This is the November the 25th "getting close to Turkey Day" lecture. First morning lecture, 25th November, Second Unit, 1953. That is the third year after Dianetics. This morning we're going to take up some more material on SOP 8-C.

This is the first afternoon lecture, November the 25th, 1953 A.D. We have been covering here during the first — this is the seventh actual study day of this unit. We've been covering here a great deal of material. Actually, you'll find the material itself has become relatively easily stated. See, you could put lots of significance in it, you understand, but it's relatively easily stated.

And you, so far, have been progressing very, very well. And you've been doing a very good "what wall?" on this data. But don't be upset if in the next couple of days, I suddenly throw you a quiz on the fundamentals which we have been going over very explicitly, and ask you to do freehand, and without any further thought, an entire rundown on SOP 8-C. Because, you see, you will be taking that examination sitting in front of many a preclear, you see? I mean, you all of a sudden say, "Step III, Step III — oh, so we're here on this page," you know, and the preclear will get some notion of the fact that you're maybe a little vague at what you're doing! And this spoils his certainty.

Our job from here on out is to clear and get cleared. And you've got specific case responsibilities. You looked at your responsibility this morning. Quite in addition to that, no matter how hopeless it was; no matter how horrible the shock was; no matter how, if you were the preclear, you almost fainted to see who was auditing you — that comes pretty close to being it. So let's just — let's go. I'm looking for people who are going to do it. To get Clear. The material here makes it very simple, really. I would be very ashamed of myself to flub the dub on anybody present, in a relatively few hours.

Well, we've gone from Steps I through III pretty well. And we've gotten down to Steps IV and V a little bit, and VI and VII, hardly at all. So let's just take a fast rundown: What's Step I — what do you do in Step I, in SOP 8-C? At Step I, that's locational, directly locational procedures, and what we do is do negative location: "Who isn't there? What isn't there? Where isn't he?" and so forth, on negative location in the mest universe and in his body. And then ask him to be in various places. And then take over ownership of anchor points by giving them the entire category of emotions and so forth, and getting them back from walls. And that — in addition to that, you do that on two other universes, to do it complete. That is to say, you put up mock-ups; and you put up mock-ups of your own universe with emotion in them. And this way, we sort of get the fellow over a confusion to which, I am told, some Homo sapiens are slightly liable.

But on the other side, I want to teach you how to audit. Either — if you are interested in going on auditing, that's your own affair, but certainly to the extent where you can handle yourself as a being, and handle beings around you. If you're going to concentrate on just learning how to be an auditor, you're liable to fail. Because we're dealing with the root stuff of how you and others live. And you will be able, from the information which you have, to integrate a lot of questions which you may have about existence. You may be able to do that.

Now we take Step II. What do we do with Step II? That is where we handle automaticity immediately. And of course we start this step out by having the fellow mock up his body in front of him a few feet away. And after he does this a few times, two or three times, a person who's going to exteriorize, who didn't immediately exteriorize on Step I — which of course the key words to it, although you don't always use them is, "Be three feet back of your head." We just ask him to mock up his body a few times in front of him, and he all of a sudden finds that there's no liability in being out of his head. You can even ask him again to be out of his head.

But being here as a group — some of you ask questions of me, you ask questions of others, so on. The information begins to get better and better and better understood because you talk it over amongst yourselves and exchange it, you see it in operation and so forth.

Because the body is so automatic, people depend on it slightly to move them around. Well, the more and more they depend upon it to move them around, the less and less they move, and the more they move the body. Till we get down to Burke with his stunt of being beautifully exteriorized, seeing the back of his head, he — wonderfully oriented for the first time — and then his body's hand reaches up and clutches him, and he sees this hand closing on him. (audience laughter) I don't know what machine went into effect there.

We're here to handle this information and to sort it down to its barest essentials and to its greatest potential use — why we're here. If we fail to get that data, if we fail to reduce it down for ourselves and our own understanding of existence, integrate it from your — our own viewpoint so that you can use it freely, and make the data itself yours, then I will have failed. And I don't like to fail, that's all.

But it was very interesting that part of the process used on him — we had to get him over effort, by the way. And part of the process which was used, was not the development of effort, but having the body — just giving them repeated commands: "All right, now have the body move you into the top of its head. Now have the body move you into the chin. Now have the body move you above the body." So these auditing commands might have had a little bit of something to do with that. But he all of a sudden was coming out with a wild protest: "The body doesn't move me anyplace!" Well, about three minutes before, he never would have believed that, you see. Now, actually, he belonged into the lower categories, and by this trick he was exteriorized at Step II and did pretty well at it. All right.

In the first place, there isn't a single person here who can't be made into almost anything you want to be — from a first class necromancer to a grade-A politico, to a cast-iron general, it doesn't matter. Just doesn't matter, that's all. There isn't any limitation. Your first limitation would be, "I am learning this information in order to:" (colon), paragraph.

Now we get down to Step III, and that's everything there is to do with space. That's lots of space. Space is a viewpoint of dimension, and we handle dimensions in terms of anchor points, and so, space. Space: "Reach to the back of the room and hold two corners of the room. Mock up two corners of another room behind you and hold on to those." And "Mock up the corners of somebody else's universe and hold on to those." This all, by the way, sitting there and not thinking, you know, each time, is very productive of results.

Now we say, "Audit other people." Well, that's fine. You'll find yourself auditing other people whether you like that or not. But your goal can be a lot broader than that.

But quite often, by the way, a person who is — normally would belong in V or VI will hold on to the two back corners of the room, just that, you see, and they hold on to this for a half an hour (they belong in a lower category) and they all of a sudden will be in the corner of the room, looking at the room. See, they just flip out of their bodies.

Do you know that one of you, fully cleared, could change the course of Earth? Now, that's not an extravagant statement. I didn't say mest universe, see. That wouldn't be an extravagant statement either. But it'd be an extravagant statement to say one of you, cleared, could change the course of every universe there is. That would be slightly on the side of an overstatement. But we deal with little, tiny, itsy-bitsy, teeny-weeny jobs like completely changing the course of Earth's culture — little ten-minute job (snap) like that — yeah, any one of you could. But you run into a problem if you do that, and the problem is this: Attention.

This is quite an ordinary experience for auditors, to do this to preclears, so don't overlook this little trick. This character shows up and they don't exteriorize on Steps I and Steps II, tell them to grab ahold of the two back corners of the room and sit there and don't think.

You know, you have to have some sort of parity with that which gives you attention — some sort of parity — in order to feel that you're getting any attention, and feel there's any randomity in action. You understand that? So you could go out all on your own, and draw your sword of fire and declare randomity against everything existing and so forth; but it's — pretty hard job to stay interested in it. After you've knocked off your eight billionth human being or something of the sort — I don't know, there are only two billion of them, but they multiply — you might get the idea that it was boring.

If you wanted to be completely lazy about it, you could just go on with that process. Preclears are very often delighted with it, just delighted with this process. Just pull them in off the street and tell them to do this, and they just sit there and not think and all of their current restimulations and so forth just fall away, and they keep interested in the two corners of the room, and the next thing you know, why, they're out in one of the corners. And they feel fine about it, and the auditor hasn't told them a thing (you've just sit there and dozed for a couple of hours). (audience laughter) It's been reported to me case after case after case, from auditors all over the world — have been writing in about this fact, as though it's surprising or something.

I recall, for instance, a fellow in China many centuries ago, he was known as "the butcher." And he knocked apart, I think, a province. He killed every man, woman and child in the province. He ordered it done, and went ahead executing the plan. And this became a fascinating project. It took the longest darn time to kill a million and half human beings. They had swords, you know, and they just kept chopping and hacking and the bodies kept piling up — but boy, a million and a half human beings is an awful lot of human beings!

But, I'm very surprised that an auditor actually — I am surprised about one thing: that an auditor actually has patience enough just to tell a preclear to sit there and grab hold of two back corners of the room and just sit there. It isn't that there's anything wrong with this, but the auditor normally thinks he has to be active and put in some effort and strain, and put on a good show for the preclear — cause an effect, you see.

Now, in modern times, with the most modern weapons known, with machine guns, with lime pits, blast furnaces, political leaflets and his own speeches — with these tremendous weapons of annihilation (the last, annihilating people in boredom, you see), Stalin only managed ten million people in — how many years was he king of Russia?

I've seen auditors, by the way, who did nothing but amuse the preclear. And this was very worthwhile, everybody considered him a very good auditor, but after you'd looked at the preclears, you found out that nothing had happened to them, which of course is what an auditor's supposed to do: He's supposed to have something happen to the preclear. All right.

It's interesting, you know, to look at Earth's history and get it straight, and straighten it up for yourself a little bit. Because people say so much about it, it's very hard to plot. And I finally found out who this fellow Stalin was. He was king of Russia and he was the world's greatest capitalist. He owned everything in Russia.

There are other techniques that come in under III. And they're any technique that has to do with the immediate creation of space. One of the most elementary techniques, by the way, which I used not very many days ago with considerable significant result on somebody who had no space (and not only didn't have any space, but had moved into negative space and was buttered all over this section of the universe), was to have him, have this preclear, take four flags — well, he got a staff, four flags on a staff — and have this preclear plant those flags immediately in front of his body, two of them, and two of them immediately behind his body, and then just sit there. Of course, what's he got? He's got eight points, which make space.

And I found out that in all the — I think it was 285 years or something (years being eight winters long in Russia), that he took all this time, and even then, he only got rid of — with the entire Red Army, with everything else, with the OGPU, the Gestapo, the O-Gay-Pay-Oo, the ugpoo, the poougs and everything else, he only got rid of ten million peasants. It wasn't worthwhile. It wasn't worthwhile. He finally realized that and kicked the bucket. I'm sure that's why he did. I was reading in a history book the other day that he had died of a broken heart, I think it was. I don't know quite what happened. It was probably some romantic tale behind it.

