All right. This is the second hour and just a — it's not an hour, but just a second rundown in this morning's work.

This is November the 18, first morning lecture.

Now, you understand why we're doing this technique of putting emotions in barriers. We're trying, in the first place, to invert barriers.

We're going to have, this morning, a very fast rundown on Steps I and II, Clinical Procedure. We'll find as we develop this material that it falls more and more into a highly formalized shape now.

We haven't come to Step II yet, very much, but that's the automatic machinery which unmocks barriers. And I showed you some of that yesterday. That's a little bit advanced. But the point is everybody perceives a little bit differently. They've got various mechanisms by which they can demonstrate to themselves that it's not safe to perceive, and in this wise they rather cut things from under themselves.

There isn't a technique which we have here, which I haven't had in operation for over eight months. Not one of these. But these techniques fitted into the proper frames of reference for communication and delivery to the understanding of an auditor who's expected to use them, and an application upon an individual's case and so on, is still in the process of development and will continue so. These are — processes are old, but they are not old in terms of their arrangement.

We've got to get this very good on being able to put thought, emotion and all kinds of effort, including light — which I gave you yesterday — and today, blackness.

Let's take now, very rapidly, a rundown on Step I. A Step I is somebody, of course, who can step immediately back of his head. This shouldn't confuse you for a moment on this subject. After somebody's stepped in back of his head, you run Step I. And then you run II and III and IV and V and VI and VII. Now that's actually what they're designed to do. It happens, with their arrangement that if he doesn't do Step I, you go to Step II, Step III, Step IV, Step V, until you spring him. And then you go to what he can do exteriorly. And the safest thing to do is simply run I, II, III, IV, V, VI and VII exteriorized. Because the technique is designed for, now, exteriorized processing — the processing of an exteriorized person — not with its emphasis on exteriorizing somebody. Do you understand that?

I mean, you can close your eyes — I want you to shut your eyes right now and do this trick. I don't care if it sticks you on the time track — you can unstick later. Doesn't matter.

Now, Clinical Procedure is simply this development: that you could just start processing somebody and actually to some degree omit the step, as such, of exteriorization — because he'll exteriorize. Well then, he's being exteriorized without being forced into exteriorization.

Close your eyes. Now make the forward wall of this room black. Okay.

Well, Step I is orientation. It depends upon this Prelogic: that theta creates space, time, energy, and locates it in the space. And its second operation, of course — a secondary operation — is to locate things in space and time. First couple of Prelogics.

Now make the outside of the wall behind me — the other side of the wall behind me — black, and with effort in it, no matter how tight or weak, but get that wall black and with some effort in it. The opposite side.

Now, that's "pre-Logic," by the way. Those aren't just something we thought of, you see, after we thought of the Logics. Because the Logics are Logics. And if you want to make somebody who is having a good time think-think-think-think-think practically spin, just have him double-terminal logic. Just have him put logic out there in front of him four times, and you'll see more action than you've ever seen before, because there is the bottom rung of automaticity. Really gorgeous what happens on logic! That's not a recommended procedure, that's just a demonstration procedure.

Now get the back wall of the room, the outside back wall of the room, black. The other side away from you. The other side away from you. Get it black. Now get a little effort in it.

Two kinds of procedure — there's three kinds. There's investigatory, demonstration that phenomena is there, and then practical processing procedures. And many that would belong — were in practical and — practical processing procedures have moved into the other procedures. All right.

Now get the roof of this building, the upper side of the roof of this building, black, and with some effort in it.

Now let's take this Prelogic — that's before Logic. That's exactly what it says. It isn't an Axiom; it isn't a self-evident truth; it isn't a basis on which you can evolve something, as you can in the Logics. It just happens to be phenomena which precedes logic.

Now get the four outside walls of this building, the outside of the walls, black, and with some effort in them. No matter how faint that effort is, but get them black and get some effort in it.

And then we get logic proceeding dually: one, simply from knowingness; and two, simply from these Prelogics of locating things in time and space.

Now get the floor under your feet. . . I'm not asking you to unmock any of this, the devil with it. Get, if anything, an effort to make it persist. Under your feet, the floor under your feet, the underside of it — get it black and with some effort in it.

