Okay. This is the second session, the — afternoon session, November the 17th, the first hour on it.

And this is November the 17th, first morning lecture, Second Unit.

This morning I gave you some things to do with regard to putting emotion in things. And I found out that many — many were neglecting the "emote" and putting some "shun" in. Ha-ha, joke!

We have this morning several things to do. One of them is to divide the black sheep from the white sheep. And another one is to get some sort of an idea on how we start co-auditing and so on; but, if anything, more important than this: what we are going to use for a technique. That has some bearing on the situation. So I want to see this Second Unit get into good shape in a hurry and dispense with the testing.

And, it's a very funny thing. I'll tell you a operating — a operating principle, which you should "hoperate" with. And the motto of a case is, and the significance of and the reason why of a case is, is they can't look at it. And if you take any case anywhere, you'd think offhand it's a problem of "they don't know it."

Now, with — the first group was processed and trained on the basis of "We're going to get into the experimental-technique line" — the first. And "I'm going to give you subjective reality on the techniques," I said to the First Unit going through, and carried forward that program. I overestimated, I overestimated. One, underestimated the techniques and overestimated — if any First Unit people here, please plug your ears — the auditing skill of those present. Because cases in the first couple of weeks just didn't move. Didn't move at all.

Now, this is not an attainable — an instantly attainable goal for people: they can't just suddenly, pang! for some reason or other, "know it" because they want to carefully let go of the stuff they've got their hands on, see? They want to let go of it very carefully.

So we're going to start right off — right off here with this Second Unit, and we're going to put the throttle into the instrument panel, and going to hand out the (quote) "hot dope" right away quick, and expect you to apply what I give you to apply, specifically, and nothing else, and get these cases, zing! — good shape, and get that out of the road very early in the Second Unit's history. And that will leave us some time, which we didn't have with the First Unit, to process some outside preclears who react remarkably like human beings and not like Scientologists.

Now, for instance, there are a couple of techniques you can run on people which will just stop their clocks, completely. (I should tell you these for the benefit of humanity, some of which has been going on too long already!) But one of these is a button, it's a magnificent button, there's nothing wrong with this button at all except it stops people's hearts. And you could, of course, say that this was a fine button to have around, but watch who you're trying to treat with it. And if you double-terminal "constancy" — just that, just double-terminal "constancy" in a bracket for a while, ha-ha! All of a sudden the guy's ticker goes pocketa-pock, pang-pang, pocketa-pock-pock-pockpocketa-pock-pock, pang, pang-pang. Because he ordinarily is running it on his body, you see? And that's the one thing the heart does: be constant. That's the only order it's got, is "do-don't, do-don't, do-don't, do-don't." Only it says, "do-dup, don't-dup, do-dup, don't-dup." And that's all it does, you see?

Now, just following that up, I'm going to give you right now a summary of what is important in technique, and the "last resort" sort of a technique, Step IV: waste, save, accept under duress — that's enforce, of course — desire, and curious about, in brackets. One takes each one of those things in brackets.

Now, I'm not mincing matters with you — tell you that you can simply take the human anatomy to pieces and strew old bones around with what we're doing here. So you can go too far with one of these techniques. There's nothing to be afraid of with the techniques we have, but you can actually go too far with them. And one of them is this button "constancy."

And now let me just make one little side remark on that step about brackets, is for God's sakes don't run half a bracket, because you hang cases up. You run part of a bracket and go to the next item on the list; and you run part of a bracket, the next item on the list; part of a bracket, and the next thing you know your preclear is — he's seven light-years out in the stratosphere and you don't quite know what happened to him. Well, what happened to him was, is you didn't run a full bracket.

"Persistence" doesn't process that way for some reason or other; the idea of persistence. But "constancy" brings in the second dynamic nostalgia, the genetic line — boy, it just runs on constancy. If you want to turn on beautiful sadness on somebody, just start running constancy. You'll find out that's the one thing that's been demanded of them all their lives — they must be constant. And this, of course, is persistence, and persistence is the one — anything that is not admired, persists.

Editor's note: The procedures LRH covers in these lectures were published in Journal of Scientology Issue 16-G, 'This is Scientology, The Science of Certainty" and Journal of Scientology Issue 24-G, "SOP 8-C, The Rehabilitation of the Human Spirit." Both of these articles have been reproduced for your reference in the appendix of this transcript booklet.

But let's get back to simplicity — real simplicity. There aren't very many of these buttons, there's just constancy and two or three more — they're relatively unimportant. What you can say is the common denominator of all preclears is: they don't look, they think.

A bracket takes care of another factor: it takes care of the factor of agreement. And that is one of the most important factors in auditing. You run out the agreement on a case. If you could just run the agreement out of a case, the guy'd blow Clear. And that's a theoretical technique. I was doing that on the Second Unit yesterday. All right.

Now, there's a world of difference between thinking and knowing. Thinking is that process in which a person engages by which he hopes he will someday come to know. Now, the funny part of it is that he knows already, and the more he thinks the less he knows.

The other thing is, is you run — that's a basic technique; that isn't the best technique that we have, but that is a basic technique. And it is worked in this fashion: You just simply start — you got preclear, all right. You start at the top of the list, if you're just going to work SOP 8 without assessment and so forth (which can be, by the way, almost fatal on a very bad-off preclear), but if you're just going to dispense with assessment and E-Meters and everything, all you're going to have to do is just start at the beginning: Step I, doesn't react — couple of minutes on it, a minute on it; Step II, no reaction; Step III, can't; and here we go.

They used to talk about that non communicative owl — you remember in grade school, this noncommunicative owl. He must have been set up by the Fourth Invader Force in this universe. I think they invented the tune, and so forth. It was:

Now, the test on Step III is not given in that text. The test on it is: can he hold a ball motionless before him in mock-up form that neither walks in nor walks out — if he can do that.

"A wise old owl sat in an oak,

And the test on Step IV, oddly enough, is the same old test there was, which is: does he get easily a mock-up of the childhood home? They'll — normally do. There are many other ways to handle a childhood home, but you just see if he ... Then you don't do anything else about it. You go ahead and run the rest of it. You figure out this guy is all fouled up on the track anyway.

And the more he saw the less he spoke;

And you do Step V just as it's given, VI, VII — in that order.

And the more he spoke the more he heard;

Now, let's say, that at Step I or Step IV or Step VI or something of the sort, you popped the guy out of his head. See? Let's just say you did that. What would you do now? Well, please, please don't ever come up with the wrong answer on this. Because what you do now is a very simple thing: You start at Step I on the exteriorized thetan.

Why can't we all be an effect?"

Now, there are trickier ways to go about this, but this is the safest way. You just start with Step I on the person exteriorized. And you go Step I, and then you do Step II and then you do Step III and then you do IV and V and VI and VII.

And this made him very learningful. We're assured of this — made him very learningful.

Well, what do you know? Why do you do these things reverse on the thetan? Oddly enough, the easiest thing to do for an individual in a body is the hardest thing for a thetan to do. Why? The body is in complete agreement with these barriers called the mest universe. The body's in complete agreement with it, and so it very easily finds "What room?" The guy pats around for a while — "Yeah. Hey!"

And the only trouble is that unless you were talking directly on the line of agreement which brings people into the state they get into finally — where they're more effect than they are cause; unless you're talking on that, boy, there's really darn little excuse for education. But if you're talking on that, you are undoing — you are undoing the agreement.

Well, you got a thetan exteriorized — boy, he's got to be in remarkable condition, just remarkable condition, to be able to feel around and say, "What do you know — mest. Tff!" No, he doesn't. He says, "Nyaah. Oh, no, no. Huh, not today; tomorrow, when we're a little stronger." That's the fact of the case.

Now, it's something like a large and complicated watch. And this watch has to be taken apart. It can be taken apart solely and strictly on the same basis of you take apart a — a baby takes apart a watch, you know? He takes it apart with a hammer. Well, anybody can take a watch apart with a hammer. If you want to take a watch apart — meaning you don't want a watch — with a hammer, why, I advise you to go down and find a big electric shock machine or something like that. That takes watches apart with hammers. And that's not the right way to go about it, because after the parts get that strewn around, it's very difficult to take the watch apart in an orderly fashion. And to some degree we are taking a watch apart.

Now, there's many people who have been exteriorized, and who consider themselves in good condition, and who are in remarkably good condition — they know it. This is — be no shock to them. They know that they're looking — they're taking a facsimile, ping! and then looking at the facsimile. And that is the favorite way of a thetan to avoid contact with a barrier.

The trouble — only trouble with this watch, however, is that it has four balance wheels, eight mainsprings and no handle to wind it; the handle to wind it has disappeared. And then people run down and we can't wind them up again.

First place, he isn't sure the barrier is there. In the second place, you shouldn't even try to convince him it's there, for — because in the third place it's not there.

So the thing we do, is actually start taking balance wheels and mainsprings and things — excess mainsprings and other things — out of it and all of a sudden we've got the neatest, best-working watch you ever saw in your life.

You see, what the thetan feels is the body feeling the wall. See? He — this is a different thing, rather than there being a "feel" to the wall. See, this is different. There is no "feel" to this wall. If the wall were there, without any second wall, and no other contact point, there'd be no wall. See, it takes a dichotomy. In order to be convinced of a barrier, you have to have something that will be convinced that it will stop when it runs into the barrier. That's the essence of all of this limitation, barrier stuff. So there is SOP 8.

But if we take it apart with a hammer we don't get that effect, we just simply get — well, we get psychiatry or we get a lot of things. Atom bombs — that's taking a watch apart with a hammer. "The way to settle the political affairs of Earth is not to solve underproduction and overconsumption, and overproduction on the second dynamic and so forth. These are not the problems to solve. The way to solve that, is you get a formula, see, and it's got a lot of wild figures in it, but it all adds up somehow or other if you put enough figures in it. And then you put this to work on uranium and you get some plutonium, you put that all together and put it in the hands of an idiot and tell him to press the buttons." And the watches come apart. Believe me, they just strew their mainsprings all over the place.

Now, SOP 8-C is tremendously refined over this. But, believe me, SOP 8 works. It has limitations — it very definitely does. It is defined as the safest technique, broadly, in people's hands who are not specifically trained, that has been devised out of the material which we now have. It's the safest technique. That is to say, it won't get people in trouble — too much. It'll still get them in trouble once in a while, if an auditor really puts his mind to it.