Now, another preclear I used this on very recently: I found out that she couldn't get these flags but, on looking around, she found a cleared space — and by the way, all mock-ups previously on this case had been in blackness; she'd get a little blackness and then slide a mock-up into it. You know, a black mock-up in a blackness, that was the only way she'd get a mock-up. Well, she looked around and looked over — way over to the left somewhere, a light-year or two — and found that there was nothing over there, and she could erect these flags with great presence of beingness. I mean, she had them and she put these four flags over there and they stayed there and fell down, and she put them back and they fell down and they wobbled, and she put them there again and pretty soon, why, she had these flags steady; and she could see them quite clearly sitting over there.

But there's destruction. There is destruction. He was the great boy who came in and ended the aristocracy and found himself with an aristocracy on his hands. Today, it's impossible to tell a Russian civil official from a Russian official of the aristocracy about thirty-five years before the Revolution. There's no difference. They pass the same pieces of paper. This time they're run through more machines, that's about all. And that course leads to nothing.

This case was so out of space that when asked to put emotion and so forth into the anchor points of the room, would go into an instant dope-off — pang! the second she put any emotion into the room. And the more emotion that was put into the corners of the room, the more this case had a tendency to dope off. In other words, you were asking this case to furnish some space and the case knew it couldn't create space, and you were just fighting against these two facts. Continuous dope-off — bang, bang, bang. There was negative, negative, negative space, as far as this case was concerned. All right. And she did find a place where she could put in four flags on their staffs and see them, and these flags started collapsing and falling in, and she finally — adjust them; when she got them steady, she had some space. It was the first space she'd ever had in, oh, probably many generations.

The lonesomest man in the world was sitting there in Russia because he had to turn around the opposite direction and prevent himself from getting attention. And attention's very interesting stuff. And when you have to prevent yourself from getting attention, you're defeating your own ends, and you've turned what? You've turned every machine you've got backwards. Because all your early machines were gauged to get attention; and all your later machines are gauged to prevent attention. There's the lock-up.

So, after that, the flags were put in various other places that she could see, and finally she put four flags around her, and although they set up a terrific flow in all directions and whipped and streamed and tried to fall down, they stayed there steady, and the next thing you know the flow stopped in her vicinity, and she exteriorized.

Well now, if you don't learn some common sense along with some technical accuracies about all this, why, again, I will have failed. And I don't like to fail. And there is a position on the Tone Scale known as 20.0. There is that position. And one has a great deal of action latitude there. He also has 50 percent he's not predicting, and he's in a fairly optimum condition to go on. And you start shooting preclears up above this to serenity, and they all sit around regarding their navels complacently — well, that's all right if you want to start a game that way, just for a game — realize for God's sakes that it's a game. It's no goal to get preclears to 40.0. You'll find yourself completely out of action if you destroy the playing field. Oh, I just give you that as an interesting thought.

Now, there is the use of eight points making space on a case. Now, you can have somebody run space in brackets. And there is a write-up for issue here on the eleven points having to do with space.

But it's one thing to learn information, quite another thing to apply it. It's one thing to be able to do a process and quite something else to understand it. And it's one thing to listen to a technique and quite something else to have it yourself. And I expect you to own all this material — it isn't mine; it's yours. You've struggled a long time, you've set enough booby traps for yourself; and if I'm doing anything for you, it's just tripping the lock the reverse way on a few of your own booby traps. We could be very dramatic about this, you see — I could make a terribly dramatic game out of this. The only trouble is, I don't even happen to be very hard up for dramatic games just now.

See, that is to say, somebody putting eight anchor points around you, and you putting eight anchor points around somebody else, and somebody putting eight anchor points around somebody for somebody else, and somebody putting eight anchor points around you for somebody else. And the five different ways of putting around the room: You holding on to eight corners of the room, somebody else holding on to the eight corners of the room, somebody else holding on to eight corners of the room for you, you holding on to eight corners of the room for somebody else, and somebody holding on to the eight corners of the room for somebody else. And there's six commands in the "putting space around people," and there are five in "holding on to the corners of the room," and this makes an eleven. Now that's actually a full space bracket. It's a very interesting process.

I suppose if this were a couple of hundred years ago, why, we would have a different story to tell here. Be going out in another direction, because I was real short of games a couple of hundred years ago. Gee! Ran into somebody in class here the other day that was bored for eighteen billion years. And he didn't like that. Makes him very chary of getting cleared. Might happen again!

But remember that every time you're handling space you are, to some degree, validating limits. So remember that — to interlace this and interlard it every once in a while with "finding a lot of nothing." Don't get somebody fixated on space any more than anything else. You have a higher goal than space which is certainty, and certainty is knowingness, and a person doesn't have to have space to be certain. But a person who is out of space is never going to get certain. So you have to give him some space. Okay.

Well, a large part of your ability to proceed is your ability to proceed as a unit. Therefore, these groups are being organized on a basis of contact units. That is to say, there is one contact unit. People going through this group become part of that group. It at least keeps you into agreement with people that are doing more or less what you are. And this makes it possible for, someday or other, maybe the club to break in half, and half of it fight the other half — if you get too bored and too desperate, this is always possible. But it's a good thing to remain in contact of people who are talking your own language. And your biggest danger is boredom. All right.

They're so afraid of space they can't have any space, so if they can't have any space, of course, they can't know because they've got to be able to have space, and then not have to have space in order to get up into a point of knowingness — that's just backtracking on agreement.

With that thought in mind, I hope you can integrate what you're getting here, and regard it in that light and do something interesting with it — interesting to yourself and interesting to others. Because if anything appears right now to be going by the boards, it's the game called Earth. It's so dull! It is getting duller and duller and duller, because we're running on a "stop motion to save all lives" to a level I've never heard of before.

Now, that's Step IV [Step III]. There's those eleven commands: holding on to the anchor points — at least two anchor points in each of three universes — and putting up four flags, and all kinds of other ramifications having to do with space. Now, there aren't too many of them. But if you were just doing this down the line, you would simply ask somebody to hold on to the two back corners of the room for a few minutes and find out if he exteriorized. If he exteriorized on that, why, you've got him exteriorized, that's all, and you just gave him that much space. Okay?

Now, it's not necessary to butcher everybody the way they do here on Earth in order to have a game. It's not necessary. I mean games — there are all kinds of games. Here on Earth they think that some general who gets elected to the charge of the army or something — the way they do in one of the more interesting countries on Earth — he gets elected and that makes him in charge of the army. He was in charge of the army before he was elected. You kind of wonder why he got elected. But anyway, he's been commander in chief now for years — but in different office buildings.

Now we get into Step IV. And Step IV is, of course, now in SOP 8-C. It sounded awfully laborious to you yesterday. You actually don't have to make it that laborious. Nevertheless, I gave you the full parade of what you could do with "things which make," "things which cause to persist" and "things which destroy" — machines, that is. Wasting them, saving them, accepting them, desiring them and being curious about them, in that order, in brackets. And machines which do all the things which are listed in SOP 8, plus one that isn't listed in its 16-G write-up, which is "nothing." And stressing, when you do a V, you come back to that step, and I told you there were several very important ones there. There was "work," there was "pain," as two very important ones. There's another type of machine that people pay very little attention to, which is "unconsciousness." And then there's "viewpoint machines," which are actually, in essence, locational machines — machines which give you viewpoints.

He was entertaining the other day the boys who, by the way, who designed and manufactured the airplanes that shot down all the US pilots during the war. They were entertained as guests of honor at the White House. I think that was very amusing. Willy Messerschmitt and so forth was over there dining royally and being congratulated. Did you know that, by the way, that that happened here the other day? Yeah, the three top Nazi officials who had orders out — these orders were signed by Dwight D. Eisenhower — to arrest them, and shoot on sight, and they were dined at the White House. The difference is, a different state of psychosis now exists. (audience laughter)

When you get a V, remember to run "the machine that makes blackness." "Makes," "makes persist" or "destroys," in brackets — waste, save, accept, desire and be curious about "machines that make blackness" and "machines that occlude." You'll find cases will break up on that one little step, black cases will. And with that, in II, we're handling automaticity as directly related to being in a body, and we're handling automaticity in general.

Well anyway, we haven't any interest in revolutionary activities. We have a definite interest in evolutionary activities. As long as you let automatic machinery run on and on and evolute as it will, and evolute as it will, it eventually stops itself. Nothing is — comes more plain to a pc being processed than this. If you go on letting everything run automatic, eventually all the automaticity stops all the automaticity. And then you haven't got enough left to start anything again. All right.

Now, we're handling the barriers of thought in IV. In IV we're handling the barriers of thought. You understand that? We've got the case down there who has a lot of things he can't do because he thinks he can't. His barriers have closed in on him to a point where he has — thought is his main barrier.

Now, let's be a little more specific about this. You as an auditor, in auditing the preclear assigned to you, may believe that your responsibility for this preclear begins at the moment the session begins and ends the moment the session ends. In a unit such as this, that can't exist. That can't hold true.

And now we get to a case level V. And a case level V, of course, is occluded. And I showed you how to put these spheres, outgoing spheres, that is to say further — black spheres — another black sphere out a little further, and look through the one you just put up and see the next one, and then put a new one out there, and then look through all spheres and see this new one and so on, as a very remarkable method of handling blackness. And, however, that again is just an effort to keep particles from discharging against particles.

In the first place, he's going to get coffee shop auditing. This is a method which has been invented in rather recent years to louse up pcs. You get somebody exteriorized and then drop three platters of steak, you know? (audience laughter) He comes back to the next session and you start — you say, "Be three feet back of your head," and you look at the fellow, and he asks you kind of — he says, "What head?"

What's essentially wrong with this case is collapsed terminals. Don't lose sight of that. And so we have all of Step V devoted to terminals. Anything to do with terminals falls under — directly under V. Of course now you do I, you start putting emotion into things, you're going to get a discharge against them; this is a double-terminal universe, a matched-terminal universe. All right.

