Okay. And this is the first afternoon hour of November the 19th. And this afternoon I wish to assure the ladies and gentlemen present, they better get in and pitch.

And this is November the 19, first morning lecture. This morning we're going to talk about cause and effect.

In spite of your feeling of irresponsibility towards your people, just roll up your sleeves; because I think everyone of you is absolutely, completely and wholly and totally and only responsible for the states of case of everybody else present. That is something that would be calculated — if you didn't look at it the right way — to bog everybody down. Well, it'll bog you down unless you bog everybody up! So this is a case of bootstrap lifting. Operation Bootstrap that you hear going around the field, I was talking about a couple of years ago. And I said, saltily — we were out there in Kansas — it's boots with stuff on them. (audience laughter)

It's about time we talked about cause and effect as it applies immediately to space and flows. Anytime processes put a person too deeply into space and energy, they have a tendency to fail. They give the preclear a very rough time, because he is immediately into the problem of cause and effect.

Anyway, we have a little problem, a little problem. That problem consists of just that effect. And when we analys, give an analysis to this problem — we look it over from every angle and we hold it up and we try to shoot significance under it and over it and around it — we can look straight back to the answer at the first line in the Factors: "Cause to produce an effect." All right.

The definition of cause would be source. The definition of effect would be receipt-point and what is received at receipt-point. The word is dual, in that it can be descriptive of what is receiving (a person is an effect) and of what he is receiving (the material produced an effect, you see, or was effective). You just use it in those categories, and then apply it immediately to communication. Communication: he who writes and mails the letter is cause, and he who reads — receives and reads the letter is the effect on a communication channel. That's very simple, isn't it? All right.

When people slide over onto reception of effect, they don't exteriorize, because they're on the receiving end. Just that. I mean, what do I mean by receiving end? If I picked up a — took off a shoe and threw it at the wall, the wall was on the receiving end, see? Well, I'm throwing the shoe at the wall. The wall's on the receiving end; so is the shoe on the receiving end. Now, the shoe is on the sending end at the moment I throw it and on the receiving end at the moment it hits the wall, right? Any thetan who considers himself a communication particle, or who is himself more anxious to receive effects, so forth, is analogous to that shoe. He wants somebody to throw him and receive him.

There isn't any reason why there has to be any distance between cause and effect. Distance is an arbitrary: it is introducing the matter of location.

Well, how do we bail somebody out of this state? We push him up to being more cause and less effect. The final analysis, all this is based on postulates.

So, let's look at this very sanely and recognize that where the MEST universe is concerned, it is an effort toward the separateness, stretched apart between cause and effect by a distance. And the maintenance of this distance is one of the primary efforts on the part of an individual. A maintenance of distance. Then after a while, he has too much distance and he starts to close distance.

I was working on something this morning that I've worked on many times before and it was as successful this morning as it has always been, and that is on the basis of postulates — of effect that mustn't be unmade.

The first downfall of any individual comes about when he desires to be an effect. And there is a postulate sitting on anybody's track, in this lifetime and in earlier lifetimes again and again, and the earliest severe postulate on the track, which is "I want to be an effect." And this is immediately preceded by the "curiosity about an effect."

How do you suppose this stuff keeps standing up? Why do you suppose a preclear starts breathing a sigh of relief on this stuff every time he finds out it doesn't fall down? Means his postulates are good, that's all. It's mocked up and not supposed to be unmocked.

A thetan does not need to be an effect. He operates primarily as cause. But if he is continuously cause, continuously cause, he begins to suffer from a lack of randomity.

You're mocked up as cases and you're not supposed to be unmocked. And the basic postulate on this whole line is "Mock it up so good that it can't be unmocked." And then you never added also: "It can be unmocked by me." You just never added that. Slight omission!

We do not know that randomity is absolutely necessary. This, again, is a matter of space and motion. A thetan does not get along well with motion. Because his attention is so fixed upon motion in this universe — upon space and upon motion — it is difficult for him to conceive a state of beingness which does not depend upon space and motion. This is a matter of too much fixed attention. Yet such states exist. He immediately characterizes such a state, however, as a motionless state, you see? Again, we've got an absence of motion as the descriptive state. Stillness is defined as something which is not moving. And in this universe we batter around from one corner of it to the other fighting along with communication channels which have to do solely with cause and effect in terms of space-energy factors. A thetan doesn't do well on them. But that's all right, he could be rehabilitated so he does do well on them.

It's a lack of trust. A lack of trust, in the final analysis, in yourself. You're afraid someday you'll carelessly fall over a tomato can or something and accidentally unmock everything and then not know how to mock it up again. And you'll know how to mock it up.

Now, if one were to get a number of people — mock up a number of people agreeing with a number of people on the subject of "must have an effect," he has keyed the prime button of all buttons. Now, I told you that a 50 percent offensive potential and a 50 percent defensive potential were necessary to something like an optimum randomity. This is demonstrated in infantry action, it's demonstrated in national defense, it's demonstrated in any kind of activity in the mest universe which is activity, because it's a characteristic of motion in this universe: 50 percent holding, 50 percent attacking. When that ratio is overbalanced, a person begins to lose. And when it's overbalanced toward all attacking, a person begins to suffer from boredom. And when it's overbalanced on the basis of defense, he begins to suffer from an overdose of effect. And they just hold harder and harder and become more and more rigid.

How do you know how to mock it up? Well, if you're unwilling to look at somebody else's universe or through somebody else's perceptions — if you're unwilling to do this, you'll never know how to mock it up again, will you? Isn't that a grim thought? You won't ever know how it looks.

Optimum mental, physical, spiritual, whatever you want to call it — but beingness, certainly — in this universe consists of 50 percent attack and 50 percent defense; 50 percent cause, 50 percent effect. If you understand that thoroughly in all of its implications, the entire field of behavior will spread out before you like a map. It's the first line of the Factors.

People, when they're fairly high on the band, like very much to have other people around. They'll always know how to mock it up. All they've got to do is to take a squint at the universe and pang!

Now, a person begins to resist being an effect, and here we go! There it goes! He begins to resist being effect. It will eventually put him in a situation where every facsimile he has, every effect he has caused, will itself collapse on him. You see that? Because he resists it, he has to match its wavelength and if he matches its wavelength he has to fight it off. But he has machinery which is causing him to be an effect, and so he's fighting his own machinery. And that means he's putting his energy into it; and the more energy he puts into it, the more the machinery goes into action and operation, and the more of an effect he becomes. This should be tremendously obvious.

Now, a lot of people are playing the dirty trick of hiding their own universes to such an extent that nobody else will know how to mock it up. And a lot of other people are playing it to such an extent that they have chosen themselves out of groups to such a degree that if they ever forget now, they're done. Because they can't look at somebody else's conception of what it is and so get it mocked up once more. So, for lack of trust in self and so on, people say, "All right, now it is mocked up and it will resist all effects. It is mocked up and will resist all effects." Unmocking it is an effect.

A person has had this great difficulty with effects in the past. Let's take a being who is surrounded by enormous space. There is space and space and space and space. And he puts out a wave and it just keeps going forever and it never comes back. Oh, no! A fellow operating in space opera gets into the most — he gets into the most frantic sort of a condition that you could imagine. He gets to a point where he starts using electronics, zap guns, heavily contained, armored ships. The crews go in and get automatic implantations the moment they step through the airlock after leaving the planet. I mean they just walk up off the planetary ground and into the ship and pang! they get an automatic implant that tells them they're loyal, they're not supposed to go beyond certain points in the ship, that makes their wavelength so-and-so and so-and-so. Or they just fall into their bunks and the first moment they're in their bunks, why, a gadget-gimmick opens up right over the bunk and it starts giving them a good, solid effect. It gives them barriers, in other words, it gives them bounce boards — they love them. Hate is the thing; it's hate that characterizes space opera.

In fact, the only effect it can receive after it's mocked up is to be altered or unmocked. Those are the only effects it can receive, see? It can't be mocked up again, once you've set up something that mocks it up. It's real cute — you can take a piece of mest and you can go this way, and you say, "Look, it's real." All right, that big postulate there — "It will resist all effects." It's sitting on your right ear, on your left ear, on the tip of your nose, on the top of your head and tips of your toes, in your shoes, in the clothes closet, in the bedroom, the attic, the skies, the heavens, all the stars — everyplace. It's sitting up here. It's sitting there for everybody else. Mustn't be unmocked, which is, "It must resist all effects."

Now, down here on Earth where a person has — is being subjected to the effects of bodies, gravity, all the rest of the solider aspects of energy, he of course has to specialize in love so as to melt some of this stuff down. So you get the farmers and the good people on planets and so forth, and they're all sitting around trying to figure this religious universe out from a basis of love, love, love, love, love — be kind to your neighbor, don't do unto others what you don't want undone, and so on. And they go around, and they mock up big brassy halos for themselves and they talk about love, love, love, love, love.

Now you expect somebody to carve into your bank and by preferably necromancy, unmock it? The compound of machinery, the compound of effects, which now must never receive another effect. "It must never happen again" is another variation of stating "It must resist that effect. I must resist that effect."

And then somebody amongst them gets into restim or somebody lands out of space opera, and brother, all hell breaks loose. Restim: somebody just gets . . . Not just space opera, that's just — I just throw that in to give you some kind of an idea of the desperation of men who have — the shortest little jaunt they take is four or five light-years, see. You know, just down to the grocery store to get a cup of coffee. No bouncing boards.