I saw a cartoon, one time, down at Cal Tech — one of these small trade schools on the other coast, they teach carpentry and things there. Anyway, they had a nice cartoon, and this professor is standing in front of a very large class and he's saying, "Gentlemen, I have here the end product of all science. In this capsule is enough explosive to destroy the universe." They haven't been admired for this, obviously, or they wouldn't go on persisting.

But now, SOP 8-C is a more delicate sort of a tool. By misusing one step on SOP 8-C, which I did on purpose one day — I just did it on purpose. I had a case in a remarkably good condition, you see, and I practically spun him, see, and then unspun him. It's awful easy.

Well, it is not a very orderly thing to do, for instance, to solve a society the way somebody solved Arsclycus. If you want to run back on the track and examine facsimiles with "yes" and "no" on an E-Meter, why — it'd be very pleasant for somebody who's in good shape to do this, and very horrible to somebody who's in bad shape to do this, by the way, because they bog in it. You'll find that there are facsimiles floating around you or the GE and someplace, and you can contact them. They have to do with this place known as Arsclycus, which was just built without planets. It's just endless roads going through the sky, you see — they just went in all directions.

You start dealing with the dynamite which we can deal with now, and you can blow preclears up pretty easy. For instance, if you — all you've got to do is to start to handle the Assumption on somebody who has it somewhat in restimulation (and you handle it on some of these techniques, some of the expansions of SOP 8) — you just handle the Assumption and then forget about it. Oh, no, no. He'll be hot and cold, and have fever and chills, and think he's in the middle of Fac One and Easter and Christmas. And yet what did you do with the technique? It is very, very remarkable. You just — a process which is (well, we might as well give it a name and designate it, but that is — it doesn't need a name), it's "Being Space Processing." You just have him be the space in front of his face and be the space of his body, and the space back of his body, and the space in front of his face, and the space of his body; and now be the space in front of his face from the right side, be in the space in front of his face from the left side — uhhhhhhhhh, this gets real wicked.

And there's where we picked up boredom and monotony on this track. Oh, oh, oh! I mean, you could just run this for a couple of minutes on a pc and he just gets tireder and tireder and tireder. He has no idea why he's getting so tired. But it's the fact that nobody could ever stop working. And a person went about ten thousand lives there, returning back to a body and then using that body and wearing it out. And he — each time he'd come back he would be assigned — and he had a cross mark on him and they had him by the wavelength, you might say. And they had a piece of the body which they'd given him, and when he tried to escape, of course, they'd put pain in that piece, and that would hurt that part of the body so he would come right back. And when his body was worn out, or if he sassed a guard or something like that, they'd just knock off that body and he'd report back again and they'd say, "This is a Tilemaker, Third Class. He's all trained," see? And into the body — next body that's coming out of the vats — pang! out he'd go. Biological society, built in the sky.

See, if he's got an old Fac One body, you might say, he's — if he has — what they very often run into: I've had a person get out of five bodies. See, they get out of their head, and then they get out of the body they got out of their head with, and then they get out of this body, and they get out of that body and so on. I had a fellow do this three times one day in an Exteriorization by Scenery. He got out of his mest body, and then he got out of the body he got out of the mest body in, and then he got out of that body.

Well, when that thing went to pieces because of an overdose of gravity, it really went. It scattered pieces all over the universe. And you sometimes run — get a tumbling sensation in a preclear. We're not going to audit facsimiles — this is just fun just to show you what might have been going on, on the track.

What was he doing? Well, he was just so sold on bodies, that he had three of them. Well, I've had them with as many as five of them. You see, you've got these layers and layers and layers. And this accounts ... A fellow can actually step out of his body, and very often does, in a complete rig-up. I mean, boy, you'd think Buck Rogers or something. A fellow will look around and say, "I'd better not be out."

Well, this made a person very insistent about being dead when he was dead. There is basic on being dead when you're dead. You're just not going to run any kind of nonsense about checking back in and being assigned a new number. You're going to have some randomity, see? And when a fellow's dead, he is the most insistent person you ever saw.

"Why not?"

I dropped by a funeral parlor one day. I kind of sailed in one afternoon and I — I noticed lilies of the valley, and it was very nauseating all up and down the street and it was getting more and more nauseous. So I decided to pick it out for some randomity (I didn't have anything else to do), and I went in one window and so forth, and the thetan was still in the body — it was a funeral parlor.

"Oh, I'm just an invader from space; I'm no good!" Bang! In he goes. I mean, he's really convinced, see. He's convinced on a negative line.

They had a guy laid out on the table, and you could bat the body and get back an electronic reaction — pow, pow, see. And he was just absolutely frozen, see? And in a mad rage, "I'm dead, you understand! Dead!" Because they'd kept trying to revive him, evidently, with Pulmotors or something of the sort. The body was all scarred up — he'd been drowning or something and they'd keep trying to revive him and trying to revive him and trying to revive him and working over him and so forth. And that means he wasn't being convincing, you see? And boy, it was the deadest thetan you ever saw. Of course, when they finally embalmed and buried the body and so forth, he finally said, "Well, you're convinced!" Shove off!

Well, you'll run into all kinds of phenomena like this. You don't have to worry about that phenomena. That isn't worrisome, it's just stuff you run into. There's a motto which you could have as an auditor which is: Be surprised at nothing.

He hides this from himself by occlusive screens and so forth. He doesn't let his right foot know what his right frontal lobe is doing. He doesn't get these things into communication with each other. He has to break communication in order not to know. See that? Has to break communication in order not to know. See, he breaks communication with the body, and now he doesn't know anything about the body. And there's the system of breakdown which he uses. Now, he's gone through this system of breakdown constantly and continually.

That's an old family coat of arms that I saw down in Charleston, South Carolina. And this enormous rook, who is about eight times as big as the castle, is sitting on this little tiny turret, which is the castle, and the scroll on it says, "Be surprised at nothing." That's very good for an auditor.

How does he do this? In order not to know, if he's already perceiving (see he gets into a perceiving band) — in order not to know, it's only necessary not to look. He can think about it and suppose about it.

And as far as discovering new phenomena is concerned, I'm afraid it's getting dull for me. For about two years now, we've been over this ground pretty thoroughly. When we got through with What to Audit phenomena — overt act-motivator sequence, all of this — once that ground was gone over, why, the stuff that shows up after that is just fabulous. But the second you evaluate it against whole track Theta Clearing, it becomes quite natural.

Most everybody is going around — while they're traveling through life in this direction, their head's over this way. And they're going ninety miles an hour in that direction. Well, they can think about it and they can say, "Well, you know, I think there's a turn up here someplace." But that system comes all the way down the track.

And these are the principles against which you evaluate phenomena. One: Knowingness exists above space. There is a condition of knowingness where a person really knows. He actually knows without looking, and so on. This is very easily mistaken by people who have been in mysticism, in terms of telepathy and other things. It is not like telepathy, it is just a high, crystal-clear certainty. That's all. He knows it without looking.

Now, if they didn't look at, feel any emotion about, feel any effort about and finally, didn't even think about something on the Arsclycus band, why, once in a while they figured they might skip a cycle. That was — that's really true. They kept a vat full of stuff and when they gave the guy the body, they took a piece of this body and they kept it alive in a solution. (This is science at work!) They kept it alive in this solution over here, and that was a piece of a body and it matched him, of course, and all they had to do was torture this piece and he hurt.

And then we get into the first echelons of perception. Now, the second we get into perception, we get into space. The definition of space is viewpoint of dimension. And that is easily our most important definition. What is space? Viewpoint of dimension. Dimension is made by anchor points. You have four anchor points and you have a piece of space. You arrange them as a tetrahedron, and you have a piece of space. Now, that — easily the most important viewpoint there is, as far as we're concerned, in terms of definition. The most important viewpoint definition: space.

You can do that, by the way, if somebody is madly Russian-doctoring around sometime — we'll get a nice big laboratory. Be sure and get somebody that builds the Frankenstein equipment for the Frankenstein pictures, you know? The kind of big drums that go bzzz, bap, bzzz, bap — you get some of that in there just to convince the public of what you're doing. You can conduct all sorts of experiments of this character which are fabulous.

And here knowingness, knowingness, comes into the first of the phenomena which (I almost said degenerated) — which regenerates or something, into the mest universe. That's the first phenomenon. Out of this, and the fact that there are three universes, we get the entirety of everything we're doing.

You can hypnotize somebody and say, "All right, you are now Malenkov." Just like that, you can say, "You are now Malenkov. And be in the same position there as Malenkov, be in the same space. That's right." This guy is drugged — you know, drug hypnosis. "All right. Now have a terrible headache. You now have a terrible headache." You know that you could actually detach him to the point where he would go on monitoring Malenkov. You'd actually say, "Beat it," and he would leave enough in the body to keep this one tick-tick-tick, and go over and monitor somebody else's body. This is politics earlier on the track. Now, this has gotten to be almost a habit on the track line. All kinds of weirdities come up.

Viewpoint of dimension: In order to have a viewpoint of dimension, you have to have the location of the viewpoint with regard to the anchor points. And this is a mechanical definition of location.

Fortunately, we don't have to have anything to do with these weirdities. I mean, it doesn't matter in our processing today what these things are. I'm just talking about a laboratory lineup. If you really wanted to make a society stand on its ear and become completely fogged about the whole thing, you just start doing things like this and you would get these effects. I mean, Malenkov would have a headache. That's all there is to that.

Now, just pure knowingness has no definition. It is a feeling of certainty. You can best define this by knowing that one knows. And when we say Scientology, that's a science of knowing how to know; that means the science of knowing how to be certain, which actually is a track-back of the agreements which have culminated in the state of the individual at this level. Certainty is what marks this level of knowingness. It is unmistakable. You needn't ask me any more about it, because that's actually all there is to know about it, is it's unmistakable.

Mysticism, by the way, is actually an effort to suppress this kind of technology by reversing it. You know, if you deny hard enough and if you resist evil and — that's not truly mysticism, that's Christianity more than anything else. That was the greatest invention of the last two thousand years, by the way — the resistance to evil. And I'll say a little bit more about that.

Now, we have prospectors and they go out, and they're always willing to laugh at the tenderfoot, because the tenderfoot goes and he pans gold, and he turns up some iron pyrites and looks at it fixedly and knows that he has gold. And he does this, and he pans fool's gold and saves it in a poke, fondly believing that he has gold, until one day he strikes — no matter how microscopic — a real "color" (what they call a fleck of gold picked up out of a gravel bed). He just is panning, and all of a sudden he sees a real color — he sees a real piece of gold, a real flake. He never makes a mistake afterwards.