And you say, "Your own head, of course."

What other steps, then, lie under this? Well, there's a very, very important process lies under this, and this is Change of Space. And, of course, there you're using the individual himself as one terminal and then the other terminal.

And he says, "A body or a chair? And — or a bed?" And it's very confusing.

There's only one thing I'd add to earlier material which was released on this, is after you've got him into a location, you have him then look around at the location and as much as he can, just look through everything he finds there, finding, eventually, nothing there and then coming back to the location he's in.

And if you don't recognize what's happening to your pc — this character isn't looking at something, you know? And it's just your job — you could just say, "Now look at all your aberrations. You got it all? Now look through them. Okay. You're Clear." See? Ping! It's just as easy as that.

Now you do this — the basic technique, it would — is something like this: "All right, be in your childhood home. Be here. Childhood home. Here." Doesn't matter whether the guy's exteriorized or not; you'll practically knock his brains out if he's not exteriorized and you do this because you're stretching and slapping and knocking into practically every ridge in his head, and it's murder. But that's all right. You'll just ask somebody to be in the childhood home and be here, in the childhood home and be here, in the childhood home and be here.

But if he doesn't do this the first time you tell him to, there's the slight chance — there's the slight chance that for some days, at least until you get him in pretty good shape, you'll be picking him up in the hall, and off the wall, and looking rather dazed or upset or something of the sort. He's done a lot of auditing and this keyed him in all across the boards, you see. And he isn't quite sure which is which and what's what.

Now, a V has all this backwards. And we get the technique "Exteriorization by Scenery." And a V has to move the scenery under him and around him, and move it away. And so we get Exteriorization by Scenery. If done correctly, this is a very interesting process. You do this on three universes. You do this on three universes. And the way you do Exteriorization by Scenery would be: move the childhood home around you, and then move it back to Texas or wherever it is, and then move the childhood home around you, now move it back to Texas. (student sneezes) This is the most. . .

Well now, actual auditing . . . You can do this actual auditing weekends to pick up this condition. Oh, pick it up in the regular session, but it's up to you to look for it and pick it up. You're the auditor as far as this person's concerned. I repeat, you're the auditor.

[to person who sneezed] What did we hit?

Now, there's two auditors on this case. Now, it's very easy for the one to say to the other, "Well, you take all the responsibility," and the other to say to one, "Well, you take all the responsibility." Well, that won't work either. That won't work either, worth a darn. So we'll just have to hang any two auditors when any pc is loused up. I mean, that's simple.

Male voice: Oh, childhood home, I think.

So you just remember this: That if there's any midnight auditing going to be done by anybody, it will be done by both members of the team on the person, regardless of whether that — those auditors did that to the person or not. This person is loused up, you see, so the two auditors responsible for him are going to audit him, and both of them will be there. You understand that? That's real clear-cut. We've got this list posted and available and in the hands of the Camden police and ... (audience laughter)

Is that right?

Oh yes, I keep getting asked by officials around in town what we are doing. I wish I could tell them. (audience laughter) I wish I had a definition that would define into their frame of reference what we were doing. What we're talking about here and what we're doing: We're trying to make able people more able to handle more randomity. And if we can do that, why, we will see a considerable cultural change on an evolutionary pattern. And we will see a lot less "boom-boom," and we'll see a lot less criminality, and we will see actually, a great deal less delinquency and disease and all the rest of it — all these other interesting things. If we do this job, why, we'll see more actual randomity. Disease is very poor randomity: You lie still and let the bugs eat. Not exciting at all.

Male voice: Yeah, well, I — I was doing it the other day and I ended up with it right here sort of. . .

Now, here we have in progress, then, a number of cases. Now, when you're studying, you're auditors; you're not cases. And you just shift your frame of reference when you start thinking about something I'm saying applying to anybody, then you figure it must apply to that pc that you got. See? Doesn't apply to you. You're not human. You don't even need to eat meat — you eat hay or something. You're not human at all. And if you get terribly restimulated, something like that, why, that's just rough. That's just rough. But as restimulated as you are, you have to think about the pc. Now, I know all of you will do all this, and I know that this is — automatically would be followed through, and it was completely unnecessary for me to mention this. But I just wanted to show you that I understood too. All right.

Okay. Okay. Look through it. All right.

Well let's take up now, again, V, VI and VII. Gave you a lecture this morning, which — and we had a rundown there on 8-C as far as we've gone. Now, let's go just a little bit further. What the devil do you suppose is the basic purpose of all this machinery? What is the basic purpose of all this aberration, this sickness, all this reversal, these inversions and so forth? What the dickens is all this about and can we state it "pang!"

Now when you have a V operating, you can just take all kinds of places, all through the universe, and just have him move them around him. Now, because terminals collapse on him easily, you'll have to move away — have him move away what he just moved around him, otherwise he winds up with a stack.

Yes, "cause to produce an effect," that's one, with a modus operandi which sits between "you can't have an effect; you can't be cause — you can be cause, but you can't have an effect without attention." So let's state it in a breath. Yeah, that's the first paragraph we can state. And on this business of attention, what do you suppose these machines, equipment, defenses, offensive weapons, politeness, psychosomatic ills, stomach trouble, glasses, eyesight, brilliantine, ice-cream sodas, kings, household slippers, coal heavers, panthers, eatingness — what are all these things? These things are under one heading — one heading as far as machines are concerned. These are operations which create, make persist, and get rid of — that's create or pull in, make persist or not persist and stay in a not-persisted state (if you get what I mean), and shy off from or get rid of attention.

Now, you can take somebody and tell him, "All right, now, pick your childhood home up .. ." I'll give you an example of this one — this is kind of weird.

Now, you can say this about your preclear: anytime your preclear sits down and he's got — now you're thinking about your preclear, you're not thinking about yourself — you're not a preclear, see? You're somebody who has preclears. Anytime this person says to himself, "Ow!" he is examining a machine which is designed to basically attract attention, and probably more basically to push it away. And in the middle, it makes attention persist one way or the other. He says, "Ow!" — he puts his hand on his stomach and says, "Ow!" What's he replying to? All right, he's got a body — he's got a body. Now, what's he replying to in the body?

Here, you say you were just having trouble with your childhood home. Now pick it up around you and give it a yo-heave back to where it is.

Well, what's he got a body for? Why is his attention so thoroughly on this body, he can't get out of it — obviously. What's the mechanism behind there, or what's he got a body for? He's got a body to attract attention.

Male voice: Yep.

He has erected a barrier, or has acquired a barrier which he can impose across other people's perception, and which they have agreed to stop their perception on. And this gets him attention.

Very easy. All right. Now pick it up where it is and pull it around you.

Now, that's what — that's what it's about. Now, why does the body have to have food? Food is condensed attention. And if you can just envision a bunch of tigers and monkeys and giraffes and things like that around in Africa, running and eating grass and running away from and running toward and being pounced on and not being able to pounce anymore and pouncing and so forth — what are these characters doing? They're just getting attention one way or the other. It's the most gorgeous network of idiocy you ever saw in your life: having to eat something in order to have some energy. What an alibi! See, big alibi. But it's very workable because it's worked out that this is the agreed-upon level of attention. And if you don't think it makes a terrific game, be beside a water hole some night in Africa. It's real noisy. There's a lot of things demanding and getting attention — crunch, scamper, scream! All right.

Male voice: Mm-hm.

That gets pretty bloody. I mean, people are much too serious when they're at that level. And there's where seriousness goes. There is a definite parallel between seriousness and having to have or having not to have attention. "No attention" is completely different than "having to have no attention." Do you understand that? You see, "no attention," just plain no attention, is nobody looking, nobody threatening to look, nobody trying to look away, nothing. Just no attention. All right.

Now pick it up and throw it back to where it is.

Now we get up to a point where people have looked, and are looking wrong. You know, they're looking with appetite or something, you know? And they're looking wrong. Well, that's having to have no attention. A rabbit very often gets this as he stares at the wolf. He just gets a definite feeling that he shouldn't have that attention; and this goes right along with the fact that the wolf mustn't have this attention either — meaning one rabbit in one wolf stomach. That's attention to a wolf. He knows he's got attention. He's certain. But get what the basic uncertainty of this animal is.

Male voice: Uh-huh.

Homo sap isn't in really anywhere near as bad a condition as he might be. He's come up through some fantastic and incredible periods. He's come up through these periods of destruction and so forth, but not with the present crew running him. People running him were pretty civilized. They had a much higher state of being. The level of reality of a wolf is so poor, he's so psycho, that an examination of the beast discloses some interesting psychoses that you wouldn't ever have suspected any being could step into. And yet he manages to live and thrive and be that crazy.

Now pick it up and pull it around you.

But the worst of all of these, I would say offhand, would be the hyena. He is admittedly and very, very insane. He has the cravings — he can't even have attention fresh; he's got to wait for it to be carrion. And all carrion eaters, by the way, have the most terrible, gnawing hunger with them all the time, and it's just — no matter how much carrion they eat, they're just hungry. They go on that way. Well, all right.

Male voice: Uh-huh.

What's wrong with a pc that's occluded? All right. He's got to have attention; he can't have attention. And if he doesn't exteriorize easily, he's afraid this will happen — he's caught up in this one: "If you take your attention off of it, it'll vanish." And you get somebody setting up an anchor point someday, and you say, "All right, take your attention off the anchor point."

Now take it and throw it good and hard back to where it is again.

Now we have an automatic machine running, in some character, known as acting, you know? He goes in front of the camera or something and he goes click, click, whir, whir. And he sets-self-up-and-he-goes-on-and-he-acts. You see? He acts. He knows exactly the gesture and the posture and the inflection and he knows how to say, "My god, not that!" and all these things, you see? And then you ask him — you say to him suddenly, you say, "How do you do that? How do you know what to do when you do it?"