You can reduce practically the whole language, if not the entire language, simply to action in space. Action or lack of action in space. For instance, the language is very limited because its use is communication of space — is what can we mutually observe? Those things which we have observed are in space and are objects in space and are motion in space, and as a result we get a communication. That is the basic communication, is motion in space, and different kinds of spaces. So that is, essentially, communication. So the mest language has a tendency to relegate itself entirely to this. But we can take this language — fantastic thing — we can take this language and talk about something that is completely out of its definition.

And the upper roof again, black and crushing down. Lay a black sheet across there real good.

Language is something we can mutually observe, which has become symbolized in terms of words. Now, we can take these words, because we've symbolized them, and we can simply move out of it by saying, "Well, we don't mean that symbol. You see, we mean the opposite of that symbol." And there must have been an opposite to the symbol or otherwise there wouldn't have been a symbol, and people understand what you mean.

Now let's lay a black sheet on the outside walls of this building, crushing in against the building or even pushing in faintly — I don't care how much effort, but get some effort in that blackness. Now let's make it persist. Definite effort to make that persist.

But the communication of this material has been the problem to be resolved, more than anything else. All right.

Now get the ground underneath the whole building with a definite effort to make a black sheet come up against the underpinning of the building. And get an effort to make that persist now.

Now, in Step I, we are attacking not just somebody who exteriorizes and is three feet back of his head and knows it and is very certain and so on. Don't classify that step as an operation or action step. Let's classify it on more of what it is: that is the step of Location. And anything and everything that has to do with location past, present and future, belongs in Step I. Specifically location — not change of location, that belongs in Step V; but just plain, ordinary, routine, run-of-the-mill location.

Now get the outside walls of the building black and pushing in.

Where is the microphone? It is so many inches from this corner and so many inches from that corner. And that is the position of the microphone. And this room is such and such a distance from such and such an object, and so on. Because all locations are relative. They are relative to other locations.

Get the roof of the building black and pushing in. Get it real black. Make it persist.

And soon as the person realizes there is no hitching post in the MEST universe which is suddenly sitting — to be found by a preclear, suddenly sitting there, which is immovable, irradicable and entirely fixed without relating itself to any other post, that it's the "prime post unposted," you've actually lost your grip on the whole subject of logic. The reason for this is, is every logic is related to some other logic, every datum is related to some other datum. Data can only be evaluated in terms of data of comparable magnitude and so forth. And we go right on off into all of the Logics and Axioms.

Now get any building on the street — whether you can see it or not, doesn't matter — but just get a black shroud over it, pushing in against it. And make it persist.

But there is no "prime post unposted" in the universe to which everything else relates. People have a tendency . . . You know, when I was running, you know, "Touch the statue," on arrival — you know, I would just run this as, "In the future you have touched the statue." Well, naturally people have the idea there ought to be a "prime post unposted" to which everything else is related. That there is a location which is independent of any other location. No such location exists. All locations are there because they are related to other locations which are there, because they are there because they are related to other locations which are there. And around and round we go.

And get another building, any other location, and get a finite direction to it and make it covered with blackness with a little effort in it. And make it persist.

And people get into these silly things like "It must be a circular time track," and "It must be a circular universe." This is only because if they beat everything to pieces, they would find out it finally related to itself. They would find out that after they've related everything to everything that was related to everything, they would get back to the first thing that they started relating things to.

Try and get the push in on that building now. All right.

I'll give you an example of this. All right. We take the microphone: it's so many inches from that corner, so many inches from that corner. And the room: it's sitting in a room where those corners — those corners in relationship to the courthouse over here — there's so many feet over to the courthouse, and it's so many feet down the line to a certain river dock. Okay, where's the courthouse? The courthouse is related in a certain location to Washington, DC and that is — and the courthouse is also in certain relationship to Los Angeles. All right. Where's Washington, DC, and Los Angeles? They're at the extremities of the United States, which is located between two oceans. Where are these two oceans? They are located on Earth and the Earth is located in relationship to a sun. But this sun is in location to Polaris, Betelgeuse, Arcturus and certain other stars. And where are these located? They are located in their relationship to the positions from the center of this galaxy. Where's the center of this galaxy? The center of this galaxy is the mean location and centering of all lines which would be drawn inward toward it. That's the center of the galaxy. It's very simple. All right.