But let's get back on this "look" thing. All right. As long as this preclear you've got drugged on the table doesn't know where he is, you can convince him he's someplace. You see that? See the principle? Well, the only way he can be convinced that he is someplace, is by not permitting him to look. You see that?

How do you teach somebody to distinguish gold from iron pyrites? Well, you certainly could probably put several university courses together, and you could probably do an awful lot of analysis of iron pyrites, and you could say gold dissolves in aqua regia, and iron pyrites dissolves in both the aqua and the regia, and you could go through all sorts of chemical definitions and oh, back flips and high dives and deep textbooks and formulas and everything else, and you still wouldn't have taught the guy the difference. See? It'd be a big long communication system which you'd invented, so that now he was really confused. So just get this similarity between that real fleck of gold and certainty.

If he doesn't look, if he doesn't see, then he can be told he's anyplace, and he has to believe one. So hypnosis is just simply the matter of confusing a person to where he looks too hard at something, and then you don't let him look at it, and that loses him. There are any number of techniques can be born out of this "fix or unfix attention" hypnotically, you see?

You'll be processing a preclear, and all of a sudden it's like something goes kind of click or flip or something there. All of a sudden, he knows something. How does he know it? Does he know it because it's been defined? No. Does he know it because you told him? Well, that's the time he won't know it. And you go right straight on through, and you'll find out that there — this thing is defying reason. And so it does. If you're going to define it any further at all, you would say: Certainty is something that requires no further reason.

The whole subject that we're studying is actually attention fix-unfix, where viewpoints and space are concerned. But that requires lookingness.

When you've gotten into reasons, when you've gotten into reasons why, and when you've gotten into "who" — that's the end-all of — that's really in the slums, that's really back in the slums of knowledge: "who." And yet, we find all of our entire history and everything else is made up of "who." And it's "who, who, who" until they get everybody playing the "only one" and so forth.

So we can take a person and actually have him be someplace else when he is right there. See, he'll still keep this body, but he'll actually be and operate someplace else. Now, you'll run into this every once in a while with a preclear. We call this inverted dynamics.

A thetan can only have a good time when nobody knows who the hell he is. And when he's certain enough about existence and about himself, he doesn't have to have a name to be certain of it. He goes flying around . .. You can't get around this universe with an identity. The state police and the cops in general, and the FBI and the IBF and — oh boy, it's real, real cruel. They've got photographs and they've got fingerprints and they've got the wavelength of your breath, and they've got all sorts of fabulous ways and means, and one of these days they will probably have a "lie detector characteristic beat" or something. Be real good, see.

What dynamic are they inverted on — they inverted on one, two, three, four, five, six, or seven, eight? Actually there's about ten cycles of inversion. At least ten. They just keep inverting and then reinverting, and then inverting and then reinverting, and each time with less horsepower until you get them just completely run on down the line.

Well, way back on the track you'll find people being registered by their wavelengths — thetans were. That was a last-ditch attempt on the part of a society to get some law and order and some police action, regardless of what.

Now, any one of the oddities and the phenomena which you observe, below the level of knowingness itself — just spontaneous knowingness . . . How would you — what do I mean by that kind of knowingness? It is simply, you'd sit right there, you wouldn't look, and you'd know that there was a telephone number somewhere else. In other words, that is just instantaneous knowingness. Would you know by looking? No. It's a type of pervasion without perception. But boy, don't ever mistake it — a guy who can't see doesn't pervade without perception.

All right. An identity is going to crop up in the preclear continually, continually, continually. He keeps asking, "All right, but who did it to me? Who is God? Who? Who? Who? Who?" To hell with it. For every "who," listen — substitute "where." Not who are you afraid of, but where are you afraid of. Because you've gotten, then, workable — you've gotten it workable; and we get into the first Prelogic.

This fellow who can pervade without perception, boy, he's got Superman whipped the way he can look through walls. Oh, that's terrific, you see. And that's way, way up.

Now, you see there's no substitute for this thing called certainty. A person knows he has it. All of a sudden he becomes certain one day of something or other.

Every once in a while you walk into some sad apple — pardon me, some gentleman — who is utterly convinced that he is telepathing all over the shop, see. Oh boy, he telepaths but good, he does. They sit down and they concentrate and they do this to influence other people's minds.

Well, one of the basic, base ways to make him certain is to hit him. And then he knows he's not there. And this is a certainty. You see how just insipidly silly this is — how an impact works, you see? Here the fellow is, and all of a sudden — he's got a face, see, and let's say this is his face, and a baseball hits him in the face — bam! it goes, you see? And makes a terrific impact, and just before the impact, he says, with all the force at his control, he said, "I'm not there!" See? That's supposed to stop the baseball and he's supposed to be out of there. First it's, of course, "It's not there. It must stop." And then, "I'm not there." And that's the sequence of a certainty by impact. It's — the certainty which is derived by impact is, in a final analysis, the certainty that one is not there.

I'll tell you how you influence somebody else's mind. That drill you were doing this morning will do more to influence somebody's mind, because you can transfer thinkingness the same way. And we'll do some drills on that later. You just simply handle and monitor somebody. He thinks what he thinks and so forth. That's all there is to it. That's telepathy. What do you care what he's thinking? Make him think something else.

And so we have — practically anybody in this room right here at the present moment, the first thing he would tell you as a thetan, is "I'm not there. My name is so and so, and I was born such and such a place, and . .." The devil he was. See? But he's playing straight through to the bitter end, "I'm not there; I'm not there; I'm not there. Here I am, see?" and he puts forward this body. See how cute this is?

Anyway, people who go around and practice telepathy so they'll know what other people are thinking tells — that tells you what? It tells you immediately the fellow must be bottom-scale, because he's interested in what somebody else is thinking. Well, boy, when you go around and listen at Homo sap thinking . . . This is really the most enjoyable thing you can do, is just sort of go down the street and — or drive a car or something of the sort, and pass a lot of people and pick up what they're thinking about. Most of them are thinking kind of a "mental-audio" sort of a"Dum-juh-duh-zu-zow — so you know, if I do so-and-so, and so on." Most non sequitur stuff you ever listened to. I mean, the fellow says, "Well, now, let's see ..."

Now, a body is composed 100 percent of other-determinism. A body has no self-determinism. It is shaped and molded: one, the criteria of aesthetic of the being who made it originally or designed it, as modified by the consideration or aesthetic of the thetan. But it is actually shaped and molded, even into its primary form, by impacts. And the body is other-determinism, but royally. It is being hit twenty-four hours a day by mest waves. It never turns back any of these waves. Real interesting, isn't it? And so it can only deteriorate, and you have the one-way cycle of the universe.

I ran across one, one day while I was driving into town, and I got so entranced with it, I forgot to get out of the car till I'd gone beyond my destination. But my body had turned, but I thought the body in the car was ... Strange. But this person was doing the most fascinating job of driving: "Now I step on the throttle." He was driving with all of his mechanical motions and so forth planned, audio, in advance. Oh. this is real fine. And I kept expecting the car to run into something. And I was minus randomity that morning and decided I'd love to see a good wreck. (audience laughter) So I just rode along. Very fascinating.

You just get a pinpoint being hit from 360-degree sphere — all angles, twenty-four hours a day — by photons, cosmic rays, light waves, heat rays; here we go. Now, the body does radiate, to some slight degree, heat. But it's radiating something else. Heat is radiated at it far faster than it radiates at heat.

Now, this sounds wild to you, but people do think like that. They just talkety-talkety-talk, bom-bom-bom-bom.

Now, we have no real problem because of this — I don't want to give you the idea that a body is essentially a — very, very upsetting and very dangerous and something you mustn't have around. They're cute, and they do odd tricks and so forth, and they're interesting to keep along and make survive, and it makes a game.

Now, you listen to people talking and they — boy, they sure sound reasonable. You listen to people — two people talking across the store counter while they're buying something. And you'd — you just merely assume that those two people are being reasonable. The possibility is that you haven't listened to them. If you were to really sit down and listen to these two people talking across the counter, it's — just run-of-the-mill Homo sap today — you would hear some of the most fascinating non sequiturs you ever heard in your life.

But when it gets down to a point of "I am a body. That's who I am. And I can't be anything else. And when I'm dead, I'm dead, and that is the end of me and it," you have the end result phenomena — phenomenon of a thing which cannot be effect.. . This is real interesting, but a thetan, in the final analysis, has to have something before he can receive an effect to it. He has to have something.

Where do these non sequiturs come from? Now you've got "not look" on a symbolic basis. If a person can know everything, he can look at everything. And there's the test between the top and the bottom of the scale: If he's got instantaneous knowingness, boy, he's sure got instantaneous lookingness. He can do such tricks as look up eighteen pages deep in a phone book and read the whole column aloud to somebody else — relay it to a body and read it aloud. That's real high, see. And you can get perfect imagery, while exteriorized, on anything.

He's got to put something there before he can get an effect. And a thetan is primarily cause. Oh, he can feel the effect and all that sort of thing — he can do all sorts of things. But he's primarily cause. And of course he joins something which is primarily effect, and so we have a communication terminal collapse which goes from cause to effect. A communication is essentially something that starts at cause and goes to effect. And so we've got the thetan as cause, going to a body which is effect. And somebody who is in his head too solidly, of course, has gotten the idea that he is the body, and he can only be an effect now. You see? It's very simple.

You start fooling around with this stuff very much, it keeps saying, 'There's a barrier. There's a barrier. There's a barrier. There's a barrier. There's a barrier." And you have to dim that down and keep it dimmed pretty well, in order to get any randomity or be anyplace.

And it's very simple to unravel, in the final analysis of the thing. Well, how did he get this way? Well, he must have made himself this way. We all suspected that about ourselves, except we always are saying it was somebody else that did it. Well, it was somebody else helped it along. We did it — no question about that.

Now, what's "not looking" — not looking, not feeling, not effort, not think, see? First it's not look, so we feel. Now it's not feel, so we have effort. So it's not effort, so we think. So it's not think, on that band, you see, and it's again some lower order of looking, such as with MEST eyes. Now it's not look, and again a lower order of feeling, such as with a body, see? Well, then it's not feel with the body, so effort with the body. And then it's not effort with the body, so it becomes think with the body. And then it's not think with the body, and we got Homo sap. All right.

For instance, we ever slammed anything into a stone wall, we had to elect to be on the seat of it first. So cause precedes effect. And man goes along saying less and less "I'm cause" and more and more "I'm an effect" until he finally practically disappears.