Male voice: Yeah.

Oh boy. Oh, boy. This is real funny. He does — almost does a flip if he's running on an automaticity for his acting, because he puts a couple more attention units on it than he ordinarily has on it. Now he is bypassing — to get an automaticity, he's pretending the attention never goes to it, to keep the machine running. So he goes to it on a bypass circuit, so that he can't know that he's running on the machine, and the machine is running him, so then he becomes unconscious of his acting, so therefore it's a built-in mechanism, and is apparently — all of his acting then is unconscious. See, and you've asked him to put directly on it a couple of attention units. Well, it'll start the machine running out of gear. That's how easy it is to blow up, to wreck, stop, an automaticity.

Now put a pole out so it stretches that distance between you and it.

What's this actor doing with an automatic acting machine? What's he doing with one? If he has one — if a writer has an automatic writing machine, if a speaker has an automatic speaking machine, if we have any of these things, we are looking at somebody who's going to fail as an actor, a writer, musician. They're going to fail, just like that.

Male voice: Uh-huh.

The first thing you know, they're — they've got more and more, further and further away bypass circuits until at long, long last we have a situation where they don't even know they have a machine, and the machine isn't running, and they are the machine, but they used to be able to — because they're not creating. They have done the horrible thing of delegating creativeness to a machine.

Got that real good? Now look at it and find no pole and no barrier. (pause) What's it doing, coming in?

Now, when it comes to a brain to figure out the future, a person has put knowingness into a machine. The machine knows and he doesn't know; which means he's going be cut down, all the way on down. Now any prediction machine has the postulate in it: it knows, and the pc as a thetan doesn't know. You see how that could be? You start running one of these machines.

Male voice: Uh . . . Yeah, it wants to.

Now, you've got it that the future machine — it's got to have attention, but the pc isn't supposed to get attention about that. Let's just integrate this, and we find out that the pc has to fix his attention on this machine more and more and more and heavier and heavier and heavier because it builds up stronger and stronger and stronger until it, at last, is overpowering as far as he's concerned. It has gimmicks and gadgets which dominate his entire existence.

It wants to, huh?

On some people it turns things white when you're going to have good luck, and black when you're going to have bad luck. It turns things a kind of a rosy color when it's going to be a good day or a dull gray color when it's going to be a bad day. In other words, it's a symbolical shift which is going on continuously, on and on and on and on, telling a person and evaluating for a person and telling him where to go and where to be and that's basically what it is.

Male voice: Uh-huh.

Now, that's a prediction machine. You get a pc with that, he has delegated creativeness in one direction and knowingness in another direction. He's in horrible condition. His creativeness of the future is his best creativeness — if he's going to depend upon time. Well, when he has shoved creativeness of the future off into a machine which knows and he doesn't — oh boy, does he get in the dark! And literally that. He eventually goes black as a field. All right.

Well, move it in.

We find this person now in another category. This person comes along — here's just automaticity at work. We find this person afraid to take his attention off something because he knows it'll vanish. You know, there's all kinds of adages in the language about "you got to keep your eye on the ball," and so forth and so on. As a matter of fact, that's all really a game is — keep your eye on some gadget.

Male voice: Okay.

In Hollywood they make movies — and by the way, they always have in a movie something called a "weenie." A "weenie" is movie slang — or used to be, a long time ago — movie slang for the treasure chest, the fortune, the bag full of jewels. It's something everybody is after, is its definition. That's the "weenie," and it passes along, and the villain gets it, and the hero has to rescue it from the villain, and so on. It's that thing which is put there for the audience to put their attention on, which will then connect consecutively all the action of the picture. That is the motive and that is the reason.

And throw it back out there again.

Now, very early in life a person decided to be something and that becomes the weenie. He is just chasing through life to become this object or to acquire this object.

Male voice: Yeah.

Other people may start in, very early, just trying not to be some object, such as Mother. That's an entirely different type of weenie. Simple, But it's the thing which tracks the thread of attention through an entire lifetime. There are very many varieties of these, and there's very many ramifications to these. One set of values relating to this same thing we call the service facsimile. It's "What does he use to get sympathy?" is the way it's defined in AP&A. Let's just redefine the service facsimile: It's that which the preclear uses to get attention. Attention is valuable.

And move it in.

Now, we could go further on this, and say the inverse service facsimile which is, "that set of mechanical abilities or inabilities which somebody uses to fend off attention." What do people use? Beauty they use rather uniformly — that which is agreed to be beautiful — to attract attention; and they use ugliness to fend it off. And they get to a point where they will use ugliness to be able to eat. A spider does that. They just so horrify anything that sees them, that it then becomes edible. In other words, they get attention by being horrible.

Male voice: Yeah.

So, here we go from beauty, you see, demanding attention, into ugliness to fend attention off, into extreme ugliness in order to demand attention, and I don't know where you'd go from there to fend attention off. But I know there's many a spider, just before you stepped on him, that wished he had something that would fend off your attention. And probably in his next incarnation he decides he'd better grow a little bit better grade of poison — one that'll go through shoe leather. I'm sure they die with that postulate — I mean, the entity that makes them.

And throw it back out there again.

You know, they're run by entities here and there. And every time you start to fool around with an insect or something like that, generally there's something starts pitching at you, right now. People don't like that. These entities that run insects and types of birds and things like that — you're fooling with somebody's property. They own that property; they know that. It's curious.

Male voice: Uh-huh.

Well, anyway, attention is your key. Eatingness, sex — sex and the second dynamic in general, is something to make attention — a certain type of attention — and then to make it persist. Interesting, but very easy to figure out how it is. Eating, of course, is just a demand for attention. Inability to eat is trying to fend off the attention which one has been demanding. Anybody with ulcers has now turned the point of where he's trying to fend off all this attention which once he was so hungry for.

And move it in.

Well, let's look at the anatomy on this fellow with ulcers. Curious anatomy. He had a tremendous vacuum of attention. He began by believing he had to have attention from elsewhere. He began by believing that other people's energy was senior to his own. And his own was not edible to him. That's his first blunder. And from there on, it gets worse and worse. And it keeps running this inverted cycle. He sets up activities, so on, to demand attention. And then he gets too much. Every time, you see, he gets too little, he just sets up more machinery to get more. Until he gets it built up. And then the machinery nearly always, sooner or later, one life or another, will operate far too well. And operating far too well, it then practically falls in on him.

Male voice: Mm-hm.

He's just got lots of attention. So he has to set up machinery now in order to keep people from seeing him. In order to keep people from eating him, if you please. He's collected an awful lot of money or real estate or something like that, and people are just pawing at him continually to take it away from him and so on. He wants to fend off this attention.

And throw it back out there again.

And there we get, in terms of just thetans operating, we get force screens, shields of one kind or another, booby traps — when you look at them, they explode, you know, somebody else's booby trap — you get all this type of thing. And on Earth, it goes to the level of police. Companies, people, organizations which have an awful lot of mest — an organization — have actually conjured up a protective screen in the flesh to keep people from giving them attention on the one hand, and taking attention away from them on the other hand. And these two are always locked together in the machinery of the preclear.

Male voice: Uh-huh.

And we talk about automaticity — it's all very well to just sail out — little light automaticities, up higher in the bank, it's very, very good just to sail out and solve them one mechanism after another mechanism, one after the other, until we've got this case in a pretty good balanced condition, and get a thetan exteriorized and we deal with some of this machinery one way or the other. And machinery keeps showing up of one kind or another. And you know, basically, what the category of the machinery is.

Got that?

But it's all right to deal with in its lightest forms in Step IV — machines which create, make persist and destroy — work, pain, so on. That's the way you handle that with IV — machines which make blackness. Specific machines. It's all right to handle that. But never be puzzled about what you're handling. You're handling a series of machines which are first set up to get attention. And then are backed by another set of machines which make the attention persist. And these are backed by a set of machines which tend to make the attention desist. Then by another set of machines which seek, by all that's holy, to make it stop. And then the fellow hasn't any attention, so he's got to set up a set of machines which get him attention. And you're drawing the picture of his time track.

Male voice: Uh-huh.

Now, this set of machines maybe is not adequate, so he's got to set up more machines to get attention. And then, finally, he's got to make it — now he's got the attention, he's got to make it persist. Now, making it persist, he's got too much. So he has to make it desist a little bit, and now he's got to stop it. And here we go. Over and over and over and over. And this is the tale of any life, any spiral, any universe. This is the story of it. Round and round, over and over. Machines set up to cancel machines. And the V has done this a couple of times too often.

Is it staying out there better?

For instance, a V does not like ... Anybody has happened — had this happen to him. He's had a body, and after it was dead, believe me, it was supposed to be dead! You know? He didn't like anything which he had had in his possessions being manhandled and pawed around at and so on, after he'd left it.

Male voice: I can keep it out there.

Do you know how people don't like to be touched? Well, that isn't the body reacting against being touched. You go up to somebody and give him a hearty slap on the back, you know, bong! or something like that, he doesn't like that. Some people go out to the point where you can't even touch their sleeve or something like that — just the lightest touch and they shrink away and shudder and so on. Well, look at how far out that thetan has backed — where he can't have a direct contact against his body. Well, they get to this point, and they get to this point rather early in this universe — they got to it; and then after that, any body that couldn't be killed outright or something like that, he just felt he wanted to hide it or — under the leaves or — anything that was dead, you know. He wanted it to be good and dead and then not there. People have this badly.

All right. Keep it out there.

They talk about cremation and so on. They want to get rid of a mock-up, you see, very thoroughly. Now, there's some interesting cases I have run: Their bodies have been used for other purposes, you see? One case I ran one time had a — his brain was in a medical library and — for a number of centuries or something of the sort, or a century or so, sitting in alcohol. And this guy was just suffering, you see? Still — some of his attention was still on this damn brain. He couldn't burn it up or do anything about it and so on. And just processed it out, and he took his attention off of it and realized it was silly. It was just something he had associated as being his to the extent of being himself, which he therefore didn't want — now, another fellow I — he didn't want it manhandled by somebody else.