You run into a brick wall, and it damages the skull and it injures the beauty or something of the sort, and you pull off of it and you say, "Boy, that must never happen again." And so it becomes a landmark. "It must never happen again. I must resist that effect." And then you go on a little bit further and, you see, something else happens and you say, "Well, I must resist that effect. That effect must never happen again." Resist the effect. Resist the effect.

Well, on the planet they've been trying to melt down all barriers because they've got too many — too many limitations, too many sounding boards, too much bounce, too much echo. And where they don't have any, they're trying to put them there. And you put them there with hate and you take them down with love — if you've got to use energy. If you have to use energy. The value of energy is overstrained. (coughing in audience)

And so we have these postulates. So a person cannot even unmock his own postulates. I've tested this once more, and it was very delightful to me that this is still holding true. And it's been going on for many months. I, every once in a while, test out this postulate and then I kind of have a tendency to forget it and then I'll pick it up again because it seems so obvious to me.

Now, I didn't expect this to — the talk I'm giving here this morning is going to restimulate a few coughs. You know, I never worry too much about coughs early in the course, but I begin to wonder about them a little bit on into a course. And I'd better tell you what a cough is. (This is not any mean effort and I hope you won't take it as a gibe.) But I better tell you what a cough is because people will go around and they'll run every technique in the book trying to get rid of some cough, see. They'll just run it and run it and run it and run it and run it. And it just hasn't any — these techniques just don't seem to be effective against this cough, see.

As a matter of fact, I upset the preclear I was working this morning for the excellent reason that I almost have hysterics every time somebody does this. It's so weird! It's like giving somebody a glass of water to drink and then have them getting very puzzled over this glass of water. They — what are they drinking? And they start holding a long dissertation, or something of this sort, on whether this is water or isn't water and so on.

Well, get the idea of a cough being — in terms of effect — (slurping sound). See? The guy is saying, "Give me. Give me. Effect. Effect. Got to be an effect. Got to be an effect." That's the only button he's on. Well, of course, when he gets it in effect he says, "Boo!" and then he'll rig up a machine that'll say, "Boo!" at him. (coughing) It'll return to him (audience laughter) — it'll return to him all of his effects because he can't waste any effects. And of course, the primary one — you think I was going to say sex, but it's not sex; I'll get around to that in a moment — the primary one is aesthetics. Starvation for beauty causes a cough. Secondary, when a person can't have beauty anymore, he can have sex and it comes in on the second dynamic. Those are the two things you process, in that order — beauty and sex — in order to get rid of a cough. Or you process them, for a person who has a really bad cough, sex and then beauty. You see that? Very illustrative of this. A person is pulling in all of the effects which he has put out. And it's very surprising, every once in a while somebody comes along . . .

Do that trick this way: You have a person sectionally unmock his body where it's sitting — after you've had him unmock enough other things in the room around him and in the universe around him so that you're sure he can unmock things. So you have him unmock a lock of hair and then one ear and so on, and put it back each time, and then unmock it and mock it up, and mock it and unmock it — and go on with the body, gradually, until he's perfectly willing to see a completely empty chair. And of course, that's the trick: the chair is completely empty. All right. It is. It's — for him, the chair is completely empty. If he unmocked it for you, too, you wouldn't see him at all. But you don't bother to go into that end of the technique because that's just adding more to it.

By the way, a wonderful way to throw somebody's automaticity just down the spout is to ask him: "How do you do it?" Isn't that cute? Guy's got a wonderful machine, he's — for years he's gone on learning to be a bricklayer. You see, he's gotten to the point where he can slap the mortar up there and slap the bricks on and slap the mortar and slap the brick and slap the mortar and slap the brick — very artistically. The mortar has, you see, a certain curve as it comes by and takes — I mean, the trowel, as it takes off the excess mortar, you see, and it pats everything into line, and it breaks bricks just so, and so on. He goes — he's a beautiful bricklaying machine. And he's been doing this for years, and suddenly somebody comes along someday and says, "How do you do that?" And the worst thing happens, somebody gives him an apprentice who keeps saying all the time, "How do you do that? How do you do that?" see. After a while the guy wonders how in the name of God he possibly ever laid a brick in his life, see? Dependency on automaticity. All right.

Now, the point we have here is that as you unmock the body and mock it up again and unmock it and mock it up again, have him mock up several more bodies of various kinds in the chair, and then you go on this one: "Now mock up a body that will resist all effects." You just shoot this to him, see? You get various reactions on the first one. Sometimes the body doesn't appear again. So you say, "Now mock one up that resists all effects," and they just get no body. Of course, that is the best body in the world to resist all effects.

Let's take up the question of the actor. Oh, the nuances, the thisas and thatas — he's got every role he ever played set up as an automaticity. So he goes on the stage and robotizes for an hour or two — or in Hollywood, thirty seconds or a minute before the camera. Oh, and boy do those poor Hollywood actors have Fac One keyed in. Oooooh! Cameras, cameras, cameras, cameras, Fac One, Fac One. They all answer up on it just perfectly. And it's very funny that Superman — the boy that's playing Superman on TV has the Assumption in full restimulation. Yeah, fat! Anyway, he's really caved in. Look at him next time. He — that guy'd have no more chance of getting out of his body than if you put a — I mean, he's about the worst thetan they could have found to play the role. Anyway, a lot of people have asked him, "How do you do it?"

And then you insist that they put a body there that will resist all effects, and they will put some kind of an idea of themselves there — the thetan. See? That's real good. Now you say, "Unmock it." They stay there, of course. And then it's like you've handed somebody a glass of water who is very thirsty and they keep asking you, "Well, what do I do with it?" And it just gets that silly.

Now, that's the way you cave in automatic machinery. If you ever feel disturbed or if you can remember a time in your life when somebody disturbed you by suddenly looking at you and saying, "How do you do it?" and that disturbed you, you're clued right there.

I — every time I do this it just appears to be very funny to me. They try to unmock it and they try to unmock it, and you, actually, every once in a while have to call it sharply to their attention — which is why I'm lecturing on it rather than giving you the Group Processing — call it to their attention: "Look! Hey! Well, what postulate did you mock it up with?"

How do you get rid of that? Create-destroy. Waste (usually in this sequence) — waste, save, accept, desire, be curious about, in brackets, the machine that was doing it for you. And then create and destroy the machine. And then make them that really work and throw them away, and that automaticity has blown up. You probably — each one of you probably has a time, if you just thought it over, when somebody said, "How do you do that?" and disturbed the devil out of it.

"Well, it will resist all effects," they'll say.

I know I ran into that in this lifetime. I — evidently someplace down the line, something I was doing had to do with sculpting, and I was doing an excellent job of sculpting. I was about — oh, I don't know, five, six years old, and I had made a whole menagerie. And a complete menagerie — was made out of clay, baked and so forth. And I draped them around and painted them up and so forth. But never occurred to me that this was strange, unusual or that anybody should be wondering about this menagerie. But the tigers were tigers, you know, and it was a menagerie, and all of a sudden my mother, of all pieces, asked me how I did it. It caved me in. I haven't touched a piece of clay since! You see? Just an automatic machine.

"Is 'unmocking' an effect?"

How do you blow up somebody else's automatic machinery? Just be very solicitous and very sympathetic about how they're doing it. Also be very solicitous and sympathetic about what's wrong with them. That caves in their automatic psychosomatic machinery. Being solicitous about their health, you see? That makes them think their health isn't under their own control, and it sets it up an automaticity on the subject of illness. You see that?

"Oh, yeah ... Yes."

All right. Now somebody comes along to me every once in a while and says, "How do you keep on giving all these lectures and talking always about this and that and so on?" The funny part about me, I'm perfectly willing to listen. As a matter of fact, I probably listen harder than anybody else. Because very few people say anything to me, truth of the matter is. People speak to me sort of on the fly — hello, goodbye and so forth — and nobody ever sits down and says to me, "You know, I think that Alden yachts sail terrible." Nobody ever says that sort of thing to me, you know. I never get in an argument about things anymore. This is very bad. Because every time you do a lot of talking, you're going to get the effect of all of your own words — they'll just start hitting you in the teeth when you've done too much talking.

"Well, now unmock it."

Oh, I didn't ever have much of a problem on this. It never came up as such, as a writer, on words, till an awful lot of people started showing up asking me, "How do you manage to write the number of stories you write? How do you do this, you know?" Heh-heh! And boy, I had enough automaticities set up there — wham! see? And talking and lecturing never bothered me, and Scientology, Dianetics never bothered me, till somebody started popping up in front of me saying, "How do you possibly keep coming up with data? And how do you keep on talking about it so long?" And I did a couple of blinks. It caved in a couple of ridges.

"It doesn't unmock."

And so I went around trying to figure out a little bit just how the dickens you undid this. I'm in a — I have been, all during this processing and so forth, since the beginning, in a little worse state than somebody who is getting a process for which they're not responsible.

You want to see somebody not look at something, why, just pull this on a pc that knows nothing about it at all, and boy, you talk about not look at something — that just keeps eluding them. Keeps eluding them. You put this red sign in front of their face and say, "Look," see, and they just don't look at all.