Now, a symbolical level takes up on this, you see, and it's just one of these cutting out, one right after the other, on that band. Now, we can just add up — to the side of the Tone Scale, up here — a scale which starts up at the top with "know." Complete certainty on everything and anything, anywhere at any time; that's just complete know. An almost unobtainable height if one stays in an area where, to produce any randomity at all, he has to pretend he doesn't know. Because we immediately cut down from that and go to 20.0 on the band. All right.

Now, in order to have a game — and the highest echelon is a game — we have to have a balanced condition of 50 percent and 50 percent. An infantry force in a war is composed of 50 percent attack factors, and 50 percent defense factors. When it is not so balanced, roughly, it will be unable to hold those gains which it achieves, and if it's too defensive, will not be able to achieve gains to hold. And so the army will lose.

Now, our next step, then, that we get interested in, as far as people and beingness is concerned, would be ... I mean, the highest step in which we really get interested, is in "look and not look." See, it would be "know and not know" way up at the top there. He'd have to not know on something and this produces a randomity. In other words, he's got to choose something out to fight it; and that gives him action and motion. And he gets into action and motion and he's happy about it.

You can see that this imbalance of 50 percent is responsible, by the way, for many "who were they's?" to become past tense. The Greek finally got down to a point where he was about 85 percent holding force, you see, and about 15 percent attacking force. His phalanxes were very difficult to maneuver at last, because his people were getting weaker, and they were being more and more an effect.

It isn't true that everybody everywhere in every universe, you know, has action and motion. That's just a peculiarity in this universe. You have to learn all kinds of weird tricks, and these weird tricks are motion. It's real peculiar when you first run into motion; it's quite interesting because it produces emotion, which is quite different than you run into elsewhere.

The Maginot line was the death throe of France in 1940 — '39 and '40 — 100 percent defense. And they were surrendering... There we had a war which was an interesting, fast war in its early inception, because the Maginot lines — large sections of it and huge cities which it protected — were surrendering to a couple of Germans on a motorcycle. Just pang! The Germans come along, they had a motorcycle and a machine gun mounted on the sidecar and so forth, and they'd say, "Well, here we are. Surrender." And everybody would lay down their arms and run like hell.

I had a preclear one time, he would just sit and he wouldn't think or anything of the sort. And what he was doing, I didn't quite know. But I put him on an E-Meter and it didn't wiggle; nothing wiggled. And I started batting him with just random dates. Good old electropsychometry, you just start hitting them with dates — dates, dates, dates — billions of years ago and present time. And all of a sudden present time started to wobble around. I ran into a duality. Some kind of a weird situation of Lord knows where or what; there was someplace where everybody merely sat around and knew. And he was stuck there. So I unstuck him and got him in motion. Probably a terrible disservice.

That was that blitzkrieg. It was fabulous. Fantastic. Nobody could possibly believe a blitzkrieg. But they were up against people who had been indoctrinated, first in World War I, that all they could do was hold a ditch. And they had then developed holding a ditch into the finest piece of nonsense anybody ever had, and after that they had no mobility. So having no mobility, of course, they were imbalanced.

But the point is that not everywhere do things go into motion. But here in this universe they go into motion. If you could avoid just all motion and get a process that had nothing to do with any kind of motion, you'd be way ahead of yourself. But there is no such process that I know of, because you've got to track the line of agreement somewhat in order to take the watch apart smoothly.

I want you to draw that parallel between the body and the person. The thetan has 100 percent attacking force. See, he's 100 percent attacking; he has nothing to defend whatsoever. And he goes from that down to 100 percent holding; no attack potential at all — just defend, defend, defend, defend, defend. Having a lot of vested interests for instance, may wind up — does not necessarily — but may wind up in merely defending and no longer attacking.

So we've got a problem in taking the watch apart of, in some cases very low, and in some cases a very slight bit of "not look." In other words, "not perceive" — it's just a better phrase. It's the gradient scale of perception in reverse, then, which marks the Tone Scale band in which we're interested from 20.0 down. The gradient scale of nonperception.

There are the two extremes. And there you have an example of plus and minus randomity. It's too much — too much entirely self-randomity — that is, one can engage in too much random motion, when he has nothing to defend, and one can engage in too little for himself when he has everything to defend. And neither state is desirable.

The essence of perception is the definition of "what is space?" Space is a viewpoint of dimension. Now, a viewpoint of dimension, then, requires some kind of a perception. Immediately we have space, we have some kind of a perception understood. As soon as this perception is understood, we are able to proceed.

And we get, then, a condition where the environment — other-determinism — for the person who can attack anything, is insufficiently random. He can attack anything with impunity. He can't be hurt, he can't do anything else but survive, and so he attacks the entire environment — he can if he wants — but it's no fight. How is it any fight? And so you have a condition where you have minus randomity on the part of the environment. And that goes down to, when a person is only defending, it gets plus randomity to the point where people start blowing their brains out merely because somebody misplaced a period on the ration card. See, super-super plus randomity — it gets down to that.

Now, the less perception a person is able to attain, the lower he would fall on this band. But remember, this band inverts and then reinverts and then reinverts and reinverts on each dynamic. So it's not a smooth track down — I mean, it's a complex band. That is to say, for every level on the Tone Scale, you have one, two, three, four, five, six, seven, eight dynamics. And for every band down, they turn over again.

Now, your individual who is getting defensive, who is very static, who isn't moving very much and so on, has merely come down to the point where he's too much effect and there's too much motion going on around in his vicinity. And he has to be on a cause line — more cause, you see?

So that you have a fellow who is inverted — you'll see what I'm talking about a little bit later when you do some of this processing. When you invert an eight... We start out with a fellow at eight. What is symbolical of this superknowingness way up at 40.0? Well that's — superknowingness is, of course, what you would call "He's God and knows it." It doesn't necessarily mean he's God of the mest universe. That's a different thing. But as far as he's concerned he's God and he knows it. The eighth dynamic, sure. Seventh dynamic, he could make spirits, why sure. Sixth dynamic, he could make mest. And we go on down the line and we fall down again.

All you have to do is build up his cause. And when you've built up his cause, why, he gets into better shape. So your techniques, actually, leveled on the lower echelons, are simply toward and directed toward building up causation on the part of the individual. You see that? All right.

And then we get to an inversion. And it goes in — now he slips out of one, so he becomes a particular god. Now, as he reinverted down, he'd probably get into the Olympus sort of a standard, like Athena or, well, Jove — that is a particular god of something, you see? We've particularized. Well, this is an inversion again.

We have, then — for the first three steps, we have somebody who is still capable of causation. In other words, he can put some distance between himself and a body and still control it, because he has sufficient causation . . . He has sufficient — he's sufficiently causative (let me use a word very properly); he's sufficiently causative to be able to control things at a slight distance — short distance. And then we get — in those three steps, we have people who can do this. And in the remaining steps, we have people who have — who are insufficiently causative. But remember this: it's a ratio again — it's how much randomity surrounds these people.

See, we've gone — we've gone — he's turned away from himself to be "the some­thing of something else." And in each case, as you go down, you finally get all the way to the bottom and you'll find fellows in insane asylums insisting madly and wildly, if they're pretty high on the band, that they are God; and pretty low on the band, so forth, why, you'll just have them merely praying to God all the time — just incessantly, incessantly. God is finally other-determinism again.

See, they probably started out being terrifically causative, and they built themselves up enough randomity to have whipped a small army, and they finally wind up defending everything bitterly on every front. And they've still got lots of horsepower left, but they're in the bad situation of having all their randomity, other-randomity — they're under attack from everywhere. So they've lost their causativeness and they can no longer attack, handle, control a body at a distance. They've got to be right inside, holding on tight, and guiding it very, very carefully. Because they've really got to defend this body, you see? Because if they didn't defend this body, all these random motions in their vicinity would put them in bad shape.

They take over as they own things — to make this easier to understand — as they own and are things, they then unbecome them. So you've got an inversion of becoming and unbecoming and becoming again and unbecoming, each time in a lessening scale.

Actually, anyplace that you're processing anybody, your individual is too little causative. His amount of causativeness involved is too small. What's optimum? Well, optimum is somewhere around 20.0 on the Tone Scale. That's almost on a basis of 50 percent holding, 50 percent attacking. Here's where you have an individual who can spend half of his time in causative action and half of his time in defensive action. He has to have something before he is interested.

See, on the upper band he's God and knows it — this is in the psychotic bands and when we get to where one, two, three, four, five, six, seven, eight — eight inverts again; now we've got somebody who is the effect of God. So we get "become and unbecome." And in each one of these things he's cause — this should explain, by the way, a manic to you. He's cause, and then as it inverts, he becomes the effect now of what he was cause before, see? So he just keeps on going down this way, cause and effect, cause and effect. And as you go down the Tone Scale, he slides to the left, and he goes over to the right, and he slides to the left. He is something which he isn't. And then he unbecomes what he hasn't been — what he thinks he's been, but hasn't been. You get the compounding delusion? He is — you make that very clear — he is. See, he decides he is something.

Now, how does a person get into this sort of thing in the first place? How does he ever start drifting down below 40.0, below 20.0 and so forth? Well, he starts drifting down below 40.0 merely because 40.0 is a condition where he is enormously random and there is no randomity, as far as he's concerned, exterior to him. He can do anything.

Well, he isn't anything. I mean, he's himself, that's all he is. That's plenty. If he really were himself, that'd be terrific. But he becomes something else, and then as he is cause in that, he gradually involves himself until he has to unbecome it, and he becomes the effect of it.

And you finally get a condition where — a wrestler who could whip every wrestler in the world, recklessly tying one hand behind his back and whipping people with one hand; and if he still whips them with one hand, he ties two hands behind his back and fights them with his teeth. He's got to have action, he's got to have motion. It isn't necessarily true that a thetan has to have action or motion as represented in this universe. Nor does he have to have an identity. But it is motion and it is fun.

The second law of magic is "Do not be hoist by thine own petard." In other words, don't blow yourself up with your own bomb. Don't knock your silly head off with your own wand. Because — cause and effect, cause and effect.

You'll find out that when a thetan peels down to a point where he knows he is just a concept, he is — and he has not yet attained any huge certainty for himself, but he knows this now — that certainty he has attained in that he isn't a piece of energy, he isn't a thing, he has an identity.