Let's get another building someplace, I don't care at what distance away. Cover it with blackness, and have the blackness have some effort in it to push the building in.

Now, let's just take the galaxy. We say, "Where is the center of the galaxy?" Well, the center of the galaxy is related at such and such a distance from that microphone. See, people think they know something. Science is always engaged on this. They say, "The railroad track goes from Hoboken to Sloboken. It starts in at Hoboken and arrives at Sloboken." Then they never ask, "Where's Hoboken?" and "Where's Sloboken?" They think they've located a railroad track. Well, actually they have, because that's the — all the location there is.

Now mock up a black tree with some effort on the side away from you — towards you. A black tree.

The greatest secret of the mest universe, you see, is there's no secret. It is there. But it's there because you say it's there. And this doesn't mean it isn't there, merely because you say it is there. Because, you see, you happen to be all the authority there is for the location of it.

If you've been having trouble getting effort in it, put some tiredness in this black tree — the effort called tiredness.

And people who want to minimize people's authority say, "Well, it's all illusionary because you just think it's — you just imagine it." Oh, boy, what a cancellation. Rrrr! You're nothing because that which you imagine, then, has no validity. And when all the validity there is, is that which you imagine . . . See? In other words, your imagination can make things awful doggone real real. See? Real good.

Now let's mock up, anywhere around, a small black doghouse with a little effort in it.

The way to look at it — it's just a difference of viewpoint — is whether you take the motorcycle down the road or the motorcycle takes you down the road. They say, "It's all illusory because you thought of it." All right, that's the motorcycle taking somebody down the road, see? Everybody knows they're nothing, and so on. So let's turn this around and say that "It's really real because you thought of it." Entirely different angle on the same thing. Well, that belongs, actually, in terms of knowingness.

Now let's mock up the front wall of this room as black. The whole thing black. A little effort in it, even if it's the effort of tiredness.

So locational activities have to do, of course, with limitations and barriers. And this is the first step out of knowingness. We immediately move out of this certainty which is knowingness. Certainty is not data. It's not data, it's just knowing — knowing one knows. And that is actually a state of beingness.

Now the side wall over there, mock it up as black. Put some effort in it. Make it persist.

But the first observable state of beingness has to do with space. And the second we get into space, of course — in order to have space, we have to have a viewpoint of a dimension. Well, how is the dimension achieved? The dimension is very simply achieved by having barriers on the space. But why and how is the space there? The space is there because it has barriers. So we're into an interrelated thing. We're into: Barriers make location possible. Location only becomes confused because of barriers. See? See, it's one of these — it's Q and A. It is what it is; the way to cross the river is to cross the river; the way to eat breakfast is to eat breakfast.

The other side wall black. Put some effort in it.

Now, here we have somebody looking at barriers which he put up. Then looking at barriers which he and somebody else put up. Then looking at barriers which somebody else put up. And you've got about all the kinds of barriers there are. Of course, there's the barriers somebody put up for him, and the barriers they put up for other people. So we have another classification, and we have a bracket of five. Actually, there are six brackets in space. We'll go into that later.

Now the back wall of the room black, with some effort in it. Pay particular attention to the outside of that wall, but let's get the whole wall to some degree. And get the idea of making that persist.

But when we have location, we have to do with barriers. You understand that the more we validate barriers, the more barrier they become. And the trouble with your pc, he's got too many barriers. Don't, however, miss this fact: unless you backtrack the track of agreements, you're not taking the wheels delicately, and the excess balance wheels and so forth out of the watch, you're just smashing the watch. You can just suddenly say, sneeringly, "Well, there's no barriers and the barriers don't have any validity and so forth, and it's all unreal anyway and we're all set." This is the way it works.

Now let's take the front wall again, and on the opposite side of this front wall, let's put a sheet of blackness. The far side of the front wall, put a sheet of blackness.

He's convinced there are barriers and then he's unconvinced, which is an involution, you see? At first he's real convinced there are barriers, and then he gets unconvinced of these barriers of which he's already convinced. See, this is real unreality now. I mean, he was absolutely sure that when he banged his head into the tree, it found an impact between the head and the tree. You see, an impact was there when he banged his head into the tree. When he stamped his foot on the concrete walk, a foot contacted a concrete walk. He's very sure of this. Now, time goes on and he overdoes this and he becomes so sure that he's really sure, and he's sure beyond sure beyond . . . Well, it's — I don't know, you stamp feet into concrete walks, you have to have feet and they're very, very scarce; and maybe we'd better not stamp so many feet into so many concrete walks, and the way to do this is not to have so many feet and not to have so many concrete walks because they're scarce. That's about all there is to logic. But that's direct logic, that it actually assaults one's credulity that it could go this way. But after a while, why, he doesn't have feet to stamp against concrete walks.