They always talk, you know, about "physician heal thyself," which is a sarcastic backhand slap. Because history tells you that anybody who has origi­nated anything in the society has been blown up by it. The boy who discovered puerperal fever, by the way, died from it, and so on. Anybody who pioneers in the society goes by the boards sooner or later. Well, I don't evidently seem to be going by the boards — this makes people curious. (audience laughter)

So after a while they suddenly catch on, "Oh, yeah, I said it would resist all effect. And unmocking it is an effect, and if it resists all effects, why, then of course I can't unmock it. What do you know!" It should be, "It will resist all effects except my efforts to unmock or change it." Except my efforts. See? Never add that.

That's simply because in the past, as rough problems have turned up, I was working on very secure basics and it was only necessary to throw together the ingredients of the secure basics and move the things out. Furthermore, I was in the fortunate condition where normally it was just a matter of changing my own mind about something, and that was effective as a process. That's all there was to it.

That's because, you see, they're in a desperate condition, usually, when they make this. Every once in a while they get real desperately bored, see — they make something like this. Put up some barriers and limitations, and now they're going to resist all effects, see, that's part of the game. Screens, barriers. Now, back of these black screens and so forth, some of you've been running this morning and so forth, there is that: "It must not be destroyed," which is, "resist all effects." Now, when you put "must not be destroyed," and you alter that to "must resist all effects," you see, then, why it doesn't unmock.

But when they talk about the number of ridges you've set up, see, and say, "How do you do it?" and then a couple of ridges cave in and you don't quite know what's happened to you, well, the best remedy would, of course, be the one that picked up — one of the best ones on any of this is just "end of cycle." You don't quite see how end of cycle and beginning of cycle might apply as a solid process to almost anything, but it does. It's a wonderful test process. You just start throwing things, as a finality, up until one works. And I found out that in this case, eating reels of tape was the end of cycle. So I just mocked up my stomach full of tape, that's all, and digested the tape. And it keyed right on out. As a matter of fact, the next few times that I talked, why, I was more lucid than before. I wasn't tired and had no somatics at all.

Now, when you go down the track, then, and you just start shooting this postulate out, you could — there's many ways you can handle it: You can double-terminal the darn postulate. You can start making it up in bales. Of course the best thing to do, is just have the person continue to unmock something and then mock something up in its place which must resist all effects, and then make him unmock it. And you'll just continue to do this. And you do it with mest and you do it with other people, you can do it with everything until he just keeps busting his own postulate. And all of a sudden he says, "Well, the heck with it, that postulate isn't that rigid. (snap) Great." See? You're returning to him, with this drill of mock and unmock: "Now you mock something up to resist all effects, and then unmock it."

Why is this? I mean, why would you have such a simple process as this? Well, it's just that, you see, you put out an awful lot of stuff and nothing ever comes back in on the channel. And nobody stands around telling me about Dianetics or Scientology, which makes a stuck flow. The stuff goes onto tapes and goes into facsimiles and that sort of thing, so you just make yourself eat it — simple. I mean, you get back the thing. After I'd eaten a couple of thousand reels, why, I was having, for a short time, a hard time remembering what the hell I'd ever talked about.

Now, sometimes you have to slip it to the preclear pretty strong. You say, "Now resist all effects. Now get real determination there. You're going to — that's really going to work now. Okay." And then get him — unmock it.

And it was very interesting that the — I could get this facsimile speedup. I get this very easily — run facsimiles at ten, twelve, fifteen times the speed that they're supposed to go at. You know, run off birth: First labor pain, bada-zuzz-zuh-rmm-um-umm-mmm — eyes, bang! See? With all the voices going at that same pitch, see? Which makes the doctor's voice, the nurse's voice, something like that. Pick up one of these facsimiles and just pull it through very quick in order to speed up time on it. And it's yub-ya-dub-dewa-dee-wowo-ja-geewowo — goes through. If you want to know how it sounds, it sounds just like a tape recorder which is running about five, ten times its natural speed; just a scream of high uneven vibration. Anyhow, it's quite intelligible and runs out.

That's why this stuff gets so permanent. That's why your own bank gets so darn permanent, why the case doesn't want to alter and so on.

Well, when I did this I found, oddly enough, that the only times that really turned up as aberrative was when somebody had accidentally kicked a tape back at me. You know? Somebody turns on a tape recorder as I'm about to talk, or something of the sort and there's — he turns it on to play and the thing has still got some tape on it of what I was saying and it comes back and it says, "Baba-wawa-wawa-sum-tum-hum-hum." I'm about to talk and something else talks which is exactly on that wavelength. And these things showed up just crash, crash, crash, see, the second I started to eat some tape. Because it all wasn't on the subject of tape. You'd have thought that eating audiences or having audiences leap at you or something would have been the remedy. That is, for an actor. If you'll just have him mock up audience leaping across the footlights and eating him, he generally reaches his end of cycle on the thing. That's what he's been expecting to have happen for some time. But it isn't as general as that.

Well, if something is going to resist all effects, and you've got a machine which duplicates all effects, and that machine is going to resist all effects, it's just going to keep on duplicating, duplicating, duplicating each and every effect, isn't it? So when a bad effect happens to you, why, it'll duplicate you, just as nice. Duplicate. Duplicate. Duplicate. Duplicate. It'll make facsimiles and they cave in on you, and it'll make ridges and they'll cave in on you, and everything. And all these things that it makes probably are going to resist all effects too. It probably makes everything and puts the postulate into it secondhand, you see. Well, that's real good. Okay.

The only aberrative things are those things which come closest to Q and A. Because those are the only actual things there are. What is a microphone? A microphone is a microphone, see? I mean, that's the right answer. On cause and effect, you only get a restimulation when the same wave comes back and hits you. You see that?

Right here early with this unit, let's just do the basic drills, whether we understand them or think they work or don't think they work or anything else. And let's do them in a group, so that we bust the third dynamic at the same time. Let's bust through on that third dynamic. Because anybody who's playing the "only one," to any degree whatsoever, best medicine I can hand him at all is to share with the group this process. Now, you bust the three then, without even looking at it further. Pick oneself up by the scruff of the neck and shove oneself into the group and do the group some good, and be done some good. And you've all of a sudden given the guy back a new pattern in case he forgets it all. See, he's perfectly willing then to enter somebody else's universe and take a look: "Oh, well, that's the way it looks!" Bang! Duplicate! "There it is again (panting) — mest."

Now, a person, then, has to be willing, he has to be able to put out so much cause, he has to be able to put out a lot of cause to live! And he has to be willing to receive an equal amount of effect. Now, you got that?

Now, how do you make something unmock? Well, you don't just tell the fellow, "Now look at this room. Now unmock it." First step, see? Bog! You tell him to look at some simple object which has very little value in the room and have him make it get thinner and thicker and thinner and thicker and thinner and thicker; less visible, more visible, less visible, more visible, on a tiny gradient scale until it gets thin, thin, thin, thin, thin, thin, now thick, thick, thick, thick, thin, thin, thin, thin, thin. He'll begin to argue with you after a while: "Why don't you let me make it disappear!"

Now, you noticed when you were first doing this exercise of putting something in the wall, you might have said you put it there but you didn't feel any of it back. No, thank you! You didn't even think you put it there because you didn't feel it back, a lot of times, on various things. Is that right? All right.

You say, "All right. Unmock it."

The only reason you don't want to put it there is because you're liable to get it back. Get the difference? And when you yourself are putting in, as cause, an effect into something which is now going to come back to you — mm! That's what's wrong with the whole track.

He will. After that he has very little trouble unmocking MEST.

Now, the dirtiest tricks were in the earliest portion of the track. And you find somebody putting up an aesthetic mock-up and he'd just put it up, you see, and then start to get a look at it, when he'd be hit by what he got confused about, which he thought was the effect he got from it. I want you to get this one very carefully, because we're going into the field of aesthetics and they lie instantly and immediately below knowingness. Aesthetics — an aesthetic thought can exist and an aesthetic object in space can exist. So we take a look at this thing, and we see this fellow put up an aesthetic mock-up — this is a process I'm telling you about, not an illustration. He puts up an aesthetic mock-up and somebody that he didn't know was there, hits him in the teeth with blackness. Hits him or anything else he has in his vicinity. You got this? They don't just hit the mock-up. So he thinks that his own effect from a beautiful mock-up is to be hit in the teeth with blackness.

Now, he does this best with his eyes shut, because the mest eyes are so convinced. And they're really convinced — there's no sense in putting that additional arbitrary in it. If he's still in his body, let him do it with his eyes shut. You'll find out all these processes are more effective with the eyes shut than they are with the eyes open. All of them. If the world is so black that a fellow can see absolutely nothing with his eyes shut, just have him start mocking things up black — it won't stay that way very long — because he's taking over the automaticity which is making the whole world black. All right.

And that's what's wrong with a case that's starved for beauty. They'll put up something and they're scared stiff if they suddenly see it. Every once in a while they do this, you know, they see this — all of a sudden a three-dimensional mock-up that they've put up there and they said, "(gasp) No!" Well, that would come under the head of successive engrams, whereby practically everything they have has been knocked flooey. They've put up a beautiful mock-up.