What you have is the V's dependency upon the mest universe. The mest universe has encroached upon him. Now, one of the things is the factor of time: He counts on the mest universe to regulate time for him. Well, don't forget this: He counts on the mest universe to regulate space for him, to hold all space stretched and stiff. Isn't it nice of this universe to hold everything apart the way it does! Isn't it swell that this universe holds one corner of the room away from some other corner of the room? Isn't that nice of this universe?

Another fellow I processed had the hor, I'd say this has happened several times: He had the horrible adventure of leaving this body — this happens to most anybody — they leave a body and then nobody buries the body. You know, it just sits out there in the open, exposed, everybody can see it and zuuuh! they don't like that. So they'll stick around until the body gets buried.

Oh, yeah? The only reason two corners of the room are apart for you, is that you have them apart. And, believe me, for a VII, VIII, DC or Step XXIII, they're not apart anymore — the very walls of the room fall in. He walks into a room, and he finds the walls of the room fallen in. Now, you see how this is? Nobody's holding the mest universe apart, frighteningly enough. Nobody — except you. And now you've counted on nothingness to hold apart distance. And as long as you think there is a somethingness to distance, and you're counting on nothingness to hold the distance there, you're in trouble. And that's why people are in trouble with this universe.

Whenever you hit a theta bop, you know, that's — somebody's doing that. If a theta bop has a sort of a little quiver on each end, a very — a funny characteristic added to the theta bop, why, you're on the right subject, but you haven't got the right time. See, the body is actually an earlier body or a later body or something that he's standing by. But everybody that gets that theta bop, when you hit that, it's just the needle of the E-Meter rocking back and forth — he's standing by a body someplace. And he frees up like mad the second you run End of Cycle on the body. Just have it turn into dust a few times, and the dust all blow away in such a way as to be never found again, and he frees right up on the theta bop. All right.

Now, you can do two things with a V level, just not talking — let's — we can talk interchangeably about Step V, a V level case. But remember this: after you have a thetan exteriorized, you do all these steps, one right after the other. I don't care what shape he's in. And you'll find out he'll run into the same problems anybody else runs into, but he won't occlude as badly and he'll handle them more ably, you see?

Some people haven't been just that unlucky to have a body left on top of the ground or mummified on a plateau or something like that — somebody's picked up their skull. And somebody has the skull, and they're doing something with this skull. And one fellow's skull had been picked up and was being used in a carnival. And it had a mobile set of wires, so it made the jaw mobile, and a light was flashing to make the eyes flash off red and so on. And it was being used in a carnival as an attraction outside of the sideshow. And it was there for years. And this guy was really sensitive about exteriorization. And we finally found out that it was all tied up with this damned skull. He actually didn't have enough attention in present time to worry about it. He was all fogged up. He still had viewpoints on this skull. And he'd every once in a while get pictures of a skull, its jaws flapping, and a record — a record playing behind the skull, so the skull was evidently talking.

So let's look at this thing and recognize that the V has a tremendous dependency upon the universe. This is a universe made out of black space. He quite ordinarily is sitting in a black cube or he has black cubes. This is dependency on the mest universe to give him space, and the mest universe to give him time. You can take this case, by the way, you can take a V, interior, and just have him get a mock-up and have time throw it away or eat it up. And on some cases that are bordering closer to VI, who are still occluded, you get the most remarkable, remarkable results with this. They'll all of a sudden have sighs of relief on this. It's quite remarkable as a technique.

The other fellow I ran into one time had died (he'd been rich) and just as he was dying, the surgeon, witty fellow, probably in the pay of one of the relatives, slid a talking tube up through the fellow's — back of his neck, made a slit in the back of the neck, and slid this tube up into the fellow's mouth, you see? And then just went back of another set of curtains and talked through the tube, and bequeathed everything the fellow owned to the wrong characters, as his dying breath. And all the relatives were standing around and heard the last words, you see? And this thetan was frantic!

Because that's what they have depended upon: they've depended on time to take away their mock-ups; time to take away their sorrows, their machines, their barriers, you see? And that's DEI on the cycle again. There's your Desire, Enforce, Inhibit, as a cycle, going on. Now, they didn't want the universe to do it, and then they began to resist the universe, and then the universe started to do it for them, then they wanted the universe to do it for them. That's giving up their self-determinism, you might say, to one of their own machines.

The body had been made to talk after it was dead. And after that, life after life, this thetan would just simply stand by until it was dust. And he had actively taken bodies which were getting slightly old or something like that and dump them off cliffs and get them caught in riding accidents or anything where they were going to be way out in the wilds and never found. See? Oh, real good. That's one for the book. I hope that doesn't get to be a custom, that sort of thing.

What machine are they giving it up to? The machine that makes the universe for them. That's very simple. Well, they won't tamper with this machine unless they get some other things fairly straight. But they'll let time eat up their mock-ups and time eat up their sorrows. And this is something on the order of putting a "forgetter machine," and now we have a forgetter machine closing in with a "time eater-upper of mock-ups." And you say, "All right, now let's ..." You could tell somebody to get a mock-up . ..

By the way, come to think about it, that's a terrifically good plot for a story — have to write a story on it someday. I was always engrossed with the idea because of the — the pc was so dreadfully upset. He just kept telling me over and over — I couldn't get a word in edgewise in processing — he just kept telling me, "And he put the tube up the back of my neck, see? And made the jaws, you see, agitated by pushing the tube back and forth, a little thing. And I didn't leave the money to the damn nephew!"

I'll give you an example of this: Somebody here get a mock-up. Get a mock-up. All right. Let forgetfulness eat it up. Real easy, huh?

And I'd say, "Come on. Let's see if we can't go over this a little bit."

Male voice: Yeah.

"But I — you don't seem to take this seriously!"

And you get somebody whose mock-ups are busily persisting, of course I told you there's several things wrong with him, but you got — on Matched Terminals, he's got collapsed terminals to a point where when he throws something away from him, it comes back. Well, he's tried to get rid of mock-ups, he's tried to jettison bodies and he's tried to shove off one way or the other and go here and go there and he's been inhibited from doing so. Distance and other things have kept him — responsibility, mental barriers.

Well, there's our — the problem we're involved with there is the problem of attention. There is a continued attention. People are continuing to give the body attention after they shouldn't.

He has to be — it would be too much of a shock to his parents to blow his brains out. And practically . . . There's hardly anybody here who hasn't thought that — hardly anybody — that they actually had some responsibility for those poor old dumb dodos, their parents. Had some responsibility for them, and the shock would be too great for them, and it would be absolutely murderous to these people if one disposed of himself or something. And this limitation, so-called "responsibility," is fascinating because it chains a guy down. What basically chained him down is he failed one day, for best reasons known to the incident itself, to knock off a mock-up that he was tired of. And he kept on with it, and then he had to have a reason why he was doing it. And so he added all these other justifications and reasons for that earliest incident.

Now, when people are dying, they're very often — feel quite guilty because they're going to make so many other people feel sad. Early on the track, you'll find most anybody at the moment of death, no matter how violent it was, his last thought is, "Gee, a lot of people are going to lose a good friend" — boom! Just like that. This is his final, sort of final thought. It is not for himself at all, you see. It doesn't matter about him. But the only reason he was around — all these people had a good friend and they kind of depended on him. And here he was — boom, gone! This is very bad from his viewpoint. Well, this still hangs around people when they're young, in this society at this time. And they don't like the idea of a continued attention, because it's a continued insistence on their going on surviving.

Well now, in V, whether we're doing a Step V process on a thetan who is exteriorized, or whether we're doing somebody who is occluded and is yet interior, we do practically the same things. We're trying to give him back the idea that he can hold two terminals apart, himself. And time they're holding apart, to a point where he can regulate their location in consecutive spaces — which is itself time. He's the boy that makes time. He's the fellow that makes space. Nobody else does.

We get around to what we were talking about earlier. It's an insistence that one survive, and continue to survive, and go right on and on and on surviving, regardless of what shape the body's in or what pain it's in or how ugly it's gotten to be or anything else. This is — this is the problem. What are we going to do about this body, you see? Just going to knock it off or something? Well, we can't do that because it'd make too many people feel bad. We are responsible to too many people, and so on. And the fellow just — he'll just go into apathy on the thing. Actually, he gets out and gets a new body and gets going, why, he's a roaring streak of fire! I mean, there's nothing wrong with the way he acts. But he's just conditioned down to the fact, he realizes he's part of a chain gang now. He's part of the chain gang of "let's all feel sympathetic."

Now, we talk about "own universe." He can tailor this universe up and fix this universe up so it's quite habitable from his standpoint and from his viewpoint. What do you think a little kid does? A little kid's got this universe duded up the like of which you never saw. Roy Rogers rides down one block regularly and — these movie actors would be surprised how often they are conjured into existence to rescue them from the savage hands of Father and so forth; they — these people are patron saints. And they've got a whole religious society all built up on the idea of the cowboy in the white hat and the cowboy in the black hat. It's a religious society, and they have their rituals which consist of TV movies — movies produced by Vitagraph and shown today.

Now, you're going to have preclears, people come to you, people talk to you simply because they want to get rid of the body. The funny part of it is, if you simply make them free as a thetan, the urgency of getting rid of this particular body and their feeling that it must not be violated in some fashion or other after death or so on, the idea of making it persist and other people's other-determinism making it persist and so on — this all gets very pale. Now, I just handled such a case and I'm talking in fact. If you don't make the thetan able while exteriorized, he is not going to carry through.

And this whole world they live in is quite habitable, and their command of time is tremendous. There is nothing as long as a summer afternoon when one is three. It just stretches forever. And there's nothing as short as a summer afternoon — nothing quite as short or quite as brief, at eighty. See, I mean, that's just poof! "Oh, what happened to the day?"