And now, like you were blowing bubble gum, pull a bubble of that blackness through into the room so it comes right through the wall.

Now, what have you got to do? You've got to give him a concrete walk — not necessarily, but the fast-working technique gives him a foot and a concrete walk, shows him they're real, and then shows him they aren't real again. But that's bringing him up scale, not down scale. It doesn't show him, "Look, here's a foot and a concrete walk. Now, you're sure they're there? Now we're going to show you they're not there at all. Uh-huh! And we're going to show you not only that they're not there, but that you're a very foolish person for believing they ever were there." And we just wheel the guy off in a wheelbarrow to the local spinbin. And that's the way it's done.

Now cut off the bubble and drop it on the floor, so it'll persist.

That's the big operation in this universe, is you convince somebody something exists, and then you unconvince him by showing him it doesn't exist. And you do this, and if you do this on a line where he is merely being confused by it, and is still carrying his old existences, why, he's in terrible shape. So, again, we have the validation of barrier. The validation of barrier precedes, by impact, the invalidation of barriers.

Now reach through the wall and get another bubble. And drop it on the floor so it'll persist.

And people invalidate barriers. This works like this: A fellow is convinced that a blackjack will meet a skull when wielded against a skull. He objects to this and he objects to it and he objects to it and keeps getting slugged with a blackjack. So finally he goes to the point of where he says, "Because of this, there is no blackjack and I have no skull, really." See, that's his defense against this. He says they don't exist. In other words, he tries to scramble backwards — and all the time he is madly holding a skull away from a blackjack, and a blackjack away from a skull. Although he's convinced they don't exist — he says.

Reach through the wall and get another bubble. Bring it through so it'll persist.

So your preclear is madly holding the foot above the sidewalk and not letting it meet, the head from smashing the tree, all over the time track — and at the same time saying, "I'm not there. I'm not there. It doesn't exist. It doesn't exist. No. No, it isn't real."

Now reach through the wall another place and get another bubble. And another one. And another one. And another one.

"I can't see well," he says, "you know, I can't see well. I look at the walls and they're kind of thin. Kind of seems to me sometimes the whole universe is liable to disappear." This is real sad. Well, all you do to reverse this is to give him back the barriers which he already had, and then undo those, so he's no longer holding something.

Now just yank the rest of the black sheet through the last hole. Make a big bubble out of it and fix it up so it'll persist.

And how do you go about this? You show him by a process — Step I, actually — that there is no barrier to hold. Now, the way you show him, however, is by showing him there is a barrier to hold, and then showing him there isn't a barrier to hold, on this basis: self-determined.

Now put this bubble on yourself. Yeah, make sure it'll persist. All right.

See, there are two ways to go about it. The way he goes down scale is it's other-determined assurance, you know? Blackjack against the skull, blackjack against the skull, blackjack wielded by somebody else, skull belongs to something else, and there they're coming together madly and he's trying to say all the time, "They're not there," and something else is saying very authoritatively, "They're not there," and then somebody comes along later and tells him and convinces him utterly that he has no skull. This is other-determinism at work.

Now let's put another black sheet up there on the out — or — of the wall.

Now, self-determinism at work, you simply show him, "Look, you were making the barriers in the first place," and he realizes this suddenly. But if he doesn't realize this on his own power, you have not unmade it, you have just pushed him down scale. You get the two differences?

Now let's unmock the wall in some small portion — just unmock it so there's a hole in the wall, and let that stuff come through.

So by locating him in time and space all over the shop, you eventually show him that he has the power to locate himself in time and space. And you take away any of the automaticity which he had and was trusting and had forgotten about. You've taken away the automaticity which is doing all this locating for him. You just locate him, you see. You get him located in three universes: his own, somebody else's and the mest universe. And you get him well-located and well-oriented, and you get him well-oriented in time, you find present time for him and that sort of thing. And then on his own determinism — because he's gotten rid of this automaticity and a few other things (but that all takes place in Step I, just automatically; again, the step itself is somewhat automatic) — he gets up to a point where he can start looking through the barriers; but he can only start really looking through them when he knows he put them there. You get the idea?