So we've got this problem of gradient scale again. If you can't do it all, do a little of it. You see? And nobody can do it all. All right, let's do a little of it. How little is a little of it? It's as little as he can handle and win. How much is too much of it? It's as much as he can't handle and win. That's how much too much of it is concerned. It's enough to make him lose is too much. How much is enough? Enough to let him win. You say, "Unmock it." All right, the guy can't unmock anything in the room. Boy, he's got persistence like mad, you see? He can't unmock anything in the room. Well, have him mock something up and say it isn't there.

Now, what is a thetan trying to do in terms of space? He's trying to, actually, to put up as beautiful a mock-up as he can put up, whether he makes it out of mest or his own energy — put up as beautiful a mock-up as he can put up and have it go through graceful evolutions. That's what he's trying to do. And he is, to some degree, particularly when he gets a little antagonistic about it, at a little bit lower than that, he's trying to keep others from putting up mock-ups so beautiful that his won't get any attention. And between those two combinations, you have motive.

"Well, you didn't unmock it, it wasn't there in the first place. Well, you said it was there, so there's an implication that it was there."

And don't go looking into the dung heaps of life for a motive. Leave that up to the boys that have been back on the track. Don't go looking into the sewer systems and the sordid byroads, so on, of people's lives to find out what aberrated them. They were unable to put up something beautiful. And when they had bad consequences for having done this, they caved in. And there's where you find cause and effect basic-basic. And that's what we're looking for.

"Well, yes."

The first thing that they were doing was they were trying to think a beautiful thought or something, you see. And the next in, they were trying to be more convincing by putting up something that was beautiful that had an effect on themselves. The evolution of. You see how this is? Fellow puts up a beautiful mock-up and he's hit in the teeth with blackness. And he thinks, after a while — he gets so goofy and his attention gets so knocked around by this operation, that he is afraid to put up a beautiful mock-up. Because he puts up the beautiful mock-up and he gets hit in the teeth with blackness. So he gets it crossed. He actually is working on a short circuit and this is the short circuit the mind is working on. Not any other more important short circuit. It's just the fact that he thinks if he puts up something beautiful, why, he's going to be hit with blackness from it. You see, it was a hidden influence that hit him with the blackness, but he can't be sure that it wasn't that beautiful mock-up.

"All right. Now put something else up, and say, quick, that it isn't there."

Actually, all the protection he will ever have is beauty. The protection he will have has nothing whatsoever to do with a strong arm. He who lives by the sword is said to die by the sword. Of course, he who doesn't live by the sword dies much faster. But he who lives by beauty lives.

And in such a wise you can get him to unmock some mock-ups. Or you can just start in and have some tiny part of mest disappear. Once in a while he'll catch himself — he'll find out that the way he's making things unmock is by putting fog around them or he is squinting his eyes so that he won't look at that part of them, you know. Or he's dropping a black band in some fashion or another.

Now, the most horrible button that I've run on some preclears — just horrible — is "Every time I put up something beautiful, it's spoiled." That is the button amongst buttons. It's generally so rough that you have to play it back and forth in many variations. Many variations, such as, "Every time somebody else puts up something beautiful, I can't destroy it." And back and forth in all of its ramifications, in order to knock it to pieces. Otherwise he simply runs away from the button itself. He just does the most tremendous duck and dodge imaginable. But I've spilled grief off of preclears with that button.

Now, a person who has blackness — is handling blackness — is using it to use an occlusion instead of an unmock. Now, they don't think they can unmock something, so they're damn well not going to let anything appear because there's too much there already. They have chosen their own machinery for their randomity. In other words, everything has gotten so automatic they can't handle it anymore. But sitting back of everything is that postulate, "must resist all effects."

Now, how do you do it? When addressed toward something which has to do with beauty, it's terrific. Because the basic purpose of the machinery is to, one, set up something beautiful, and two, destroy something competitively beautiful. That's the basic modus operandi on the most fundamental machine there is.

"All right, I now create this room and it must resist all effects." Then somebody comes in and paints it. Fellow walks in the next time and he looks at it and he says, "(gasp) Urrrh, I'm wrong!"

Now, that was automatic then. Now, the next thing he does is he wants to receive an effect from something beautiful. Now, he'll receive an effect from other people's beautiful things with great ease and aplomb until those things are used in order to trap what beautiful things he has and smear them in.

You go down the street, knock on any door, and ask the family if they get upset when Mama moves around the furniture. They all do. You see? They had it all mocked up to resist all effects and then somebody changed some tiny little portion of it.

In other words, a contest starts out — a sort of a beauty contest at the beginning of track — and it starts knocking around and after a while, every time he puts up something beautiful, somebody hits him in the face with ink or plows him in. And after a while he gets to a point where he'll only put up beautiful things as facsimiles. And after a while, he puts up only beautiful things as a memory of facsimiles. And he finally gets a machine that makes pictures of effects which he has had so as not to have to enter into the contest of.

There's nothing unhappier than a preclear from whom this hasn't been clipped, if you've changed him any. He's mocked up to resist all effects. Now you, you dog — you come along and, over his already-for-many-years-dead body, produce an effect. And he doesn't like you! That means your postulates are tougher than his postulates, and this mustn't be. So we have a contest of whose postulates are going to "out-postulates" the other postulates — on this basis alone: The pc, actually, has lost track of what's wrong with him. That's all. He's just lost track of the channel of agreement that got him where he is.

Now, you'll see immediately that most people are worried about a dwindling spiral on this basis: the dwindling spiral is itself a mean and vicious thing. Well, how does it come about? It's trying to pull in as much effect as one has put out as cause. And this inevitably winds up as what? This winds up as the inflow of the mest universe on one hand, and it winds up as a pull-in of the whole bank on the other hand. You see that? So it's always a shortening distance. It's like surveying: in surveying you cannot make a lengthening error. There's only shortening errors possible. For instance, the survey chain, when put a little bit off the pins of the survey stations which are being measured — anytime it goes immediately off an exact straight line, from pin to pin or station to station, it's shorter. So it's one of these continuous shortening errors.

Now he tries to go back — he's like a hunter who encounters a strange wood and dispenses with any guide whatsoever, and goes thrashing through the woods and doesn't leave any blaze marks. Steps off all the trails, forgets all of his woodcraft and wood lore, and frantically, suddenly, finds himself in a clearing half starved to death. And doesn't know which way is north, south, east or west — or if he did know, he wouldn't know where the settlement is, and if he didn't know those two, he wouldn't be able to survive in the woods. He's just lost, and thrown away all of the guideposts because, you see, he didn't trust himself. So we have a situation obtaining there where everything must resist all effects. And, of course, that's — includes him.

Well, similarly, we have a shortening error: when we put out a cause and we want to get back an effect, we find out that the weaker the cause, the less distance one can achieve from effect. See? I mean, if you have a weak cause and you try to put it out there eight miles, you are not going to get the effect back from it. A weak cause has to go out there two feet, or something, you see. Very weak cause has to go out there two feet, and a person can receive an effect from something two feet away. Then they get along to a point where they can only receive effect from zero distance. Well, that's cause-effect instantaneous. Impact is cause-effect instantaneous. And when a person can only trust what he feels, he's into that band — instantaneous cause and effect. That's effort.

You see why we're doing the drills of turning things various colors? Turning — pardon me, I'm going to add that today: into the emotional line and so forth, you must put all the colors. In addition to emotion and ridicule and love and hate and so forth, these other emotions, then just start changing things different colors. I mean mest objects. And then change them different colors in brackets, and you'll learn quite a bit. You find out that you'll object to Joe suddenly becoming chartreuse. Because that's this postulate. And by these drills we're just going to bust that postulate out of the whole flam-damn track, that's all.

Now, we have then, as a drill, first putting out this anything — blackness, ridicule, anything else you can think of in terms of energy — into the wall until people are perfectly willing to stand up to pretty darn strong causes. And we do this on a gradient scale. They can stand up to their own strong causes. You see, they were originally convinced — what crossed up their machinery originally: They thought they were being the effect of their own cause, consistently and continually, and that their own cause — every time they tried to put out beauty, they got ugliness back, you see? They put up something beautiful and they got hit in the teeth with blackness or they got hit in the teeth with ugliness of some sort. In other words, they were convinced that the effect of their own actions was bad, by somebody short-circuiting or misevaluating or misinterpreting their actions.

You can't unmake a facsimile very easily — can't unmake a facsimile very easily — if the facsimile is sitting there and you're still convinced that your postulates are stretched out in time, and that on this mysterious time track (which you have never traveled, never will travel) everything must resist all effects. That's the conservation of energy.

That's why people hate to be responsible. It means — being responsible simply means you have to have the effect you have caused. The whole police of the mest universe, in whatever uniform, wearing whatever tin star and chewing whatever tobacco, are interested only in one thing — just one thing. And they're saying, just like a lot of puppets: "You must be the effect of what you cause, unless it's desirable, and then you can't have it." Their motto is "Anything bad that is caused must find the person the effect who caused it." And as it's left up to them to say what's bad, the sky is the limit. But you find all sorts of things against the law.

I told you because particles wouldn't be destroyed, the engineer, the scientist — who wines and dines through all of his days, living hard by this conservation of energy — we can channel it, we can conduit it, we could make it into different compounds, but it must resist all effect! Day by day, he's sold on this "it must resist all effect." He goes around and proves it to everybody. He says, "Now look, we take this log of wood, and we measure it carefully, we weigh it carefully, and then we burn it and we save its ash and we save the residues of its smoke, and we put these all in a pile and we demonstrate to you absolutely and conclusively that it weighs just the same as it did before."