Now, we have an auditor here who is processing somebody, who, if this auditor had not concentrated on ability while exteriorized — ability while exteriorized, you understand — if he'd concentrated on the body and insisted on the body being patched up all the time, he just would have compounded the felony. But by just making the thetan able, why, the person is still alive. The case was so bad off, that the first impulse of a thetan, if the thetan had gotten free, was simply to kill the body — bang — and shoved off. But the thetan didn't do so. The thetan went on and got free and cruised around and so forth. And so the body he happens to have there is not in very good shape; well, he's not playing the role of superownership all the time. He hasn't got to protect this body, he hasn't got to be stuck there on the zero Tone Scale all the time — subzero Tone Scale — and gets away with it.

And the odd part of it is, is the amount of things can — that can be accom­plished in that day. That's what's fabulous. You'd think that this time was actual, you see, and you look around on some days and boy, you've just got time all over the place and you're getting lots accomplished; and on another day you worked hard all day and were in a complete flat-out rush and at the end of the day, you did nothing. Of course, you never let it sneak up on you — the fact that you're putting these lags and lapses and condensations there.

What basically, what fundamentally, is wrong with any case that has anything wrong with it? It isn't the body. But if the person doesn't exteriorize easily, they're on a lock-up and a maybe of this character: "If I take my attention off of the body, it'll disappear." Just like, "If I take my attention off that anchor point, the anchor point will vanish." You see, they pretty well believe that that body's got to be kept running by their direct attention on it. See, that's not true. The body will go on functioning without that direct attention. And "I don't dare let other people take their attention off of this body. Because, of course, it'll just disappear and perish. Because it depends exclusively on other people's attention to survive."

Well, let's look at this factor about this universe: Why does an electric motor develop electricity? It's got two poles — actually four poles, the top and the bottom of each of the two poles. A plus terminal has to be minus, and the minus terminal has to be plus, simultaneously with the other ones, in order to produce any current. They neglect that. They have the most beautiful pictures in the textbooks that utterly don't describe how electric generators make electricity. They just couldn't work the way they're fixed there. And they make no mention, no mention at all, of the only important part of the machine, which is the base. That thing which imposes space upon the terminals so that you get an interchange between these terminals.

Now you ask this character to pull his attention off of this body, and to pull other people's attention off of this body, and be outside the body? Oh no — no you don't! He's going to be right there.

Now, we find this base has imposed space and time actually upon these two terminals. Well, what — how'd it do that? Well, it's sitting on a piece of concrete — it's a motor bed, and it's sitting on a piece of concrete, and the piece of concrete is sitting on Earth and Earth is ... Each time we're getting space and time imposed upon the base, and then Earth and the Sun, you see, are in position to each other and you've got space imposed there by the various forces involved; you have time imposed there too. And we find out why is the Sun there? Well, it's in balance with other planets and units and so on, and we move right on out of the universe. On what? Imposition of space. You could say this — imposition of consecutive spaces — and you have said space and time.

He's got a lock-up of machinery which starts in and says, "Got to have attention." See? This is machinery to get attention. You could have seen him when very young, probably — or when she was very young — doing various things, and acquiring various parlor tricks of various kinds, you know, and peculiar expressions and methods of speech, and doing odd things, any one of which, you see, would get attention. And then later on, these things, one after the other, each one, would get the wrong kind of attention. You know, Papa, Mama, others, decide this was bad, and so they'd have to set up machinery to prevent that attention from occurring. So they've set up machinery to prevent attention occurring because they've developed these parlor tricks and methods of speech and so forth. Now, there's machinery to cancel machinery.

And so we just take a good — good, hard look at this fact, and we find out that an individual is as powerful as he can impose consecutive spaces on something. And a fellow thinks he's weak and he can't do much if his idea is that he can't impose consecutive spaces on something.

Now they found out they didn't have enough attention, so they had to go out and do something else and something new in the line of more attention of some other kind, and then they got too much attention for this — this being this society, after all — and they had to set up immediately, reverse machinery.

You take almost any real strongman, his effort at demonstration — just pure strength and so on — will be to show you that he can hold something apart or hold something together, against all comers. And, it's a basis of hold it apart or hold it together.

And eventually, when they've done this just so often — if they've run into this when they've got a body, it half-dies, they leave it, they decide they've got to come back and revive it — oh no! See, all this machinery just goes into a supertangle — "Do I want attention? No, that's painful. I'm liable to be hit. I've got to have attention because they insist I survive. They're trying to give me attention, I don't want it. I want attention basically if I'm going to live at all, but this body is nothing to get attention with. After all, the body is frail, and if I try to take my attention off the body, it'll perish and that'll let everybody down because I'm responsible to all these people, and they're the ones that are making it live, I'm not. To hell with them." And they go through this uhh-rowr-rawr-rowr — and they're going through this continually.

Normally, you go out to swim meets and things like that there, and you go out to various types of athletics, such as track, and you find thin guys. And they're not talking much about strength or holding something apart or putting something together. What they're mainly talking about is speed, you see. The speed with which they can take one object which is here, and put it there.

So they have other people's attention on them — they know they can't break this off because their machinery to do that has gone into apathy. And their own attention set up to the body — to keep their own attention on the body — first they had machinery to keep attention on the body, and then they set up various machinery, you see, to keep their attention from being totally on the body. You see, an automatic driving machine, for instance, or an automatic piano-playing machine is just some machine so you won't have to put attention on the body. But right away, you had — you started to play the piano in order to have attention put on the body and put your own attention on the body. Then you make it — as soon as you get it automatic, you see, you get it automatic in order to cancel earlier types of attention. And it just goes on in this endless cycle.

Well now, speed and competence, and force and competence, form actually, a gradient scale. But speed is actually just how fast you could impose space on two terminals, not how much terminal can you impose space on. You see, you get — that inverts, you see, and goes to how much terminal can you impose space on? Well, there you've got your hammer thrower and your weight lifter. Boy, are those guys muscle-bound. It's all right; I mean there's nothing wrong with being a good weight lifter.

Well, this guy gets into this tremendous jam-up. He's just nyarrr! He doesn't know quite which way to go and what attention to relieve first. And the result is, he acts like everything is locked up by everything else. He's a logjam. Now, theoretically, all you have to do is wiggle one log and out he'll go. See, the dam will go. Well, he doesn't dare let that dam go, because if you lose the attention on the body — or attention will swing in on the body so sharp that he won't be able to withstand it. And there's his problem, Mr. Anthony, right there.

But, there isn't any reason, you see, why you can't weigh fifty-six pounds and handle a thousand-ton weight. I mean, you don't have to go train for it. If you were sufficiently cleared, you could just pick one up and give it a pitch. You know, truck in your road — ten-ton truck in your road — pick it up and put it behind your car. This "mass" is an idea which creeps in, as the idea of space creeps out.

What does the logjam consist of? Basically, it consists of an automaticity which, in its prior section, is demanding attention; in its middle section, demanding that attention persist; and later in the middle section, that the attention desist; and then, finally, machinery and automaticity which just downright demands that attention stop. All the while, he's going along self-determinedly over the top of all this machinery which he keeps setting up, trying to live something vaguely resembling a life with some equilibrium. Meantime, all of his personal attention is just being eaten up by these relay systems which feed attention into all the banks and keep everything going full automatic.

So, we have followed this normally with a — with your people who have hit V, and you've got to go back up through this whole thing again with a thetan who is exteriorized. He has to be able to impose space. You know? He has to be able to put up a couple of anchor points and hold them there. And he has to pull them in on himself, and he has to push them away, and do all sorts of exercises with these. But these are kind of — what kind of exercises? These aren't, purely speaking, space exercises — they're space change exercises. And if you say space change, you then evolve every technique that can be evolved around Step V and any way you can do it.

Blackness is one of his methods of just... He can't unmock the stuff because it's there not to be destroyed, it must persist and so on. So he just starts painting everything black. He starts painting everything black. He's got more automatic machinery to paint things black with than you can count. He only has to take over parts of this machinery.

Well, the most significant process that comes out of this is simply, "Be in one place. Be in another place. Now mock up a world of cats. Now be in it. Now be here. Now mock up this place as a den of snakes. Now be in the world of cats. Be here. Be in the world of cats. Be here. Be in the world of cats. Be in this den of snakes here. Now be in the world of cats," and so forth. And you're — you're . . .

But basically, what would be the basic machine that you could run on any case that'd resolve the case? You can just run those three machines — wasting them in brackets, saving them in brackets, accepting them, desiring them, being curious about, in brackets each time — machines which cause one to receive attention, which cause one to give attention to others, which causes attention to persist, which causes attention to desist, and which causes attention from others to stop, which causes one's own attention towards others to stop. And this is the basic machinery to end all machinery.

"Now have somebody else mock his universe up here and fill it full of spiders. Now, good — spiders that are all poisonous. That's real good. Now get them crawling all around the floor. That's right. And get them on the ceiling. Now have a different kind of floor and a different kind of ceiling at different distances from them. Now get this place all fixed up and get the spiders dropping on your neck. All right. Now be in the world of cats. Be in the world of spiders." I mean, you could just go on and on. I'm just showing you some extremities of imagination. You can get this — three universes, you see.

And when he first starts to waste one of these machines, by the way, you can fully expect that your preclear, after a few minutes, will be able to waste one eye-bolt hole on one piece of equipment, which he cuts off delicately with a hacksaw so as not to destroy the rest of the machinery. Because attention is real scarce and real precious and any machine that'll help anybody make it, boy, that's right there. That's the machine we got to have. That's it. All right.

Change of Space Processing only falls down when it too thoroughly validates existing barriers which are already overevaluated.

You could say this is the basic solution of any case: An analysis and handling of its problems of attention.

So, "Childhood home. Here. Childhood home. Here. Well, now fix up the castle in Mongula."