Well, this gives us inverted dynamics. This makes the fellow one, and then we go down a whole row of dynamics and we get to a point of where he's the effect of one. Now, this would start him out as a thetan in good working order and would finish him up on one cycle as a thetan who was being affected by a thetan that he had been. And this is a person's past sneaking up on him. This is people's avidity for studying this past.

And if he encounters this fairly low on the Tone Scale, there's only one thing really to do for him, and that's have him start mocking up ridges, and have him start mocking up anchor points, and pulling things in on himself, and building up piles of energy and masses of ridges and so forth. All of a sudden he's happy and cheerful; yeah, he's got something to do now. Boy, is he bogged down, see — relatively speaking, compared to what he is. Now, any being that can simply be where he wants to be, anyplace in the universe, it's just — phooey! See? I mean he — it's just nothing to do.

But unfortunately the past is nearly always up Tone Scale. A few generations ago, people were moving faster.

And probably the first concept he gets that makes him go a little bit off, is not the concept of "interested in something." The first concept he gets is undoubtedly — has to do with aesthetics. First, there is an aesthetic thought — just the thought is sufficiently aesthetic. And that degenerates down to an aesthetic object. And then that generates down to a contest amongst objects and individuals as to what is and what is not aesthetic, and this consideration carries solidly through to the end of track. But after a while, they don't even think they're thinking about aesthetics — they have to have reason. They've gone into effort and so on. Now, that's the highest thoughts on this.

So here we have "not look." Now, let's get how we get "not look" out of this "become and unbecome." It's very simple. If a thetan is looking at sixty miles an hour — now, just to be real crude about this, let's say his lookingness is traveling sixty miles an hour, and it meets something coming at him ninety miles an hour, his lookingness is coming back at him now thirty miles an hour. Is that right? It's real simple. If he's looking at an angle, he will simply get his attention brushed off. And the matter of fact, if he looks head-on on anything — he just starts to look head-on — his attention will be thrown off of it.

Well, boredom was the traitorous emotion. Somewhere up along the line there, he hit the emotion of boredom, and he became deathly afraid of boredom. And he thought that if he were to be completely certain and to know everything, he would be tremendously bored. And he's got these two things confused. He thinks that knowing everything and being able to do anything would, of necessity, bring about an emotional condition we know as boredom, and he's terrified of it. And there's the first fear.

Now, you can run this experiment with any individual. You can tell him simply to look around a 360 degree sphere ... You want to get somebody who is wearing glasses and tell them to do this, because he'll get it right in the face. You just tell him to look around at various depths until he finds an impression of something somewhere. And he'll say, "What kind of an impression?"

And below that, he is afraid of being afraid. That's all he can be afraid of. But above that he is afraid of being bored. He's desperate. You start to take away from a thetan — even when the thetan is pretty badly bogged down and the body has psychosomatics and he can't generate any interest in anything else, and you start to take something away from him, he'll say — oh, the thought will suddenly strike him, "Oooh, if I — if I — if I lost that, I might not have enough random action." He'll say, "I'd be bored." And he gets a terror; he gets sick.

"Well, just an impression. Just search very carefully across this sphere, see, and look very carefully up this way and really look up there."

Now, a little test of this is to put a couple of people — mock — you have him mock up a couple of people, both of them being bored, in front of him. Don't do it just because I told you to, because people sometimes become deathly ill on this. Another thing is, is he got into contest with mest space — space. He got into contest with space, and space won. Because space was something, and he was nothing. And so the space told him he had to be something, and he has locked horns, you might say, with space and space has won. So he — the thetan believes completely that he is nothing.

"What do you mean, look at the walls and so forth?"

But the trick that has been pulled on him — that he's pulled on himself — is: he doesn't have the right to be nothing. So, another thing that'll unlock a case every once in a while . . . Did you ever run across some girl that says, "My parents trained me and I went to school and I did this, and they had so many hopes for me; and everybody was so nice to me and they expected me to be a great pianist, and (sighing) I can't." And you search in vain for the Freudian symbols and so forth — just some clue to this person's character, some hidden significance, something of the sort — to account for this feeling of ennui and inertia and horror about life.

"No. You know, kind of into the ether. You know? Just up this way." And just use some strange word so he won't look straight at mest. "And just search it very carefully."

Well, she's already stated it. I mean, there isn't any hidden significance to it, beyond the fact that they expected her to be something — to be a thing, you see. And she tried and tried and tried, and she couldn't be a thing.

And he'll start looking, you know, and he'll look upon it all of a sudden, he'll look — bang, see? Right in the eyes. Nearly every time.

There isn't any thetan — this is the one impossibility, evidently, is there isn't a thetan that's ever been created or has ever created himself or just with a small puff, came into being — there isn't one of them who can be anything. You see, he really can't be a piece of energy. Why? Because he's causative — he generates energy. And every time he tries to be a piece of energy, he then has to be awfully quiet; because if he suddenly — suddenly huffs and puffs, he'll blow his house in — right away.

I've done this on people and they've cursed me for an hour. "Look at various distances." There's stuff waiting out on the fringe of consciousness, you see? Perception has to do with impressions and particles and so forth. And when that velocity hits one of these ridges sitting out there — we don't have to know too much about ridges, that's just another barrier.

You get the worst V (resistive V level case, occluded and so forth) that you ever ran into, you get the very worst one and you start breathing a little bit — have him generate some energy — and he will find all kinds of emotions and reasons and everything why he mustn't generate any energy. Because he, you see, is being a thing, and that thing will be destroyed if he actually generates any causation. And there's his anatomy, you might say, right there. But he, being an effect, is convinced that he is the thing which has had the effect upon it. In other words, he is a thing which can be an effect.

People get happy about ridges, by the way, and they start validating ridges and validating ridges, and they just get more and more ridges, and the ridges get heavier and heavier and thicker and thicker and more of them. Anytime you start validating something too heavily it has a tendency to become real, because that's the way things are created. So this stuff up here can get solider and solider and solider and solider until, boy, a fellow can't move. He can make air — you can actually, by concept, make air so solid that you kind of have to walk through a room as though you were at the bottom of the sea. You can just get real solid, I mean, everything can get. . . What are you doing? You're just packing it up.

He isn't any such thing. That happens to be impossible.

All right. Now, this not lookingness — he gets off there and he takes a look up here someplace, and he looks up here someplace and he looks up here someplace, and all of a sudden he'll hit one of these ridges and it'll discharge. Because it's only his perception that can discharge it. It's set up there to discharge. When? Some past date. And he's just carrying it forward and he probably has a machine mocking it up all the time, see? Real smart. Real cute. New automaticity. And he looks at it, and he sets this thing off.

You get somebody who is getting electronics — electronics is keying in, keying in, keying in and he's got facsimiles flying all over the place. In other words, these energy pictures are slapping him all over — it's energy starvation. The energy starvation, however, on the part of a thetan is — he must be something. See, that's the — that's what makes energy starvation. He has to be something — he can't relax. He has no right to be nothing. And that sounds backwards, but that's what's — what's wrong with an energy starvation case. Anybody that's having trouble with energy starvation, you can even use as crude a technique as match-terminaling in brackets "the right to be nothing." And all of a sudden, "Gee, you know, I don't — I don't have to be anything. Gosh! I — I could be a — I could be a bum. I could be — I could walk down the street, I got a perfect right to lie down in the gutter and starve to death. I — I can go around the back doors and beg. I can wear rags. I can be impolite to people. It doesn't matter what I do, because I have a perfect right to be nothing."

Well, the way this thing was set up to operate was every time his perception went across a certain subject, he has a bunch of lighted relay stations ... If you figured out the perimeter around a preclear as the coast of the United States with the preclear in the center of it, and every time his attention went on certain subjects or looked in certain directions, that attention — because he saves energy, you see — is then shunted to every lighthouse on every coast in the United States and activates every machine that's there. And that's the way he triggers all these things off and keeps going. Oh, he's a complex piece of machinery, that's right. By blowing up the United States you would, of course, dispense with the lighthouses, but this is a little rigorous. Because he can't dispense with all these lighthouses instantly. You can simply get him to take over control of these lighthouses. It doesn't take too long to get them in fairly good working order. He's — there's only a few lighthouses that get him into trouble. He swears they're lighthouses, too — they're "real important," and they're "just what he needs," and so on.

Very often a case relaxes, just on that. Because that is an essential truth. And when he realizes it, of course, it is a piece of the greatest certainty there is.

But what do you know, that perimeter — if you could just set down a bigger United States, with bigger coasts, in addition to the first one, with a whole new set of lighthouses, they're getting slightly activated too. Now we get a bigger United States, you see, and we get more coasts — this is actually apparent if you get up above some preclear and tune up your wave band, you can see these things — get more coasts, and that's a third ring now. And they get slightly activated, too, every time he thinks some kind of a thought. But if he thinks a thought that is really in that direction, why, boy, these things are going around like a pinball machine. It's real, real interesting.

And it — far from being terribly upset and discouraged and immediately afterwards becoming a bum, why, he immediately brightens up, and starts to comb his hair and clean his fingernails. Takes a little pride in things and so forth. But he's operating on a latitude.

This is not anatomy, as far as the body's concerned, but this is actually a thetan's — to some degree, his anatomy. All right.

I one time talked a fellow out of suicide when I was a kid, very interestingly. Talked him out of suicide simply by explaining to him that "Look, the death penalty — the death penalty is meted out to people who have done the extreme crime in the society. And it is the extreme penalty — they no longer torture people. And so that if you did the worst thing that you could do against law or society — you did the worst thing you could do — why, the worst they could do to you was give you the death penalty. Isn't that so?"

We get a bigger United States, and we put it down on this whole picture, you could see how this goes. Because it goes out there a couple of light-years in both directions as far as he's concerned. I mean, it's not small. It's the area he's covering, because it's his own space. See, so this is pretty big — he's a big guy.

And the fellow says, "Yep."

Well, now we get into this lookingness. Gradually he has to — in order to turn off the automatic machinery, he has to look closer. You get this? He can't look as far. Or if he has some automatic relays all set up electronically, right in close, he has to look way out all the time; he doesn't dare look up here. The second he does, he gets pinged. It's an actual physical blow that he would receive. But he receives just a trickle of it, you see. Just enough to take his attention away from it. Totally mechanical. It's as though you were asking somebody to look into the teeth of a fire hose. And this is just not going to work as far as he's concerned. So every time he starts to look toward some kind of a subject of any kind that has some automaticity and a relay station on it, his attention just goes zoonnnng, and he's off of it.

So I said, "Well, what do you want to give yourself the death penalty for, without having earned it?"