You'll find, in this society, anything beautiful against the law. Just check them over and you'll find out somehow or other there are terrific limitations against doing anything that is very graceful or something. People get real mad in this society, you see, if you go on and try to live an aesthetic or graceful existence. Well, you just try it — you get your throat cut every time. You're supposed to be — you're supposed to be socially acceptable.

By the way, it doesn't. He accounts for this with heat loss. He just — just begs this stuff to resist all effect. And then he goes on happily working with it, trying to produce effects with it, trying to produce an effect with something that's supposed to resist all effects.

In view of the fact that many things are inhibited, you run Acceptance Level Processing, you'll find out what is acceptable to most people in terms of what mock-ups suddenly are absorbed by their bank. This is what they'll look at and this is what they'll pay attention to. And it goes down lower and lower and lower. What is forbidden, in other words — that thing which is forbidden becomes a scarcity and at length becomes so scarce that one can't have it at all. Because he doesn't think it exists, after that he can't have it.

So he's at once validating and invalidating himself and he rides this tremendous maybe to a point where he can't undo his own postulates. Because that's the basic postulate. He's validating it all the time. He and his fellow engineers are around showing each other, "Look, isn't this cute: it resists all effect. Well, yep." The way to have an automobile is to have it go along very fast and resist all effect.

So people have machines that unmock their own beautiful things. Because if they're put up there and somebody sees them, the person himself, the viewpoint or anything else which he has, will be under attack. This society dramatizes that just gorgeously. Real crazy people do nothing but just prowl on the outskirts of anything that has dared to put up anything beautiful.

Persistence is our motto. You see, persistence is actually the center of the curve. There is create, survive and destroy, as the curve of action. And that's create, persist, so on. So the mission on which life is engaged, is apparently, while life is being lived, "survive." But it will end on a curve with destroy — it will destroy or it will be destroyed — and it begins, of course, with create. And you want to get off persistence, you've got to rehabilitate creation. If you want to rehabilitate creativeness, you've got to get off persistence. So, you've got to be able to alter things.

And they just prowl on the outskirts of it, just waiting. Grrrr! Bunch of saber-toothed tigers — if they were that strong — but they're not. They're about the same strength level as worms. And their idea of destroying something beautiful is to rob its planking. mest universe is very good at that. Very good at that.

Well, the more we chug into this, and the more we alter directly, and know we are altering, the flavor, color, shape, size and particularly the emotional pattern and appearance (see, you're ready for color now, because we're up into appearance), why, he just starts breaking out of the line that beautiful postulate: "must resist all effects" — conservation of energy. "Must have an effect," he thinks, "must have an effect, must have an effect, must have an effect."

Now, this is a sort of a punishment sort of a thing, when a fellow gets into a universe which is almost total inflow. And of course he goes down scale like mad. The only thing to do is to know how to balance it out. And there are many ways to balance it out.

And then after a while, he gets to the point — when the case is bad off, he's gotten to the point where "I must resist all effects," and he keys that in, and the effect "to have an effect," keys out. So he starts losing all of his sexual enjoyment, he starts losing all kinds of fine things which he had in the past emotionally, and these things disappear and he complains about it.

And this drill, which we're running here, is strictly a matter of cause and effect. And actually has the exact purpose of expanding the distance over which a person is willing to be cause and receive an effect. Let's get it, then, close up and far away. What he considers to be bad effects — rage, apathy, terror, all these low-scale effects — let's get them real close up till he's able to get them in his teeth, see, right close up, his nose and his ears and his toes, and get mock-ups full of seething rage an eighth of an inch from him as a thetan. I mean, just torrents of rage. And so he — it pours through him. And he finds out he can stand that.

He deserted one postulate for a new postulate, and now he's got both postulates. He must receive an effect after — after he's gone along, he's lost contact with create-create-create, and so he's — then turns around and he must receive an effect, receive an effect, receive an effect, and now the effect must persist, the effect must persist. Now he must resist all effect. And there's about where everybody who is — doesn't exteriorize easily is hung up, right there.

And let him be willing to have beautiful things out there about twenty light-years and still get an effect back from them. You see which direction we go? Because right now, anything beautiful he has is held so privately and so close, that he can't display it even to himself. You see, that's got to be held real close in, and anything evil there is must be an awful long way away. So we're just going to reverse this with this process. If we've got to handle distance in terms of cause and effect, and we'll have to be able to if we're going to stay in this universe, why, the best way I know of, at this time, to go about it is simply this drill. And you start running the higher-scale emotions further out and the lower-scale emotions closer in.

How do you break this down? Just alter the stuff, alter mest, alter bodies, change their color, and then be able to unmock them enough till you can mock them up well.

Now, for instance, we make the ashtray which is sitting right next to the preclear — we have it full of apathy and so forth, until he gets that real good. And then we put the window over there that's three or four feet away from him with some joy in it. See? Actually, this is very easy to do, because the longer distances are the higher tones. Very easy to do this.

When somebody is using blackness to render other things invisible or to make things disappear — instead of making them disappear he covers them with blackness — he certainly gets an interesting-looking bank. It's a real mess. And he's unwilling to part with it, because he still might have something there. But he's unwilling to part with the blackness because he might have to make something invisible some time or another, you see, and he wouldn't have a supply of it; he has to keep that around. And the blackness was put up there originally to resist all effects. You know — protective screens. So that's the way it goes. So it's one of these problems that's a circular problem.

It's hard to do it the other way. Some people all of a sudden recognize this as they run it: "My God, I may be doing this the hard way. I'm trying to hold all the beautiful things in, you see, and put all the ugly things out, and keep them out and push them out there and hold them out there — can't do it." Because what he naturally is able to do is put beautiful things way out and beautiful things close in, and ugly things way out and ugly things close in. Because it's just his consideration of what's beautiful and what's ugly, that's all. It's very simple.

How do you break out of it? By altering. Change.

Now, I don't want you to be super-puzzled about this thing called cause and effect. A person in the same instant and instant-space can be cause and can be effect. In the same instant, you understand? Has nothing to do with distance.

Now, I show you you can unmock something by making it thinner and thicker and thinner and thicker and thinner and thicker and thinner and thicker and thinner and thicker, and all of a sudden it'll disappear. So, all right, he's made something disappear. You can actually get somebody up to a point where, with his mest eyes, he sits right there and he looks at something like this microphone and he says, "Thinner, thicker, thinner, thicker." You finally get it to a point where it doesn't get thick when he says, "Thin," you see. And eventually he'll be able to look right at — not only at the microphone but through the microphone with his mest eyes. He finds this disturbing unless he can have it back again, so you have to drill him many times into having it back again, otherwise his attention will arrest right on the point where he's supposed to see it. In order to keep from seeing it, he has to resist it, so it's still there to some degree. So you actually have to let him get it back several times before he's really willing to look right straight through it.

But now we get the universe in there and we find out by introducing the factor of distance that we have in this now, an arbitrary. It's a barrier of space. And that is the first barrier: distance. You see, no bouncing boards. Got distance, and that in itself is a barrier. And you'll find out most people will get exhausted if you start running distance. Because that's the first thing there is on the track, is too much distance and too few walls. And so they have been remedying that ever since. And boy, they remedy it up to a point where they've got all of their ridges within an eighth of an inch of themselves inside their skull and there isn't even any ridge lying outside the body. They have condensed, shall we say. And this is actually a fear of this distance without any barriers.

The action is taking place when it's there. There is no action taking place when it's not there. And he tries to put action there when it's not taking place. Yes, he wants to hold it invisible; that's real dopey, you see — it isn't there! Yet you'll see guys being very careful to keep something invisible. Well, what are they doing to it? Holding up a whole series of mirrors or something. You're trying to look at it in a crazy fashion in — so that they don't see it while they're still looking at it or ...

There are some excellent drills on this. And some of the drills which are run can be run while the preclear's in motion, which is an interesting thing. You have him walk down the street. Processing him — he's walking down the street. And he walks down the street and he — here's a little drill I was doing last night, it was very effective. There's thousands of these things, I mean, this is just one of them.

It's just like the fellow, at first, he starts putting up fog around objects or he starts occluding his eyesight or he starts stretching bands of blackness across things in order to make them disappear. So there it is, and that's the way it goes.

Walks down the sidewalk and as he walks down the sidewalk, off to the edge of the sidewalk, he puts a brick every five or six inches, see? Just as he walks, he puts a brick every five or six inches. All right. Now, when he's got that real good and he can put those bricks down real fine, why, you have him put them on the edge of the sidewalk, on the sidewalk itself — brick every five or six inches, you see. Then have him put two bricks every five or six inches. And then three bricks every five or six inches — till he gets the idea that he can build a little tiny wall, see, on the sidewalk itself.

Now, as far as the process and the patter of auditing alteration is concerned: when you alter something you make more of and less of, on a sufficient gradient scale so that the preclear can win. So he's certain there is more of it and certain there is less of it. And that's all. You work him on those scales. If he's not really certain about it, well, by golly, work with him until he — you've got it certain that there's really less of it. Not by beating him — just make him work at it.

