't look worth a nickel. How far south do you have to go? There's probably a level of case which could only feel effort. Probably such a level of case.

Well, we'll take up such an extremity later, but this is what you would do as the first thing you would do in Clinical Processing. You just wouldn't mess around with the case in any way, shape or form.

Because it doesn't mess a case up to do Orienting Straightwire. And it does mess a case up, every once in a while to stir up a bunch of ridges and automaticity while they're still in their head, but Orienting Straightwire will boost them out without stirring anything up. Follow that?

Okay. Now don't let me have to ask you a couple, three days from now the embarrassing question as: "Why is there still somebody in this class who has not yet exteriorized with certainty?" Don't let me have to ask that embarrassing question.

Okay?

Let's call it an afternoon.