So you try to explain to the preclear, "The trouble that is wrong with you, Mr. Verypretty is — the trouble is, that you are having difficulties domestically and this upsets our processing."

And he thought that over. So he parked it on the time track. He had "committed suicide" in reserve. At any time now in the future he could, of course, complete the act; it didn't matter, you see? But he had self-determinism and a width of action for the future. He became very law-abiding. You see, it didn't matter anymore; whereas he'd had slight criminal tendencies before that time. He's been perfectly relaxed about the thing. He went on for years, and became quite successful as a radio entertainer. You might know his name.

Do you know that you'll occasionally run across one — he could, see, have a black eye, he could have his shirt half torn off him every time you called on him. He could have the police over to quiet the riot three nights a week, and he just looks at you very calmly, and he says to you, "That couldn't possibly be the trouble with my case."

Anyway, this man, you see, had achieved a higher margin of causation. You see, he was more causative. And these are just tricks, just tricks by which you all of a sudden make a thetan realize, one way or the other, that he is cause.

And you look at this boy and you say, "God's sakes. Well, what's wrong with him?"

And a process falls short when it produces the thought and the conviction that the individual is an effect. And it wins when it raises his conviction about his being cause. What's a good process? What's a bad process? Well, there you are.

Well, I'll tell you what's wrong with him: he's got so much commotion, every time he tries to look at it his attention flicks off of it. He's got a complete occlusion on it. You ask him what he had for breakfast — if he's having a rough time in the family or something like that, he doesn't know what he had for breakfast. "Well, all right. What gas station did you last stop at to fuel your car?"

You could be very obtuse about it and talk about randomity and automaticity and so forth. But these are — that's bric-a-brac compared to this other: certainty.

"Oh, well down there at 9th and Chester, and I — and so forth. Attendant down there named Joe. Got 9.1 gallons and the cost was so many dollars and so many cents. Ha-ha! And it was 10:32 in the afternoon and the date was the 8th. That was a Wednesday."

Now, what's certainty? Causation. Now, here's a low-level certainty: A swordsman takes a rapier and is able, while he is standing some feet from the target, to pick up his right foot and drop the rapier immediately into a pinpoint bull's-eye. That is certainty. That is competence. In essence, that is the measurement of the efforts and locations and distances necessary to make two points coincide at a certain instant in time. And that is really a low-level certainty. That is certainty in terms of motion.

You say, "Boy, what a sharpie!" And then you say, "Well now, to take up your domestic affairs."

Now, there is above all this certainty in terms of motion and certainty of geographical location — you see, he has to know where something is before he can perform such an act — is the certainty of "whereness." And above that certainty of whereness, is the certainty of just being certain. Certain of being certain. Are you certain of being certain? And if there's any fast process under the sun, it is just simply the process of being certain that you're certain. I mean, if you could just all of a sudden adjust a setscrew or something in the left radar lobe of the thetan and he would then immediately become certain that he was certain, why, he would do all right.

"I'm not having any domestic trouble."

So, things like prefrontal lobotomies, electric shock, automobile accidents and so forth, are tolerated in the society. Why? He at least gets the low-level — the lowest level certainty there is, of course, is the certainty of impact: He at least gets awfully certain all of a sudden that he's not there, see — which tells him he's not.

Well now, that is putting something in a highly extreme form — very extreme form — with a pc.

Now, if you have an occluded case, you can run this technique with some success on the case. It's quite interesting. "Now look into that blackness," you tell him, "and find four points where you are not." And of course, there's an infinite number of points in that blackness where he isn't. "I'm not there. I'm not there. I'm not there and I'm not there and . . . Gee, you know, I'm not there! What do you know! I'm not there."

But let's just narrow this down into what actually occurs with regard to this — I mean, that does occur, but this person goes around all the time — all the time, I mean, he's got this button. You just have to run the button on him. Just tell him, as an auditor, that he must run this button, see. We say, "All right. Now run this button of 'people's wives departing from them; people's wives and people's husbands departing from them.'And that's the button you should run on this next case. Now, when you finish up the session and so forth, want to make sure by the time you finish the session that you at least run that button."

Now, if you think about it for a moment, one doesn't do this well with MEST eyes, because mest eyes aren't too adequate as locaters. But nevertheless, you get a person who is real — real, real poor, real bad off, and you start to say, "What room?" and he all of a sudden has to look at the room, and he finds some real object in the room, what he's actually saying is, "Look, there is a wall, and I am not in it." You see, "I'm not in the barrier" is the game — "I'm not there." And this is the — in the final analysis, is the whole drill: "I'm not there. I'm not there. I'm not there. I'm not there. I'm not there." So on, so on, so on, so-and-so. Real simple.

He'll say, "Sure. You betcha. Yep. Yep."

Now, that of course gets him out of impacts. It also has a tendency to occasionally flip an impact through — swish, crunch — and he gets a lovely somatic. But the person who can't see as a thetan prefers somatics, because they tell him again where something is. He has a certainty that he has a somatic, and the somatic is that geographical direction from him. When he's real bad off he thinks he is the somatic. But even that is better than being nothing.

And you run against the preclear a couple of days later, preclear's walking around, "Huh, what wall, what room?" See? And nothing's been done for him, you see.

Anything's better than nothing according to his . . . He has become so terrified of being nothing — because he might be bored, because he has no right to be nothing — that he just overbalances the whole problem.

And you say — go out, get ahold of this auditor: "What'd you run in that session?"

Now, the reason he doesn't remember past lives is again on this same vein: he doesn't because he's had to be convincing. And this is the other thing which everybody's demanded of everybody else — that they be convinced. "Convincing" is just a reason why. It starts originally as an impact and winds up as a logic. So we've got a reason why — a reason why of this, and a reason why of that and so forth.

"Oh just what you told me."

And if you want to beat to death any piece of logic — I don't care if it is in the field of physics, I don't care where it lies, or if it applies to railroad bridges or anything else — it has an essential frailty: there is an unreasonable assumption at the beginning or the end of any chain of logic, completely unreasonable assumption. And you can take any piece of engineering, any piece of chemistry, and just run it back to the completely unreasonable assumption, and the fellow says, "Oh well, you're going too far!"

"What did I tell you to run?"

You say, "Well, just a minute," you say, "the science of physics is a science and so on, and it starts from this and that." And you just run it back one step further than they started it.

"Oh, you said to do a little bit of Straightwire, next-to-the-last list. And you said to run some Step I, Orienting Straightwire, and I did that. And then I double-terminaled his difficulty with his liver and so on."

And of course they say, "That's unfair."

And you say, "Well how about husbands and wives departing from him?"

Why is it unfair? Well, it exposes the fact that it is simply a chain of assumptions. And what it is, is a chain of the agreements which we have come to realize — realize is reality. And that chain of agreements as it goes back, of course, is very beautifully laid out.

"Oh, I — I guess I just — there wasn't time in the session." Now we've got a reason, see? He's got to justify it. "There wasn't time in the session" — and he may even invent one to make himself completely right and say, "I tried to run it, but so-and-so."

Physics is the study of barriers. If they — if anybody had ever classified it as the study of barriers, it would be about eighteen times as workable as it is right now. The study of barriers.

You can take auditor-preclear teams that have failed and get two E-Meters, and you can ask the preclear what the auditor's been running on him, and the auditor's machine will clong, clong, clong and the preclear's machine will sit steady even though it hasn't been run out.

You take weights and balances and so forth — well, what sort of a barrier is required to, and what sort of a mass is required to? In other words, what do you have to dream up to dream up something else so that you could dream up something?

The auditor, because of this — unless he's snapped well up the line — is always running out of preclears what should be run out of the auditor; because of this difficulty of lookingness.

The test of this is, is people who go into physics and science — all due respect to people present — people who go into it, keep going into this "There's got to be something; there must be something; there must be something and it must be reasonable."

Now, let's take lookingness in symbols. We can understand human behavior in terms of lookingness; we've advanced an awful long way — that's what I'm trying to show you here very briefly. We say to this person, "Where did you get that hat?"

Now, actually, a thetan is totally capable of doing this mock-up. I mean, thetans are good at it and bad at it, but they're totally capable of doing the most fabulous mock-ups in terms of agreements. And boy, can they prove things! And so we get this concatenation of logic which finally winds up as a very concrete science. But why is it concrete? It's because it's the science of barriers. It's, how do we agree to make agreements which will convince us at last that there are limitations and barriers, so we can have a game.

And they say, "Oh, hats are brighter colored this year. And I asked my aunt about hats. And you know, she used to be in the style business. She was in New York and she — long time she was a dress designer. She has some of the loveliest dresses and so on, and she used to particularly take a great deal of pains in matching them up with shoes and so forth. And by the way, I think I've got to go down the street and get a shine."

Now, as we go down in physics and we get down to the electron — they're being very careful these days not to look too hard, because of course there isn't any electron there. Have to be real careful of that one! They get down to the biggest something they have ever encountered and find nothing, you see. And a physicist is — if he's really convinced that physics is physics and that is all there is and so forth, he gets convinced that he's an effect of this stuff, and that it's real, and he knows he's nothing. And then he gets down and he starts looking for the basic somethingness, and he's indulging in a search for something. And it's always a search for something, rather than a search for nothing. And he gets down to the base of it, and he's up against that conclusion — he's got to conclude somehow or other.

What you said was, "Where did you get the hat?" See, this is real fun.

Sir James Jean for instance, he "sciencifies" all of his life — lovely word, terrifically descriptive of such a guy. He "sciencifies" all his life and when he gets down to the final notch, he says, "Well, think I'm screwed up anyway — all must have happened on the explosion of an atom."

Now, if you just look at this in Homo sap, it becomes very, very amusing as a game. You ask him, "Does this streetcar go to Poplar Place?"

"Hey, where'd you get the atom?" you can say immediately. Only he never quite answered that question. He never dared wipe out that possibility that there was one atom. He'd reduced the whole universe to one atom. Well, where'd he get the atom? Where that come from? And you're immediately at the unreasonable assumption — even of Sir James Jeans.

"Oh, it's about twenty-five minutes."

All right. Oh, most scientists just toss in the sponge, buy thick glasses, try not to perceive anything real, and say, "Well, in the final analysis, the prime mover unmoved — God — started it all." They get to this point. They run through complete atheism finally back to an inverted eighth dynamic and lie there over their test tubes cowering slightly at having tampered with God's material. And there sits God right in the middle of the test tube — themselves!

"Twenty-five minutes to where?"