And then have him put bricks in a chain across the sidewalk, so he actually is walking into these continuous mock-ups of bricks. And then you have these be about five feet high, and just have him walking on through them as he's putting them down, you see — repetitive walls — until he's walking through solid walls.

And every once in a while, one of these machines will show up, or something of the sort. Well boy, when they really show up, why, blow them up. Well, if he can't blow them up, well, have him dispense of them by wasting them. It's real interesting to — you would try all too fast to make an exact rote procedure out of something that is actually too high-level to be much of a communication system. See, we're trying to destroy a communication system so that we can create it at will, see? Communication systems.

Now, if you've done your earlier drills better so that he can unmock and mock things in terms of walls easily, so on, you can have him unmock the MEST universe, and just leave the brick walls and keep walking through them. In other words, you're — it's just practice in penetration of barriers. Give some guy a real weird sensation to do this. But he has to be perfectly willing to walk through barriers, have barriers and not have barriers.

People use words to hold mest out after a while, you know. You ever see somebody who was an hysterical, non sequitur conversationalist? Well, they're holding the walls and other people away from them — particularly the other people away from them — with a barrage of words. They're using it something like a pole vaulter would use a pole sometimes, too. They're holding the wall up, they're holding the door shut and so forth, with a stream of words. The other person might fall at them if they stopped talking. It's just a state of beingness.

So let's get on to the second portion of our drill. The second portion is to pay attention to mocking up bad things, right close. I mean bad emotions and sensations right close, and get the good ones further and further and further away.

There he's using a symbol. That's really goofy. (There was a time when people were using symbols to keep the mest universe apart.) You start mocking this person up with having things fall in on him — nyahh! nyahh! — he doesn't like that. And you let things fall in on him enough till he finds out he can let things fall in on him. See, you have to let him find out so he can be certain what he's doing. The essence is simplicity.

The third portion of it, of course, is just to reverse that again. Get the bad ones a long way away and the good ones right up close, until a person has this independent of distance. All right, that's the third step.

Well, all right. You ask somebody to turn something blue, and he can't turn it blue and this worries him a great deal if this thing won't turn blue. Well, have it be less blue. He's got a machine, see, that makes things unblue. He can't get it blue, so he's got something that says, "Look, it can't be blue," well, just make it less blue. And that'll put the machine into line for about a half of a turn, see, clank! It'll be less blue. Make things less black. All right, and after he's made it less blue and less blue and less blue, well, he'd make it a little more blue until you've got it back to its original color of blueness; now make it less blue again. Make it less blue. All of a sudden, he can make it blue as hell.

Now, let's get into the next real process, which is after you have mastered putting emotion, blackness, light, ridicule, so forth, into an effort, and thinking-ness into all these objects at these various distances. When you've managed that, let's go into "selective unmocking." Rather than "selective mocking."

Some people who are deeply immersed in symbolism — words will produce the most fabulous effects. They're — once in a while somebody turns up that all during his youth, for his entire youth, why, the atmosphere around Mama was blue. Every time he saw Mama, the whole atmosphere turned blue. And the auditor immediately, you see, jumps to the conclusion there must be a phrase or something there — Mama used to keep saying how blue she was. He considers that this is probable and so forth. No! This is probably not what's responsible for it. There is a deeper significance, actually, to everything being blue around Mama — it's just a shifted band, that's all.

I can assure this class that it will have a much easier time "unmocking" than "mocking." Self Analysis just simply overrides the machine and eventually keys the thing out so there's a tinkle of broken parts and a person can do mock-ups. Because he's simply taken over the operation of doing mock-ups, that's all. But let's take over unmocking and bust that machine first. Because he's got a machine that unmocks things. And he's got a machine that unmocks beautiful things, but swiftly. Anytime he puts up anything that's really pretty, something like that: "No! Don't want anything to do with it." See, because he'll be hit in the teeth by it.

Now, people who have a fixed wavelength can unfix with color. Color is different waves. So you make them shift into blue, and you make them shift into this, and you make them shift into that. The actual symptom is, is the kid wanted to run away — he kind of wanted to leave. He'd shift wavelength trying to tune Mama out. Kid didn't like Mama, see? And he'd try to shift wavelength up toward the invisible band — his effort to unmock. This is quite common, you see. It isn't the phrase at all, it's just — they just wanted to leave and didn't dare leave, and so they just shift wavelength.

The fact of the matter is, he won't be. There's nothing going to hit him in the teeth. It's true that somebody's liable to steal it or take it away if he starts making them too good. But he's never really thought of this solution, merely because he's wanted to be ornery about it, is why doesn't he make enough of them to make them a drug on the market? That'll teach people to steal his mock-ups. That is, in essence, the only safe solution. Now, people have taken that solution in other universes. They're not here. The only people that are here, have taken the reverse solution, which is "make less of them." That as a cure for theft. Theft and destruction. And that's what makes this a peculiar universe. And you can immediately see that there would be another kind of universe. All right.

Well, everybody gets — people get upset when they're not looked at. See, they get real upset about it. So our problem here is to simply get somebody to shifting wavelength which, of course, permits him again to change. After he's made something red, it is supposed to resist all effects. All right, it's supposed to resist all effects. Now you suddenly tell him, "Make it blue."

You see what that drill is? Now how would you run that drill? You just run all the things which you've been running, the complete list which you have, and make sure that early on the list — that is to say, running all these ugly and mean, wicked things and so forth that have some bite in them and so forth — you let those things get closer and closer to the preclear. Till we get resentment coming closer and closer to the preclear, see? By this: We put some resentment over there in the window, which is five feet away. Then we put some resentment in the ink bottle, which is about two feet eight and a half inches away, and a little resentment down here in the ashtray, which is only a couple of feet away. And then we put some resentment on the end of his nose and then we put some resentment in his nose, then we put some resentment in his eyes, and then we put some in his hair and we put some in his ears, then we put some in his mouth and some in his teeth and some inside his head. And we fill up the whole inside of his head with resentment — all of which he's the effect of, see? This is resentment which is an effect. And you get it as though somebody else is putting it in.

"Hmmmm! It's red, isn't it? It's supposed to resist all effects — if it's MEST, it's supposed to resist all effects. Well, that's real good, see. Huhh! You want to make it blue?"

Then, of course, you go a little bit higher on the scale, why, you say, "All right. Put some beauty in the end of your nose." By the way, most people find this impossible. Beauty that close up — I mean, that's got to be so much closer up that it doesn't exist. You'd get it much faster by: "Get the idea of no beauty exactly where you are." You just — ping, see? That's where he's got his beauty. It's gotten to "no beauty" where he is. You know, as a thetan, by instantaneous thought, no beauty where he is. That's the amount of beauty he gets. That beauty he gets out there, so forth — well, that's not real. It's nice to look at and it's attractive and the colors baffle his attention and so forth, but it isn't really real to him. The realest beauty he'll get is no beauty right where he is.

"Well, make the shadows on the redness blue."

Now, we sort of go from that on up to the point where he's really creating something — the sensation or the feeling of beauty. Because, you see, that's senior to having something beautiful so that you can look at it. The sensation of beauty or the thought that there is beauty is senior to a beautiful object. You know, space is always senior to objects.

"Hm . . . Well, what do you know? Well, they are blue."

Now, we cure up this whole thing about space. Don't be surprised if your preclear, the second you start to run extreme distances, starts to get sick. Because he's liable to. And you start running beautiful things and you get beautiful things until he's perfectly willing to mock up beautiful planets five light-years away.

"Well, all right, make them red."

Some people, of course, are inverted on the inversion on the inversion on the inversion and they just keep involuting as they go down the track and they turn over on this. So that the ugly things are all up close and the beautiful things are all far away; and then the beautiful things are all up close, and the ugly things are far away; then the ugly things are up close and the beautiful things are far away, so on. We won't pay any attention and validate that involutionary proposition. We just do this arbitrarily and just do it. Because we pick the highest echelon on the line.

"They are. They're red."

And it's time that we started putting things in things, in terms of brackets. Brackets. Now, as I said, this resentment conies right on up close to him, then you have — start having beautiful things: the idea of beauty, the feeling of beauty, in the ashtray. The feeling of beauty, peace, serenity, calmness, excitement, enthusiasm — in all — other words, everything above boredom, going further and further away as an emotion, until boy, can he get that moon up there enthusiastic. And he gets over his scarcity of emotion so that he doesn't have to have this tremendous effect all the time. And he doesn't have to have it from somebody else. But do it in brackets.

"Well, now make them blue again."

Now, how do you do it in brackets? Have somebody else put some resentment into the ashtray for you, you put some into the ashtray for somebody else, somebody else puts some resentment into the ashtray for somebody else. See? You put some in for self, have somebody else put some in for himself. And that's your bracket of five.

'They're blue."

Now, what's the main goal of this? Again, the goal is not to be able to do a trick. The goal is to reassume command of automatic machinery. And I expect you now, when a piece of automaticity shows up in a member of the processing group, when a piece of flagrant automaticity shows up, I expect that group to plow up that machine. Plow it up, throw it away, beat it to death, kill it, murder it, see? Finish it. It'll give you some confidence. You'll tackle two or three of them and you won't do anything to them. I mean, they'll just persist. Then you attack the fifth one, or something like that, that you've tackled in the group, and all of a sudden, boy, it blows up. And mock-ups come on and the mest universe gets bright, and the fellow exteriorizes and says, "What am I doing in the head?" You know, poom! poom! and there's a little more confidence in it, and a couple of the other machines will break up. You get the idea? For instance, all sorts of things happen and all sorts of perceptions turn up.