What is it using to get attention? What is it using to prevent attention? And then solving it on the basis that it has set up equipment to get this attention and to refuse this attention automatically, without any further glance.

"Well, where is Mongula?"

But one word of warning about this process: It should be run, it has to be run, on a thetan exteriorized. One word of warning about it: You start pushing a thetan to get rid of all the machinery he's got that'll get attention, and you are running into a thetan who's going to either start lying like hell to you or resisting like mad. So take it easy. It's like pulling toys away from a little kid. It may seem aberrated to you, but it's attention to him or it prevents one from getting attention he doesn't want.

"Well, Mongula sits eight mile south of your last idea. All right. Now fix up this castle and get it so that that was the place where you were born and raised, this life. All right. Now, Mongula. Here. Mongula. Here. Mongula. Here. All right."

Now do you understand this better?

And after a while, "Now be in this castle and look all around and look right straight through all of its walls and find nothing in six different directions from you as you're there. Now be here and find nothing in six different directions from you there."

Okay.

And this takes off this validation.

Now, actually, just validating space all by itself becomes, at long last, a drawback and a limitation on processing. So in Change of Space and in "finding nothing" and so on, it's a very good thing to return your preclear where you think he is or should be; and you just say, "Now, just sit there and know." Like, "Cease perceiving and know."

Perception only reduces because of the imposition of limitations. You have too many walls, and when you have walls and want to look at them, you have to say, "My sight will now stop at that wall."

I had a very peculiar experience the other day. I was driving along in a car, and there were very, very beautiful clouds up in the sky and I tried, while I was driving along, to find out if any perception of the clouds whatsoever — any real perception of the clouds, ever reached the body. I was outside of the car and I was trying to study the photon — so-called, much heralded, much written about, photon arrangement. We're too prone, you see, to take for granted the half-squint glances and careless notes which people have put down as cold, calculated scientific fact. We're much too prone to believe that it is fact. And, by golly, I couldn't find any photons.

And as near as I could find out, any sight of the clouds that were reaching my body was there because I had posed a beingness with relationship to the clouds, and therefore had a good perception of the clouds. Now, you could always argue if you take a photographic ...

By the way, they're always invalidating — (quote) "invalidating" (unquote) — Hindu magic or fakirism by saying, "Well, if you took a picture of it, you wouldn't find the boy on the rope." I'm going to surprise people one of these days, I've got to put in a little time on this. Because what are you validating there? You're validating the barrier of a camera. Now, you can study a camera all you want to, and you'll find a camera is slavishly being obedient to certain impositions. Well, this means that a camera is obedient, it doesn't mean that the impositions are, you see, irrevocable, unmovable and so forth. You've got to grant that the camera is unmovable or unremovable, and that all these other things are unremovable, and all of this, in order to get — come up with the idea that we have solid, unalterable fact.

This "science," so-called, is always trying to put across a fast one across home plate — that's always trying to. I mean, you — if you don't watch carefully, you won't even see it come. And all of a sudden the fellow will be sitting back there with a catcher's mitt saying, "See, heh! Baseball, ha! You struck out that time." And that is, they announce so fast and so furiously this word "fact," and it's supposed to mean such a substantial thing, that you very often don't examine the parade of facts which go to make this conclusion; and they always start with an absurdity. And actually, the whole line of them are salted with it.

Well, I couldn't find any of these photons. So what I did was, I triggered a little automatic mechanism that was set up to impose space on things to see. I could see that this thing was very, very busy in the body — it was just being very, very busy while I was looking at these clouds and the beautiful day and all this, and this was being real busy, and this was all that was being busy. And I examined it thoroughly, and it was to "impose a space to perceive." And I triggered it, and blew it up, and I had the awfulest time putting it back together again because, boy, it was imposed space the like of which you never found in an iron bar.

It was so good that it could impose space from a cloud up here to the right, to the end of a cloud over here to the left, and impose the space from the center of the cloud to the body, so as to have a complete perception of the cloud. But it was riding along on — all the time — on an auxiliary viewpoint, which was viewing the agreement of perception of those around it. And it was taking that as a clue and making it all up. It was picking up part of it from the engram bank. There was a viewpoint in there looking at experience.

This little machine was having the most wonderful time mocking up mock-ups, that would mock up, that would agree with. What exactness! What exactness! And what terrific, steel-clad, armor-plated, diamond-studded rigidity! You just never saw anything like this. I mean, the idea of — if I could take this ashtray with my two MEST hands and crush it together before the space in ... I mean, and that much strength wouldn't even have fazed this little machine. Oh, boy! You talk about imposed space! Now, that was perception. The second it was tampered with, mest vision just started going haywire. The — what was being picked up on mest vision, see, it was — just started going blooey in all directions and made it rather difficult to drive the car.

And so I hooked up another viewpoint to the Samoan Islands and the clouds got much prettier, much prettier (they have much prettier clouds down there); and hooked the machine back up again, and managed to pump it full of enough space and get enough hate into it and out of it, and rigidity and so forth into the machine, and after that it really saw some clouds. I could sit there and watch the most gorgeous clouds you ever saw, right up there in the New Jersey sky. They weren't in Samoa because the agreement with them was being taken from the viewpoint of people in Samoa who like to look at clouds. See? It was taken straight out of their agreement banks as an entirely different thing: a viewpoint of a past agreement that clouds are beautiful.

Well, there's the darnedest rigs. Honest to golly, it looks like anything — Rube Goldberg never built anything like the foolishness with which we fool ourselves. The little man who drops and — steps on the dog's tail, dog barks, canary bird hits top of cage, and this fills the water in the radiator in some fashion. The left hand to the right hand, and above and below and around — it is awfully, awfully complex. Exit the most remarkable thing about all this is, is that you can do it just right where you sit, and do a lot of it all at once, and not even vaguely be lost. But you wouldn't get very many surprises if you did it very directly and were forthright about the whole thing. And you'd have to choose up sides or something like that, and have a war or something about it in order to get any randomity concerning it. You see that?

Anything that you can do, you obviously have the ability to do. That's pretty — that's one of those Q-and-A statements that might not strike you until it's stated. Anything you can do, you have the ability to do. And you start thinking of the number of things you can do, and you realize that you must be a pretty competent person, you must be a pretty competent guy. But your greatest competence is in fooling yourself that you don't have the ability to do what you are doing. And that really takes a competence.

You know, you have to say, "Now, here's the ashtray and we put it on this side of the desk." Now you have to say to yourself, "You know, I — it's very nice of that ashtray to have moved from one side of the desk to the other desk. I wish I could do that."

Somebody observed you do it, say, "Well, you damn fool, you just did it."

He'll say, "No, no, I didn't. I'll tell you, ashtrays just have a will of their own. Now, you notice that — it moved back to the other corner of the desk, and I have nothing to do with it, nothing at all. It's wonderful. Ashtrays bought at Penney's always do that — at Woolworth's, they don't, they're too cheap there."

You go on with this endless stream of fabrications, this endless stream of them, a lot of which are very carefully couched to convince people that you're utterly truthful. That's the rarest one of all: all these machines which are set up to tell the truth. Well, we have to examine what people consider to be true.

If something was agreed upon to have happened, it is true. So all truth is in the past, isn't it? If it's that kind of truth.

You get a preclear who's bad off, and you say, "All right, tell me now a small lie." And the fellow will just sit there. He will be incapable of telling you a lie. He might tell you that a gazelle just jumped through the window, but if he tells you this, he's crazy — he doesn't think it's a lie, he thinks it's the truth. In other words, his truth machines are out of whack.

Now, a preclear who is pretty bad off will... You say, "Tell me a lie."

Honest, he'll just sit there and struggle and strain and so on. And finally he'll look at you kind of self-consciously and he says, "I just took off my right shoe. I didn't, did I?"

One preclear's case just blew up in smoke by invalidating for him and putting back over to his control one machine. The machine was called "the have to have a reason for machine." And that's the finest machine there is. There's nothing like it. The endless concatenations of logic. You talk about automaticity — just double-terminal the word logic a few times and you'll find some remarkable things happen. Automaticity all over the place. It's like you double-terminal men trying to stop the motions of women. You get all kinds of automaticity, too.

So this case was told by the auditor, "Well, go over to the window and take a look."

This fellow's — "I can't."

"Why not?"

"There is no reason for me to go over to the window."

The auditor says, "Well, don't have a reason. Just go over to the window."

"No! I couldn't do that."

And it was a knockdown-drag-out argument for about twenty minutes and the auditor finally persuaded the guy to go to the window and look out, without any reason whatsoever, and the fellow did, and all of a sudden started to line charge, and came back and sat down in his chair, didn't take any more processing, went home, was well from that moment henceforward — ping! He had done something without a reason, which means he'd just blown to glory his "got to have a reason" machine. People expect everybody else to have a reason in this tremendous network of "I have to fool myself and I hope they're fooled."

Once in a while you get somebody up Tone Scale and he suddenly gets this idea, "You know I'm — oh, I'm terribly — um-mm. It's all pretense. I'm a very false person and I don't dare let anybody know." And he'll start to look at the auditor, you know, kind of out of the corner of his eyes and sort of look sheepish and so forth. This is pretense kicking in. He thinks pretense is bad. Well, as a matter of fact, the only way he'll ever be any good is just to pretend the hell out of things. Because if you can't pretend well, you can't hit a target well; if you can't pretend well, you don't put a room up there so it'll stay there. You have to keep looking around every once in a while and putting your finger up in the corner and then saying, "Well, I reassured myself and so forth that the room was there." Just put it there, see, and then you ... It's sort of like a vanishing trick.

Well, the V is doing this consistently. You get that pretense level. Now let's get this next level: he unmocks it — he's so accustomed to fooling himself by unmocking something that he has just done, and saying he didn't do it, and he has so much automaticity that does this, that he gets to a point finally where he unmocks something before it's created. And he says he does this because he's afraid things will hit him or he's afraid he'll be hit by particles which he perceives.