And let's get another portion of the wall unmocked, and let it come through there too.

First, he knows they're his, and he knows he at least had a hand in putting them there. And then he can banish them. And then he can put them there at will. And then he relaxes about the whole thing. You see?

And another small portion of the wall, unmock that and let it come through.

If you put it the other way around, whereby you just start hammering and convincing him and then saying, "You see, you know it isn't there," why, you're just being other-determinism. He'll simply go down Tone Scale.

Now let it come through while you insist that it doesn't.

People get over arthritis, by the way, by going into apathy. Yeah, you can move somebody from anger down into apathy, he'd probably lose his arthritis. Interesting, isn't it?

Now pull the rest of the black sheet through into this room.

You can do things to somebody by pushing them down scale as fast as you put them up scale. That's right. Just as fast. Of course they're not much there anymore and so forth, but they're not any trouble to anybody either. Psychiatry works on this basis to some very marked degree. They "treat" patients so that the patient is less trouble to his environment, and that's their goal.

Another bubble, and put it on yourself — very carefully, so it'll persist.

And our goal neglects the fact that the patient may be more trouble to his environment. Just neglects it utterly. Because, by test, we have discovered that after he's been troublesome to his environment for a while, he gets to a point where he's assisting his environment, and we figure that's better.

Now get somebody else mocking up a big black ball with plenty of effort in it, and dropping it on you.

It's all a point of view, whether everybody succumbs or everybody survives. And it's just difference of viewpoint. And probably a lot of argument in favor of everybody succumbing, except the person who wants them all to succumb. And it's just a point of view, you might say. It comes under the heading of the "only one." If a fellow has to play the idea of the "only one," then everybody's got to succumb. See, everybody else must succumb because he's the "only one." It's very simple. All right.

Another big black ball with plenty of effort in it, and squish it down over you. And help it cave you in.

What precisely does Step I consist of? Consists of direct location.

Another big black ball with plenty of effort in it. Have that dropped over you by somebody else. And let them cave it in.

Now, when you tell somebody, "Be three feet in back of your head," you, of course, are telling him to locate himself. And you've got him out of his own wavelength and bailed him out of energy sufficiently so that he is able to, actually, process things by sort of changing his mind. He can sort of change his mind there, from there out — within the limits imposed, which are resolved by Step II.

And get this stuff now being very gluey. Now take two — a piece of it, like taffy, and pull it like taffy.

Now, what else is there to this step? Well, you see, that's just one brand of location.

Plop the two ends together and pull it again like taffy. Make sure it stays black and make sure it persists. All right.

Now, because he has been so dependent upon impacts in the past for his conviction, it becomes more important for the auditor to discover where he is not, than where he is. And on this case, you never go in on the basis of, "Now where are you?" If you were really doing a smooth job of auditing, you wouldn't even ask him, "Are you three feet back of your head?" See? Now, you would say, "Are you in your head?" — you say, "Three feet back of your head. Now where are you not in the body?" That would be the next question.

And when you got that real good, (if you have to, make some more of it) drop it over somebody else — very carefully, so that it persists.

And he'd say, "Well, I'm not in my feet. I'm not in my stomach. I'm not in my shoulders. See, I'm not in my — oh, I'm not in my head! Ha-ha!"

Now find some somebody else and drop it over another one so that it persists. All right.

There you go. You've suddenly delivered into his hands a certainty.

Now just mock up, all the way around this room — have somebody else mock up all the way around this room, a big black sheet which completely encompasses the outside of the room; have them put enough effort in it to make it persist.

Now if you ask him, "Are you three feet back of your head?" he looks around and doesn't see anything. Of course it's he that is looking around and him he is expecting to see. And of course he can't see him, so he's in a state of unknowingness to a point where he's very uncertain. And when somebody's back of his head being very uncertain — you know, he knows he exteriorized in there for a moment and then he becomes very uncertain — it's usually because the auditor is asking too many puzzling or upsetting questions about his location.