"Now make them red. Now make them blue. Now make them red. Now make them blue."

Now, the test of whether a technique is doing anything for you is not a test of whether or not the mock-up is behaving better. That's not a test. Whether or not you can do this and whether or not — the ability, in other words, isn't the test — it's the perception or communication change. The perception change or communication change. Things get brighter to the preclear. Does he talk more readily? and so forth. This is the test.

"Hey, I'm doing this!"

The fellow keeps complaining about the fact that every time he puts up a small dog down on the lower left-hand corner of his dark field, the dog immediately arrives at the upper right-hand corner. He keeps complaining about this. So what? So he's got a machine that does that. Is it important? No! That's not important.

See, this is real upsetting. That's how little a scale is necessary to accomplish this.

But a machine that is wiping out things he's trying to see or giving him things to see when there isn't anything there to see, these machines are quite important. Machines that make facsimiles are important. Machines that send him places are important. Machines that keep him staying where he is are important. Machines that make him concentrate are important. These things are important because they're perception machines. The behavior that he perceives tells you, by its erraticness, of an auto­maticity. It doesn't even tell you the fellow's goofy. It merely tells you that he's triggered one way or the other, a machine, which does something to mock-ups. This is not serious. Not serious that he has an automatic field going. That merely tells you there's an automatic machine.

Now, a person can do this with his mest eyes wide-open. But it doesn't work near as good as with his mest eyes shut; because they're more convinced. See, they're a mock-up that is just going along at a great rate too.

And if I do anything with you folks, it's sure going to spoil your respect for this fantastically complex object, the automatic machine. I want you to be able to make these things and bust these things. Make them so they work, so you can forget about them and they go on working all day. And make them and bust them and duplicate them and so on. With just endless success.

So the alteration of color and running the band of color — blue, green, red — doesn't matter whether you go up scale properly, so forth. There is a scale known as black. There is a — ultraviolet, you go up into black light. And it's an interesting scale up there.

Now, let's take one more little tiny glance at cause and effect in terms of automaticity, and you'll see what kind of a machine is the worst kind of a machine. That machine — there is a worst kind of machine — it's that machine which duplicates effects. That's the worst kind of machine there is. Not a machine that unmocks. Not a machine that mocks up. It's one that duplicates effects. Because it sooner or later will turn around and start kicking its owner. And it will reduce the amount of space the owner has and it will cave in the entire engram bank and it will collapse his time track.

Well, when the person thinks he's a communication particle, when a person thinks that he is the shoe and not the wall and not the person who threw the wall [shoe], he expects the auditor by some necromancy to reach into his skull and turn a small switch which will shift him, as a thetan, onto a different wave­length. Or because a magic word is spoken — abracadabra or abraca-Hubbard or something of the sort — he expects that this magic word will suddenly alter, see, alter the state of case. And he will be very surprised, believe me. So would I! I would be amazed.

Now, how does it do all that? It's just that it duplicates all of the effects. Well, that means somebody else can always come along and give the machine a kick. And there is stimulus-response: duplicates an effect. And there is overt act-motivator sequence and is the overt act-motivator phenomenon. The machine that duplicates an effect.

Now, an auditor can sweep down on a preclear and by making him numb, null and void practically, and wiping him out almost completely, be able to alter him utterly. This is easy too! (audience laughter) Real easy.

He does something to somebody, and a little bit later on, he has the feeling it ought to be done to him. Why? The machine duplicated the effect on this person out there, see? And he started resisting the machine after a while, and boy, he's got that machine as practically his sole randomity. His entire concentration will start going onto this machine. He starts resisting getting effects back which he has once had, which of course is a resistance to this confounded duplicator. And he's selected something out for randomity.

So the technique line which is indicated and which does consistently produce results, is making the preclear exercise those capacities and capabilities — his potentials, in other words — as near to the basic potential as one can reach. And that is the basic law of evolving processing. Use those potentials which are nearly as possible, the most pervasive and basic things which the thetan has. And if you get something more basic, use it.

How do you select something out for randomity? Pang! Just select it out for randomity. Thereafter you have no responsibility for it. And boy, when you haven't got any responsibility for a duplication of effect, you haven't got any responsibility for the whole track. Nothing you ever did, therefore and thereafter, you will have any responsibility for. Somebody comes around and says, "Did you read the paper this morning?"

But use the most basic thing you have in order to what? Make it possible for him to change his own postulates. Because he's the person who's keeping himself from changing his own postulates. And as long as he keeps himself from changing his postulates by having the postulates in such a form as they can't be altered — must resist all effects, you see — you're going to have a picnic. You're really just going to have a good time. I don't care what step case he is.

The fellow says, "No."

Now, you come along with a sweeping piece of knowledge, which is the fact that he is not his body. That's a big step, see, because you can step him outside of the center so you have him out of the location in which he has postulated himself — some of his postulates have already been immediately overcome, and he's out of the vicinity of those things which he says he's manufacturing all the time, and so he can change his mind. But if he's in the middle of this maelstrom, it really becomes a maelstrom, because every time he tries to change a postulate he'll cave something in or push something out, one way or the other. So it's rather rough to process.

He did. He read the paper this morning. But he can't be responsible for an effect. Paper was an effect, wasn't it? So, he'll just say he didn't. He'll disclaim any action or any motion. He starts walking around in circles after a while. It's a machine that duplicates an effect. Now, I leave it to you in running that machine.

So we have a different method of exteriorization, and this I will tell you about. We have people unmock things in the environment by this gradient scale: make them thinner, make them — so on, and change them in various colors. And then we start them in — and this I want you to be very particular about; in addition to colors today, I want you to go through this exercise today — we make the various parts of the body emotional, on all of the things you've been working with: the left foot, the right foot, the left knee, the right knee, the right shoulder, the left shoulder, the right hand, the left hand, the right elbow, the left elbow, the right ear, the left ear, the nose, the right eyeball only and so forth, until we get the skull completely encompassed, and then we start whole emotions on the body. And then we start colors on the right foot, colors on the left foot, colors on the right knee, colors on the left knee and so on, until we have changed the color from this to that and back to normal again. Remember, when you say, "Make your right foot red. Now its natural color. All right. Now red. Now a natural color. Now make it blue. Now a natural color. Now turn it yellow. Now a natural color." You'll find a guy will jump about six feet, by the way, the first time he ever realizes his foot is red or blue or yellow. And he gets this real good.

Give you another method of running automaticities. Running anything. Randomity depends upon . . . This is a rough technique; this is not an easy technique, it belongs way down the line. A rough one — is, "Be the machine. Be yourself. Be the machine. Be yourself." Because the way you select things out and produce, as I was telling you yesterday, randomity, is to say — do something and then say it wasn't you. And that brings you about to randomity. So you're not being the other chess player, and that brings about randomity. So that's the basic one.

You're bringing him up toward what? You're bringing him up to the point where he can unmock his body. And instead of exteriorizing somebody, we change whatever he sees of energy around of his own — whatever he sees of the body, or would be greeted with with the body — or somebody else's universe; we keep altering those colors, and keep altering the emotional tone, and altering the colors of these items: his body, other bodies, mest universe, so forth, and unmocking. After you've done a lot of color drill, you see — you've done enough thinner, thicker, thinner, thicker — you changed it enough so that now he can unmock a tiny portion of it and you get it thinner, thicker, thinner, thicker on this until he's sitting there without his right big toe. You give it to him back fast enough so he doesn't worry about it, and then it's gone. And then after a while it goes and he doesn't miss it. "Well," he says, "no right big toe. That's real interesting!" See, completely relaxed about it being gone, then give it to him back again. And then you go straight on through a "body unmock," leaving the thetan in thin air. Very simple. Real coy.

So anything that you're fighting, you have selected out for randomity. Anything that is fighting you has selected you out for randomity.

There are two processes which you're using. One is this process which I've been giving you here for couple of days, and which you've been doing, however poorly but with some continuing success along the line. (You have been getting success with this because I've been checking up on you.) Continue with that, with the addition of color, and the addition of changes in the environment and changes in the body and then a little bit of unmocking in the environment. And finally our end product is, we're going to unmock the body till we can unmock it this way: unmock a body, put an entirely different body there and then unmock that body and have a completely empty chair, and then mock that body up and unmock it and mock it up and unmock it and mock it up and unmock it until it's with great rapidity one can do this — have it, not have it, and so forth. Leaves the thetan sitting in empty air.

The way to really whip a burglar who is holding you up and is about to shoot you is be him, and blow your own brains out. (audience laughter) Then the police don't even think it in terms of self-defense. You see how easy this is?

Now, if he finds himself surrounded by ridges, he ought to be able to make pieces of the ridges he sees — if he's looking at ridges; it's not necessary that he does, you know — until he could make his whole bank disappear and come back at will. That gets real interesting too. There is no energy interchange because there isn't any energy. Well, it's very, very interesting, but people bog — people are sometimes much happier when they've got some energy. You see? I mean, people aren't very happy when they've got just nothingness. If you don't believe this, go down in the poorer section of town, see. You won't find people very happy, in spite of legends and sayings and maxims to the contrary. And havingness, that's something to do, that provides a randomity. If you had no havingness, there isn't anything to move in this universe, so of course we have no randomity. And that, of course, is minus — too little unpredicted motion and is a state of beingness which each thetan doesn't particularly like. There is a higher state than that, that you can push right on through and do without energy. But we're not anxious to get there — what the hell.