Now, I — as I said, I'm unable to find anything like a photon. They register on film, but I can't find one. They — the things I do find aren't even vaguely related to what I've read about in textbooks as photons. All the perception being done of the cloud is all very well and beautifully orderly and we have agreed upon it all and this is just sweet and swell and so forth, but there isn't any such flow. If there were, it'd be real interesting. It's just like sound — it's fantastic that people can agree upon sound. Bodies are agreed upon sound and so forth. But you can do this with sound. You could do all kinds of tampering with your machinery without anything breaking down.

Well, all right. He's got the idea he's liable to be hit. Well, the mest universe has a lag, he believes. At any instant in the mest universe, from one corner to the other, if you could be at every point of the mest universe simultaneously, you would have present time.

But if you think that you have to see something arriving as a measure of present time — oh boy! The stuff's been on the way a long time, and you're watching something travel along, so you're watching consecutive times. Well, all right.

What bearing does this have on the V? Well, he's waiting for this to come, and he gets used to the fact that there's a lag between — he finally finds out. . . You see, he — one day, he starts to help this guy or something over here that's a light-year away; he notices the fellow was about to be hit, and he perceives it with mest vision — that is to say, he's counted on the time lag. (It's more fun to have a time lag than to have an instantaneousness.) So he's perceived it with a time lag, and now he's reached over to help the fellow, and the fellow blew up a year ago. So he's too late, and he thinks he must have caused it. See, he thinks by reaching, that he caused the fellow to blow up.

One of the worst shocks that a person can get is processing something which makes — one of the worst shocks he can get in this universe (not processing something — you process this out, you'll find it) is when something started to fall off which would have landed safely, and by reaching for it, he gave it such a belt that it flew off at an angle and broke to smithereens. But it wouldn't have been hurt if he just wouldn't have touched it. You get that same thing — yeah, he's assisted it, therefore he's guilty for its breakage.

Now, here we have the problem of time lag. And so he says, "Well, if I just mock up some kind of a machine — if I've just got a machine here which will uncreate things before they get into my zone, I'll be all set." And eventually it's just starting to uncreate everything; and that machine is, in essence, time itself. How do you uncreate things? You put them in vanquished spaces or collapsed spaces or gone spaces or anything you want to call it — or just gone spaces, invisible spaces. And this consecutively put away, is the machine called time.

You know, you fill up one space and then it goes by, and you fill up another space, and you fill up another space, and you've got to throw those spaces away at first and this becomes boresome, just throwing things away; so you've set up a machine that throws it away. And then you start agreeing on everybody else's machine that throws away and you say, "We all throw away at a uniform rate. And then we can see what each other has and we don't get this business where you come up here and I say, 'Die yesterday,' and you — somebody else has said something just to you — just earlier, and we can't find you until next week. And this is bad."

So, the progress is that the V unmocks before mock, which is your inversion — your communication lag, in other words. You have him eat — time eating things up and so on.

Well, what's this? He's just reversed the motor. Where everybody above that level would be flowing from A to B, he's trying to flow from B to A. He's trying to back up a communication. And you'll find out that this is indicative of his behavior: He tries to back up communications. Simple. He handles, very often, communications that way: backs them up, he inverts them. He'll much more easily — if you can have him run an explosion backwards, he very often gets an explosion quite clearly; but you ask him to run one forwards and he can't do it. He's trying to uncreate before it's created.

Now, the one person he doesn't trust is himself. He trusts everybody else, really, to some degree. He doesn't trust himself. He doesn't trust himself with unlimited powers because he's blown up too many things by (quote) "accident" (unquote) in getting his machinery assembled. So he must have lost the idea that he can create things. So he must have had a lot of automatic machinery which created things, which must, at this time, be running faster than himself and be occluded and held in abeyance and stopped, which means he can't create things.

So let's superspecialize with this case on creativeness. Now, he observably can't destroy — he can observe that. But what he doesn't readily observe is he's not creating. You might process him for a little while and he'll say, "Well, wait till I gather up some more blackness to cover it with."

And you say, "Gather up some more blackness? What are you doing?"

And the fellow says, "Well, I have to, I..."

"Why don't you just create some?"

And this will come as a startling new idea to him. "Why don't you just make a sheet of blackness?"

So he does. So he covers it up with that sheet of blackness he just made. He'll notice that he can't destroy. See, he won't look at the fact he's not creating. You have to call it to his attention.

And so, machines which create. Because he's got a machine that destroys — he's fully equipped. It's a thing called time. It takes his mock-ups away. He puts one there and it fades. He looks back at it in a little while and it's gone. Nice, comfortable, happy. Don't ever ask him to look at all the mock-ups he ever made, though — he'll get a complete stack-up and a jam in front of him; because he never vanished any of them, he counted on something else to vanish them.

Another one — V's very often have automatic exploders. Sometime in their career, they've been very happy about explosive characteristics of this and that, and so they made automatic exploders. They've made exploders that will cause big explosions and surprise them. And boy, with one of these things around they eventually . . . They make up this, oh boy, they just — they worked over this, and design, and they thought it all over, and it was real nice, and they made this perfectly wonderful mock-up — a wonderful created figure. Gee, it was real good, and all of a sudden it blew up. And they said, "Who the hell — who's shooting at me? Somebody must be shooting at me." And they look around, and all of a sudden find out that their automatic exploder that was set up to explode, has blown up their own mock-up. In other words, they've crossed their lines. And they've considered that this was wonderfully beautiful and dramatic to punish themselves by fixing that exploder so it doesn't explode anymore — and they do it in a moment of anger.

And you process almost any V, you'll find an automatic exploder sitting someplace, and he'll start to get automatic explosions. Things will start going poom! over to the right, poom! over to the left. And he says, "Isn't this fine?" He said, "Isn't this fine?"

The truth of the matter is, he has capped this and capped that. He's gone down a process of muzzling everything which was inopportunely destructive. Each time he has said, "I can't create," when he has objected to destruction. When you object too much to destruction, you're saying you can't create. This is by objecting to war and so forth, and just admitting that I can't create nations at one fell swoop, see, or cultures or civilizations in a breath. Well, this doesn't appear unusual to you to admit that. You say you've got a nice culture there and so forth. As a matter of fact, it's very hard to propose something that complex, which contains that many surprises.

But your V doesn't trust himself with his own machinery, and the auditor is working around and about and through this one fact. He isn't going to let a discharge go between two terminals — he has too often done this with disastrous results.

Generally a person who gets into that category and is hanging fire there and is really in pretty good shape, although occluded as hell — generally this person has been a pretty wild one — pretty wild one. You look at these Vs and they're very mild and they're saying, "Help people," and all of that sort of thing. Don't look too quick, because you're dealing with a real tough character — real tough. And they're tough on processing only to the degree that they don't trust themselves to let go of things unless they see that you have a proper track with which they let go. And they audit very covertly. That is to say, they are audited, when they are preclears, very covertly.

And don't ever take your finger off of this: anytime anybody says he's occluded, grab ahold of an E-Meter. And that way you will save more time; because about every one out of four of those people is going to do nothing but lie to you — and know it. See? So you just grab that old E-Meter there, if you're really processing them to go for broke on this case — do an assessment, find out where they're latched up. Don't put up with any nonsense, keep that needle rising. And when it starts sticking again, do something else. Keep track of your case.

You'll find out he's latched up in this lifetime. You'll find out that he has uniformly tried to — without success — kill a body in this lifetime. And then his key-in is, he tried to kill somebody else, but knew he'd be arrested if he did it, and so he didn't. That's the key-in on him trying to knock himself off. He got in an operation — tonsillectomy or something, you see — and he normally shoved off from the body. After that he just paints everything black. "The hell with it. Rarrrrr! Well all right, I'll go on, I'll be good. I'll persist. I'll show them. Oh, you're an auditor, huh? Heh-heh! Well, I — my case is in real bad (go ahead, try and do something to me, see?) — real bad shape I'm in, and I think if you just audit (boy, am I going to lead him down the byways, hrrh!) . . . All right, I'll be audited, so I'll persist some more. My God, is there no end to this living!" (audience laughter)

Now, you see, you have success with this character the second that you start heading for the direction of no-persistence. You can audit them from the standpoint of you just — "It isn't you, a thing which handles a body, which is dependent upon the body being exteriorized, it's you being exteriorized." And you handle him accordingly, you get places.

Because the more you try to validate his body as a barrier — he's already got too many barriers. That's also his story: too many barriers. And the more you try to audit his and validate his body, the worse he's going to handle in your hands, believe me. Because that's one thing he has tried to knock off in this lifetime. Not that he's tried to be a suicide, but that he has been in an operation, he thought the body was dead, he wanted to leave it, he did leave it and he did what we'll call a "reassumption." The terminals between himself and the body collapsed on the sudden agony and pain in the body and pang! he was right back up against the body — generally in the wrong place at the wrong moment. And that's a reassumption.

Now, what's he trying to do? His idea was to kill the body and turn it into dust, absolutely dispose of it completely and utterly, and go back up to the between-lives areas and find his new body and go. Well, it will actually run as final if he goes from having killed the body and turned it into dust here on Earth — you just run Future Processing on this, you'll get the past — to the between-lives area, where he himself perishes. And he doesn't have to live anymore or do anything anymore. He's quite happy about this, this is real good. And that will run on out the incident in which he's primarily stuck.

So Step V has to do with any process that has to do with changing terminals, matching terminals or otherwise. Even putting up two people so they discharge one against the other. That's a Step V. And you do it exterior as well as interior. It happens that this is the main trouble with the V: He can't hold two terminals apart easily. So you have to remedy that while he's interiorized.

But don't think that this doesn't have to be run on a Step I. Because once you've got a person out of his body, you run all the remaining steps.

Okay.