Now mock up a big black envelope and drop Earth into it. And pull the strings tight. Fix it up so it persists.

Because this person, if he's going to be uncertain, is already trying to make come true this line: "I am energy. I am an object. See, I have become something." And anytime somebody's trying to make that line come true, we're having a little trouble. Because the fact of the matter is, he's thought and he is personality and so on. But he doesn't think he's a personality and he thinks he's just a concept and he's real upset, and life looks very confusing to him at that moment when he suddenly arrives three feet back of his head, pong!

Now another big black envelope. And you hold it open while somebody else drops Earth into it. Pull the strings together.

Very often people arrive three feet back of the head and the auditor asks them, "Now are you three feet back of the head?" And the fellow thinks for a moment, "I wonder if I am, let's see." And he starts looking around for himself or he starts looking at the body. Well, we don't even want him to look at the body.

Now get a big black envelope with plenty of silence in it, and slide it over this building. And have somebody else nail it in place.

There's nothing wrong with his looking at the body. But the technique would even work better if you were to suddenly ask him, "Now are you in the upper right-hand corner of the room?" Just completely removed, see? "Are you in the upper right-hand corner of the room? Are you in the upper left-hand corner of the room?" It's where are you not that we're interested in. "Are you in the lower left-hand corner of the room? The other lower left-hand corner of the room? No? Well, are you in the back upper right-hand corner? The back upper left-hand corner? The back lower left-hand corner? The back upper right-hand corner? Oh, you're not in any of those points? You're sure of that now?"

And have somebody else come along and drop another envelope over the top of your envelope for somebody else — as though you weren't there at all. All right.

Well, the guy says, "Well, of course, there it is! I can't be in it because I'm where I am because I'm not in it!"

Now let's mock up a tree out of this blackness.

See, it's very simple. He's very, very happy about this.

Mock up, now, a signboard — completely black.

And if you were to process a preclear whereby you didn't let him look at his body .. . You see, here's the chance of it: you can take a guy who's in terrifically good shape already and say, "Be three feet back of your head. Now are you there?"

Now mock up the moon as black, and keep dropping blackness on it until you really get it black.

And the fellow says, "Sure."

Get somebody else giving you some assistance in putting some more blackness on the moon.

And then say, "Well, be here and be there and be someplace else." But you're already treating somebody who has a remarkable sense of location.

And have somebody else cover the sun so it's entirely black. And have them say they're doing it for somebody else. Okay.

So let's just alter the technique and the understanding of the technique to a point where you can take in the fellow who's uncertain and then never pay any attention to whether people are uncertain about it or not. Don't validate all this uncertainty and "I don't know," and "Is he sure?" and so forth.

Now get two people, entirely black, with some effort in them, agreeing with each other that it must be all black.

And if you were to take a Step V and you were just to ask him that and he did it — you see, very uncertain, very nebulous, as sure of his form — he's standing in back of his body with another body. You can ask him to put his hands on his body's shoulders sometimes. I find out they can usually do that. They put their hands — they've got a body, you see, a mock-up of a body, and they operate the second body instead of the first one.

And get two of you, entirely black, agreeing with two other people, entirely black, that it must be all black. Get a definite effort to make that blackness persist. All right.

Well, that's all very well, but you might have that case. And just on the chance that you might have that case, we'll just throw aside any opportunity to spoil that case. If a guy is well located, it's all right to say, "Now, are you back of your head?" See? That's all right — if he's well located.

Throw away any mock-ups and blow up anything you've got there in the matter of residue.

But supposing you took somebody that was a Step XVIII and you says, "All right, now, be three feet back of your head," and he was feeling pretty good that day, and he was, and then you said, "Are you there?"

How many people are fouled up like fire drill right this minute?

He says, "Oh, I don't know. Let's see, I don't see me anyplace. Well. . ." See, because his whole orientation is a complete dependency upon barriers in which he isn't. His orientation depends upon knowing where he is not.

Male voice: The sun won't obey.

So if you're going to run this step generally and smoothly in a clinic where you're just going to start gunshotting people and not going to worry about their states of case beyond particularly this and that — you're just going to walk right in on this one. You're going to say, "All right, now be three feet back of your head. Are you in the upper right-hand corner of the room?"

Huh?