"You be the machine. Be the fellow. Now be the space around the person. Be the space inside the person. Be the space around the person. Be the space inside the person," see? Plenty of that. "Be the space of the room. Space of the body. Space of the room. Space of the body. Space of the room. Space of the body." These are effective techniques. "Be the automaticity. Be yourself. Be the machine. Be yourself." You'll find the guy flying around all over the place.

So he can unmock anything he sees of his own bank, such as facsimiles. Tell him to get a facsimile. "All right. Change it blue. Change it red. Change it pink. Change it purple. Now make a corner of it disappear. Now bring the corner back again."

Don't think it's a light technique, though. And don't use it on a case that's having trouble.

Facsimiles are all there on the basis that they must resist all effect. Every one of these facsimiles "resist all effect." Real cute, huh? So, of course, somebody tries to erase the facsimile, you could actually make him erase one. That'll change the effect — it really will. But unless you know the higher echelon and the in-between steps, actually, that were tremendously valuable before we got to cause and effect — before I got that information beaten out of the bank, the interim information — very usable, no doubt about that. But it didn't make for a terrifically fast process. And I don't care how fast this process is, this process works. I've been tearing case after case after case just to pieces with it — just knocking it to pieces. It — all of a sudden they can put things there and perceptions turn up, my God — keep right on going. So you just have — don't have them sitting there.

You could have "Be the space of your body. Be the space of the room. Be the space of the body. Be the space of the room," just invalidating energy barriers, as far as his own energy bank barriers are concerned, and get away with it. But you have him start being one space that belongs to him actually, but he doesn't own anymore, and another space that belongs to him, and these spaces. And you start rocking him around in his own periphery and his own bank and his own universe, and you — on a low-toned case you really wreck him. You'll turn on somatics the like of which you never heard of.

Theta Clearing, body unmocking. Body and bank unmocking and Theta Clearing would be the same thing — pardon me, thetan exterior.

Okay.

Now, you notice I haven't been talking too much about being three feet back of your head, and this is the reason: we just remove the body while you sit there. It's very simple.

Now, let's see somebody here who is a pretty good . . . Who's a pretty good Step I? You a pretty good Step I today?

Male voice: As far as I know.

As far as you know? All right. Why don't you be up — back of your body there for a moment, and make your hair thinner.

Male voice: Mm-hm.

Thicker.

Male voice: Mm-hm.

Much thinner.

Male voice: Mm-hm.

Much thicker.

Male voice: Mm-hm.

Much thinner.

Male voice: Mm-hm.

Much thicker.

Male voice: Mm-hm.

Now make it thinner right on down to about the nose.

Male voice: Okay.

Your head right thinner down to the nose.

Male voice: Yeah.

Now make it thicker.

Male voice: Yeah.

Now make it thinner.

Male voice: Mm-hm.

Make your head thicker.

Male voice: Mm-hm.

Thinner.

Male voice: Mm-hm.

Thicker.

Male voice: Mm-hm.

Thinner.

Male voice: Mm-hm.

Now kind of include in your ears.

Male voice: Yeah.

Make your ears thinner.

Male voice: Yeah.

Thicker.

Male voice: Yeah.

Bigger.

Male voice: Okay.

Smaller.

Male voice: Yeah.

Bigger.

Male voice: Yeah.

Smaller.

Male voice: Yeah.

Now make your head — your whole head — thinner.

Male voice: Yeah.

Thicker.

Male voice: Yeah.

Now thinner.

Male voice: Mm-hm.

Thinner.

Male voice: Mm-hm.

Thinner.

Male voice: Mm-hm.

Thinner.

Male voice: Mm-hm.

Make it disappear.

Male voice: Okay.

Okay. Now make your shoulders thinner.

Male voice: Yep.

Now put your head back on.

Male voice: All right.

Good?

Male voice: Mm-hm.

Successful?

Male voice: Yeah.

All right. Now make your head disappear.

Male voice: Yeah.

And appear.

Male voice: Yeah.

All right. Make your shoulders thinner.

Male voice: Mm-hm.

And thinner.

Male voice: Mm-hm.

Make them disappear.

Male voice: Yep.

Put your shoulders back on.

Male voice: Yep.

Now make your head and shoulders disappear.

Male voice: Yep.

Okay. Now make them appear again.

Male voice: Mm-hm.

All right. Make the upper torso of your body very thin.

Male voice: Yeah.

Make it very thick now.

Male voice: Yeah.

Very thin.

Male voice: Mm-hm.

Very thick.

Male voice: Mm-hm.

Thicker.

Male voice: Mm-hm.

Thinner.

Male voice: Yep.

Thinner.

Male voice: Yep.

Thinner.

Male voice: Yep.

Thinner.

Male voice: Yep.

Make it disappear.

Male voice: Yeah.

Okay. Put it back in place again.

Male voice: Head and the shoulders are still there.

Hm?

Male voice: Head and shoulders are still there.

Okay, that's all right. Fine. How selective! All right.

All right, put it back there.

Male voice: Yeah.

Now make your entire body disappear down to the waist.

Male voice: Okay.

Now put it back on again.

Male voice: Yep.

Make it disappear again.

Male voice: Yep.

Now put it back on again.

Male voice: Mm-hm.

Now make your entire body disappear.

Male voice: Right foot won't go.

Right foot. Okay, put two right. . .

Male voice: Now it's gone.

15319 NOVEMBER 1953

Gone?

Male voice: Yeah.

All right. Make your whole body appear again.

Male voice: Yep.

Disappear.

Male voice: Yep.

Appear.

Male voice: Yep.

Disappear.

Male voice: Yep.

Appear.

Male voice: Yep.

Disappear.

Male voice: Yep.

All right. Now in your body's place, put the body of a two-year-old child.

Male voice: Okay.

Make that body disappear.

Male voice: Yep.

Now in the place of that body put a six-year-old child.

Male voice: Yep.

Make that disappear.

Male voice: Yep.

Now in that body's place that was, put a ten-year-old child.

Male voice: Mm-hm.

Make that disappear.

Male voice: Mm-hm.

Fifteen-year-old child.

Male voice: Yeah.

Make that disappear.

Male voice: Right.

Now put your own body in the chair again.

Male voice: Yep.

Make it disappear.

Male voice: Yeah.

Put it in the chair.

Male voice: Yeah.

Make it disappear.

Male voice: Yeah.

All right. Be in your head.

Male voice: All right.

Make your body disappear.

Male voice: Yep.

Look around the room.

Male voice: All right.

Perception pretty good?

Male voice: Yeah.

All right. Make your body appear.

Male voice: Yeah.

Make it disappear.

Male voice: Yeah.

Make it appear.

Male voice: Yeah.

Make it disappear.

Male voice: Yeah. Be five feet back of your head.

Male voice: Mm-hm.

Now are there any energy ridges of any kind that you perceive there? (pause) Around your body.

Male voice: From where I am?

Or around you. From where you are.

Male voice: Yeah.

Got one?

Male voice: Mm-hm.

All right. Make a corner of it turn blue.

Male voice: Hm.

Make the whole thing turn blue.

Male voice: Yeah.

Make it turn red.

Male voice: Yep.

To green.

Male voice: Yeah.

Blue.

Male voice: Yeah.

All right. Make it turn its — color it was originally.

Male voice: Yeah.

Make a section of it disappear.

Male voice: Okay.

Make it appear again.

Male voice: Yeah.

Make it disappear.

Male voice: Yep.

Make it appear again.

Male voice: Yep.

Make half the ridge appear — disappear, rather.

Male voice: Disappear. Yeah.

Appear.

Male voice: Yeah.

Disappear.

Male voice: Yeah.

Appear.

Male voice: Yeah.

Make the whole ridge disappear.

Male voice: Okay.

Appear.

Male voice: Yeah.

Disappear.

Male voice: Yeah.

Appear.

Male voice: Yeah.

Let's find out if there are any other ridges around there.

Male voice: Yeah.

All right. Turn them red.

Male voice: Yeah.

Blue.

Male voice: Yeah. Green.

Male voice: Yeah. Blue.

Male voice: Yeah. Red.

Male voice: Yeah. Blue.

Male voice: Yeah. All right. Make them . . .

Male voice: They're different colors.

They're different colors.

Male voice: Yeah.

Good. Turn back the same color they were. Now make one small section of the remaining ridges disappear.

Male voice: Okay, I knocked out half of them.

Hm?

Male voice: I made half of them disappear.

All right, make them reappear.

Male voice: Yeah.

Disappear.

Male voice: Yeah.

Reappear.

Male voice: Yeah.

Make all the ridges disappear.

Male voice: Yeah.

Make them reappear.

Male voice: Yeah.

Make them disappear.

Male voice: Yeah.

Make them appear.

Male voice: Yeah.

Make them disappear.

Male voice: Yeah.

Okay, make them appear again.

Male voice: Yeah.

Be inside your head.

Male voice: Yeah.

Make the ridges in the body disappear.

Male voice: No body.

(Recording ends abruptly)