Oh, a thetan can do wonderful and marvelous things. What he survives that he himself does to himself is far more remarkable than what he survives that is merely done to him from some outside source. How he can survive what he does to himself — I'm very puzzled. I am. I've seen fellows going in for hypnotism and going in for this and going in for that; and then I pop them out of their heads, finally get them out, you see, and they don't like this. So they immediately start mocking up more machinery and more complication, and they're all bogged down about three days later.

"Well, it's about twenty-five minutes out on the line here."

That's why somebody took a license and said, "Well, now a fellow has to make up his mind to be Clear and then he's Clear. And if he'll just make up his mind to be Clear, then he'll be Clear, and that's all he can do. But at first he has to make up his mind to be Clear. And that's what's Clear."

"What is?"

Gave a talk on that one time — the first hour I said all you had to do was make up your mind to be Clear and you could be Clear, and there was no reason why you couldn't do this. And then spent the second hour of the lecture — which nobody has ever played since — and it's stating the innumerable reasons why one just simply can't make up his mind to be Clear and be Clear. Nobody ever listened to the second tape. (audience laughter)

"Poplar Place — oh, we don't go there, that's the other streetcar."

Now, it hasn't very much to do with it. You'll find a person coming up the line sooner or later, if you process him, he'll make up his mind, "Yeah, why not!" He kind of looks around carefully and cautiously and he says, "There's enough randomity around. Yeah, I can sacrifice a little bit of randomity, little bit of identity. I'll be cleared — providing it isn't too unlimited." And then he says to somebody, "Now the trouble with clearing is it's an absolute term. And you've made an absolute term out of it."

You say, "Ahhhhhh!"

Of course, anytime you try to move anything even vaguely resembling an absolute in on a thetan, you are moving nothing in upon nothing, and you've really got a bad time of it. All right.

You've just asked him about something that he just couldn't look at, that's all, which is locational position. Locations, positions and so forth. So he went off into time and he went off into something else.

Just giving you some basic essentials here as we go over this. Giving you some sort of an idea of the character of the beast and the direct target of processing. And that target is to increase the causation of the thetan. Not necessarily decrease the effect — we can just neglect that. If we really want to, we can just neglect it utterly, and our boy will be in good shape. But if we neglect his being causative and specialize over here in effect, we might as well just neglect the boy, because we'll bury him. You see that?

Well, if you look at people who are real bad off, if this is their attention, they're going this way, here's the center of the case — here's the buttons and buttons and buttons. So we look at them and their attention . . . We say, "Look at the ashtray" (and we'll just say that "ashtray" is really what should happen on that case), "Look at the ashtray," and his attention — this hand line here, see — goes up here and psheewww! Over here is a connecting thing which says, "cigarettes," and he'll say, "I don't know. When I was quite young I used to play with matches."

So let's take the first three steps and see that they're somewhat causative, and then they start concentrating on geographical locations and making space and so forth, and the last four are trying to get him out of being an effect. And the whole kit and caboodle is designated in one direction, is to give him some certainty. And the whole thing is characterized by the fact that in Scientology, we have various kinds of barriers. And as these barriers arrive, knowingness becomes lookingness, becomes feelingness, becomes effort, becomes thinkingness, becomes lookingness, becomes feelingness.

You say, "This is probably an ashtray. Now, take a look at this ashtray and let's see whether or not we can't pick up something about your mother, and get a little Straightwire on your mother and so forth. All right. Now, just let's recall a time . . ." See, his attention, all the time you're talking since the word "mother," is idling like this, you see. "Now, let's get a time when your mother spanked you."

You get the DEI cycle as we go down this Tone Scale? See? Desire, Enforce, Inhibit. Desire, Enforce, Inhibit. Desire, Enforce, Inhibit. Each one: stage, stage, stage, stage, stage — we got the cycles of action there. Your basic cycle of action is in terms of perception and motion. And of course, perception is communication, because we have a transfer of particles. So we were right there on: Feeling is condensed looking. Effort is condensed feeling. Thinking is condensed effort. So far we go — we've got thinkingness now, but it's not very serious until thinkingness starts to get down here below 4.0. And boy at 4.0, you start in on the basis of looking with mest eyes, feeling with mest emotions — and here we go, see. Now we get thinking, and of course that's a circuit.

"Well, I don't think that's what's wrong with my case. Actually, it's a question of matches. I remember being punished and then afterwards I was sick for a long time."

"Well, I get along all right," the preclear says, "but — except I hear my mother's voice all the time cautioning me, you know, about it."

Now, an auditor will do this. He'll have a case in progress, the case will be coming along very well, case will be doing all right in terms of communication. The auditor adjudication of the speed of communication of the case says the case is progressing. That's all an auditor needs to know. And boy, before very long we ought to know real well what this is all about, so we don't have to ask somebody how he feels. You ask people how they feel now, to be courteous, not because you don't know. You know and then you ask. Just to be courteous; just because man talks that way. Not because you have to find out. So we ask him, "Do you feel better today?"

And you say, "About what?"

"Well, I don't know. I had an awfully bad night last night. I haven't had a bad night for a year."

"Well, just about things, you know. I say something and then this other little circuit tunes in and somebody says, 'Heh-heh-heh-heh-heh,' and repeats it."

Is he trying to be insulting? No, he sure isn't trying to be insulting. The fact of the matter is you've asked him about his condition and that's one thing he can't face. He's totally justifying, trying to look for some justification of condition. Why is he looking for justification? Because he's got logic machinery sitting around. And he flips in this direction and it shoots him off over in this direction, and he pings a couple of these relay stations and that clicks a couple more things and above all this — "How wrong can you get? Dead." So he has to be right somewhat, so he has to tell you he's alive and this means he has to be right, so he explains to you how right he is.

So we get down that far, we're too deep into an effect. And you're trying to move a preclear — not at the top — to top at knowingness: you won't ever audit him up there. You won't audit him from 20.0 up. He'll be gone by the time you succeed that. He — one day, without probably even shaking you by the hand, he'll all of a sudden not be present. You'll call up his wife and — something of the sort, and you find out that — well, there's — he went on a trip and so forth.

And you ask somebody, "Are you going to the theater tonight?" And he'll very often tell you how alive he is. Just routinely. And you ask somebody if he's eaten yet, he'll tell you how alive he is.

I mean, everybody comes around and says, "Show us a Clear."

But if he considers this discourteous, he will tell you about how dead he is, kind of threateningly, or needing energy or sympathy. In other words, he goes off into computations, pang! pang! pang! All of this thinkingness sets up because his lookingness collapses on a certain subject. So he thinks. And then he doesn't know what he's thinking about. And then that inverts and he finds himself looking at something else. And then eventually that other thing inverts, and so he's looking at something else.

I say, "Well I've got one in a cage, right here. He consented to be in a cage and . . ." (audience laughter) Oh yeah?

Psychology, our unlamented predecessor. We have nothing to do with psychology. Psychology is the study of the human brain and stimulus-response mechanisms, and its code word was, "man, to be happy, must adjust to his environment." In other words, man, to be happy, must be a total effect.

There's two classes of this. On a lower harmonic — I don't want to give the idea all your Theta Clears will shove off, they won't. But on a lower harmonic, he's so anxious to get out of the body, and so frightened of being an effect, that he does — to be British — he does a bunk. He just scrams.

It was almost fatal, by the way, to run into that and tell somebody he has to start making the best of it and putting up with things and taking a rest, and that'll fix him right up.

You say, this perfectly sweet girl; she's generally — generally — or boy, and generally they're a little bit nagging about life, a little bit plaintive about life, but you hardly ever suspect. And all of a sudden you say to them, "Be three feet back of your head" — there they go past Arcturus! And you'll sit there, pleading with them for a half an hour, "Move your hand. Come back enough to move your hand."

Well, anyway, we have this problem coming up continually where you have distracted attention. This is one method of distracting attention. The other method of distracting attention, of course, is to pull it in, in some other direction.

"The hell with it. I don't want anything to do with that body. It's a body. Somebody gave me a chance to leave and I'm gone!"

Now, in psychology they neglect the factor of causation, because they neglect — they're treating the human body and trying to understand the human body. So they, of course, are not looking at that thing which monitors a human body. It's the thetan, so they never would have found the thetan. Furthermore, the thetan works like radar. Radar is much closer to it than MEST eyes.

One preclear in particular, that — his auditor said, "Think of your child. Think of your child. Get your . . . You know, how will your baby get along if you don't come back?"

Mest eyes depend on light coming in and hitting and agitating something or other for the GE to see. But what do you know — you never look at what the GE sees. I don't know why you use one. You don't feel what he feels, see what he sees, nothing. See, this is a real weirdie. You've got viewpoints dropped over the iris, and you've got hearing points over the eardrums and you've got feeling points over the fingertips and along the nerve lines you've got stations set up so that you can feel what he feels, but you never get a relay from the GE. That's real interesting, isn't it?

The body just — plop, see. Completely inert. Just completely deserted.

You can monitor a GE if you want to and turn him into nip-ups because he's a total effect — practically total effect. So that you generate any kind of energy, you're going to affect him one way or the other. But you're not doing anything with the energy, normally, that you have to have in order to run the GE and that sort of thing. Once upon a time you could probably just run one. You know, it didn't have to eat, nothing — you just mock up a body.

"Think — think of your husband. Think of your mother. Your father. Your obligation to the society." For half an hour, see, he goes on talking to this inanimate body that's just plopped, like it was stuffed with rags or something.

There's a certain shame — the first shame on the track, by the way, is when a person no longer is able to generate enough energy to run something — when he starts to eat and get the energy from someplace else. Eating is your first dog down; then below that level he can't make up new mock-ups just pang! pang! pang! so sex is invented as a substitute for eating and to continue lines of mock-ups.

And finally, at the last, the auditor got a tremendous inspiration and he said, "Well, think of your poor auditor!"

All right. When we look at lookingness, we are looking at the same time at its collapsed states, which is feelingness, effort, thinkingness, and not thinkingness. And every time we look at lookingness, we're looking at geographical position. And you'll get so darn sick and tired of geographical position. Because as far as this universe, and as far as three universes are concerned, the key to them is contained in the Prelogics.

And the person straightened up and said, "All right." (audience laughter)

The first thing theta does is create space and time and objects in them, and — creates, see. And then the next thing it does is locate things. See, it just creates these things. But that is locational itself, and then it locates things in space and time.

That's doing a bunk. Nobody's done a bunk on us over here. But that doesn't mean it won't happen. Swish! Two light-years past Arcturus, and still going!

You get a preclear to start locating things in the barriers of the mest universe. It's just as valuable to get him to locate things in other people's universes, by the way.

Another thing is, they very often — and this has happened over here, they — very often you say, "Be two feet back of your head."

We have three universes, all locational. Viewpoint of dimension. The moment we're into space, we're into location. And the second somebody tells you that he is "lost mentally" or "feels lost," it's because he's not looking at something. You see, first he didn't know, and then he had to look. First he said he didn't know, and he said he'd look, and then he didn't know and he did look, and then he couldn't look, and then he decided that he'd better feel, and then he wanted to feel so he couldn't really look anymore, and he started on down — and here goes your pc. Each time he tries to look, his attention is shunted off someplace else.

They say, "All right." And then, splash! and they stick on the ceiling or something, and they get involved in the light fixtures, and they don't know which is right side up and which is upside down. And every time they start to move back toward the body or in any direction and so forth, the room will invert again. And their gravity — they've done an inversion on gravity, and up is down and so on, and they're having an awful time. That's real bad state of confusion — everything is inverted.

So I give you buttons to run this morning — that's what we're getting around to — and, of course, here and there you avoided running the key buttons, see? You run the Tone Scale buttons because they were all written down. Well, a very important button there is "ridicule." You see, you — here and there, in the offices over there, you dropped ridicule. I mean, it's very neat. That's — "Huuuuhhhh! No, not ridicule!"

Those are the only things you're liable to run into that might be perplexing early in the course. If you run into anything like that, why, just give me a ring. I'm always available, and I can audit somebody back. Put the telephone up to their ears. I've done that often enough.

Now, instructing on any such subject as this, using the symbols which comprise the English language, which of course is a symbol relay system itself (it's quite remarkable that we get across anything on a symbol relay system), we use these buttons and point them up and we get drills in progress, and the next thing you know we're running into one of these "not looks."

Well anyway, the next thing I want to give you here in a hurry is the immediate drill which I want you to take up today. We're going to break the class into two units, just to speed cases in general. But we're going to do, not Group Auditing on this assignment, we're going to do individualized auditing — team auditing. And we're going to do this drill. And we're going to do it until everybody in the Second Unit is perfect at it — and I mean perfect! And it may take us a couple of days, maybe three days, but let's get real perfect at this.

Well, you could be very, very uncomfortable if you simply were crushed into looking. Boy, we could bust the watch real royally — smash! And the way to really get a busted watch is to have somebody else look for you. You know, go around and clean up somebody else's bank for them. You can do that.

Put the whole Tone Scale as represented in the Handbook for Preclears — you know that chart in there? It has, over on the margin, it's got several extra emotions. Put the whole Tone Scale and feel it back from any and every mest object you could possibly contact and connect with. And hang out the window and throw it into — make, put that — emotions, various emotions, into people, and each time get it to a point where you can feel them back; until you're absolutely certain the emotion is in that person, and that you do feel it back. And so that one can put the second dynamic sensation into mest objects and people, and feel it back with such liberality as to leave no slightest doubt in his mind that it is really — there's lots of it and it's not scarce, and he doesn't have to hang on to a body until the end of time just because of it.

You can go down the street and a little crippled boy is hobbling along and you all of a sudden turn his leg red-hot, stretch out the bones, straighten it up and he goes, throws away the crutch. You can do this if you're hot enough. But it — does it do him any good, really, in the long run? No, it doesn't. Wonder why? Boy, has he been an effect, but royally! You made him more of an effect than he was before; so you crippled his own self-determinism to some degree. He'll have a straight leg, but he'll wonder after a while if it isn't better to have a broken back.

And that will speed up Theta Clearing like bullets out of a gun. That's right, because that's a lot of the reason people are being very careful of the body. And it's a lot of reason why people have bogged down, because of that doggone second dynamic sensation. It's a condensation of lookingness which inhibits people from perceiving.

So when you interfere with self-determinism to that degree you get into trouble. That doesn't matter, it doesn't mean you shouldn't do it. I mean, I'm just telling you what I know so ... You can sure produce an effect.

I'm not knocking it apart, you understand. But I'm just saying the idea of trying to get this — trying to get it out of a body is, boy, that is — that's really a complicated problem for somebody. I mean, that was the silliest idea anybody ever had. The body has — it's fairly condensed, and lots of it. And the first time a thetan hit a body, pam! You see, that's the basic on blanketing. And an individual has to be very — you as an auditor have to be careful of that one, to make sure that the person is making it into these objects.

Now, we have, in any of this instruction, the process of reversing the line of agreement, which comprises a state not as able as it should be. Now, somewhere up the line, one attains a state of balance on cause and effect which gives him a sufficiency of barriers to enjoy the game. And not so many barriers that he's now not enjoying it, see. If you have too many barriers, why, it's being in jail. And if you have not enough barriers, why, no motion, no action.

And how do you do it? You do it on just gradient scales. That's all. You just put a little bit of these various basic emotions, which are very easy for the preclear: center line — little bit of resentment — you know, take it easy. Little bit of resentment, little tiny bit of boredom, so on, until you're real — build it up. And then get the extreme emotions finally, like enthusiasm, apathy, terror and so on. Boy, what it does for a case to all of a sudden be able to look at a MEST object and it's radiating terror — but I mean radiating terror!

So as we look up the line here, we're going up against the past. The past is running at higher speed than the present. Why is this? Let's take the fellow who runs a piano. He learns to run this piano; this is in the year 1722. Now, by the way, he's dead — he's wanted to be real convincing now — he died in 1745. He died real dead. Boy, was it convincing, his body was tramped by a horse and he was completely mangled. There was no doubt in anybody's mind he was dead. By the way, you'll find him holding on to this impact and so on, occasionally, when he needs to be reassured. See, it's: He's not there, he's there, he's not there, he's there, he's not there... You've got a "maybe" at work, but you also, between these two things, have the certainty of impact. No doubt in anybody's mind that they were hit.

Of course, the final analysis of this is, you go down — you get real good at this, as good as you're going to have to get in the next two or three days. You get as good at this — I don't care whether you do it interior or exterior. If you can do it while exteriorized, wonderful; if you have — aren't exteriorized yet, well, do it anyway, because it won't mess up the bank. You can get to a point where you will suddenly look at somebody that's walking down the street and you say, "Terror," and feel it back.

You can go back down through a person's lifetime and you'll find a lot of these impacts sitting around — boy, there's no doubt in their mind that they were hit. In other words, something produced an effect upon them. They're more certain about what they hit, though, if they're in pretty good shape, because they've certainly produced an effect on something else.

(Recording ends abruptly)

Well anyway, this fellow could play this piano back here in 1722, and he played the piano very beautifully and he was very fast — clavichord or something of the sort. And he — just gorgeous, you see. I mean he — artist. Real fast and terrific virtuosity, and the best there was and all of that sort of thing. And that life's all gone. That's laid away. Doesn't remember. We only live but once, the beautiful sadness of that. He's been very convincing.

Death is a sort of an accusation. You say, "Boy, did you produce an effect upon me and a bad effect too. And all of your effects are bad, damn you. Because look how dead I am." Of course a person who can remember is not dead, see? So, of course, a person who's dead is dead, if you want to really be convincing.

So in 1940, why, Mama puts this person down to the piano and says, "Now, you've got to practice for two hours a day and you'll be a good piano player. And I've got a good teacher for you, and it cost a lot of money to buy this piano. We're paying five dollars a month for it. And we're paying umpteen dollars for the course of lessons. Now practice on the piano." And the kid — very happy, see.

And he starts monkeying around with the piano. Bum-bum-bum-bum, bum-dum-dum-dum. He starts monkeying around and they show him a piece of music he's supposed to play, and he looks at this music, and it sure doesn't look right to him — looks awful funny. He doesn't pay any attention to the music, to hell with the music. And he finally gets it down to where he's got a boogie beat down here, see, on the bass; and he gets this boogie beat and he's getting real interested and the piano teacher says, "No!"

And Mama says, "My God! We're trying to teach you to be a concert pianist, Oswald." And he tries this a couple of more times, you know, kind of speedy, and he'll just have to slow down. He's supposed to read music and he's supposed to do this and he's supposed to do that. In other words, instructingly, they're making an effect out of him — crush, crush, crush, crush, crush, crush!

All of a sudden he starts to play the piano one day, and he gets sick! He gets real sick. He doesn't know what on Earth has hit him. Nobody else does either. But he doesn't look at the piano; he can't tell anybody it's the piano. He doesn't know it's the piano. And this is your mechanism of the hypnotized subject unable to look at the tie signal of the hypnotist, as you'll find in Book One. You know, the fellow says, "When I touch my tie, you'll take off your left shoe." The hypnotized subject never sees the motion; he just doesn't look at it. All right.

We have this poor kid there, sitting in a fast ridge of terrific automaticity. Oh, if just left by himself, he could have sorted through so he could have learned a piano without ever contacting that ridge. But now, by being an effect — this "he has to learn" — they've got to set up all of his piano playing automatically, and as soon as it's being set up automatically according to music, in comes the old ridge. And the second we've got an old ridge coming in on him, it's moving faster than he is, and it goes boom! And boy, don't think it doesn't go boom. All of the automaticity about piano playing — he can't play that fast.

Then we get, every once in a while, a child wonder. He sits down at the piano, two years old, and pangity-pang-pang, Mozart and Brahms, zing-zing-boom-bong.

Or you get a kid four years old, and he all of a sudden starts talking ancient tongues. Somebody listens to him for a while and says, "My God, do you realize that you're talking algebra?" And he doesn't see anything peculiar about it at all. Just some old automatic ridge.

Well, sometimes they can handle them; mostly they can't. And when it caves in, it caves in but hard. It's running faster than they are. All right.

In the course of study, as we go up along the line, we are continually pushing the preclear to look at things which are running faster than we have the preclear running. So if your cases hang fire at any time, you're just auditing too slow, and using too slow a technique. Speed has everything to do with it. So that the fellow can't look quickly, you see — he doesn't look speedily, he doesn't carve through anything, his attention goes off in some other direction.

Techniques, as they are developed, make a very integrated picture. Extremely integrated, actually, since they are all designed to pick it up at the easiest end and reclaim with the least excitation of unhandled automaticity.

You know, a fellow's memory starts going to pot by handling automaticity and so forth, unless it's being handled by an auditor, and handled very well.

(Recording ends abruptly)