Well, the fellow would kind of think — might be upset by the abruptness of the question, but he'd look at the upper right. . . "No. I'm not in it. What's the matter with you?"

Male voice: The sun comes through.

"Are you up in the right-hand corner?"

Sun keeps coming through?

"No. I'm not in it."

Male voice: Uh-huh.

"Well, give me the back upper left-hand corner. You in it?"

And how many people feel just completely nyaaaarrhh? Huh? Everybody? (audience laughter)

"No. No!"

Male voice: No worse than I felt before.

"Are you in the floor? Are you under the chair?"

No worse, huh? What happened as you did that? Did you get any of the blacknesses?

"No. No. No. No."

Male voice: Oh, yeah.

All of a sudden, why, he announces to you without being asked, "I'm three feet back of my head." Or you can mention to him, "Be there."

Did you get them outside the room?

Now, there's a very covert way of running this. That, actually, is the best way of running it. But there's a very covert way of running it whereby you say — you just don't tell the fellow to be out of his body, you simply say, "Are you in the upper right-hand corner of the room? Upper left-hand corner of the room? Are you in the lamp?" you know? "Where are you not in this room?"

Male voice: Very strong sensation of the — all these manipulations.

And let him name off a few places and look around and he names off a few more.

Mm-hm.

And then you ask him a few more where he is not, and where he is not, and then you say, "Well, are you in your feet?"

Male voice: Felt like hell. Much worse actually during the period . . .

"No."

Well, that's all right.

And, "Knees?"

Male voice:. . . of the run than I feel now.

"No."

Yeah. Who feels real bad on it? Anybody feel real bad on it? No? All right.

"Elbow? Either elbow?"

Now let's put out a couple of huge black beams to reach present time with. (audience laughter)

"No."

Now let's withdraw the black beams from present time.

"Hand?"

Now let's get present time putting a couple of huge black beams to locate you.

"No."

Get it withdrawing them.

"Shoulders?"

Get you putting out huge black cables in all directions to locate present time.

"No."

And present time putting out huge black cables to locate you. Okay.

"Nose?"

Now let's get a huge spider web that you're putting out to locate present time — really black and nyaaah — to locate present time with.

"No."

And have present time send out a duplicate spider web over the top of this one, to locate you, so that you got two spider webs.

"Chin?"

Now let's get present time dropping black football helmets on you.

"No."

And get you dropping black football helmets on everybody in the room.

"Back of your head? Are you in the back of your head?"

Now put black jerseys on them.

And the fellow's saying, "I don't know."

Paint their faces black.

"Well, are you in front of your head?"

Put black pants and skirts on them.

"No."

Now take some black cones and drop one over each person present. Now, you've done that?

"Are you in the middle of your head?"

Now put some effort in the cones — squish!

"No."

After you've done that, claim somebody else did it.

"Are you in the back of your head?"

Okay, throw all that away.

"No."

And let's reach for present time with a couple of black beams. Good, persistent beams that'll be here for the next eighteen thousand years.

"Are you on the back of your head?"

And get present time reaching for you with some black beams that'll be here for ninety-eight thousand years.

"No."

Get a truck to carry them around with. Okay.

He's out of his head. How'd he get there? You just moved him out by a gradient scale of where he isn't. Because every time you asked him about this, he looked to see if he was there. Cute, huh? And then he found he wasn't there.

Now turn the walls of this room black.

Now, you can take the darkest case that ever walked in and ask him to find four places he is not, in the darkness. He'll start to get somatics and things; because he knows he's not in the darkness, because he can see the darkness.

And then look at them as they are.

By the way, most occluded cases, you say, "Can you see anything?"

Did they un-black?

And they say, "No."

Male voice: Little bit.

You say, "Close your eyes. Can you see anything?"

Make them black again. Now insist they don't turn back the way they are.

And they say, "No."

Now make them real black and insist they're lost. A beautiful sadness of the drama of the black barrier that's lost.

And you say, "Now look, close your eyes. Now look around and see if you can see anything."

Now throw the blackness away.

They tell you, "No."

Throw away all the blackness you've got. And throw it all away.

Well, don't pick up an inkstand, an ashtray, a lamp and hit them with it. Say, "Now, come on, can you see anything — black or white or blur . . ."

Now make another little cube, just in case you need it.

"Oh, well, yes. I got tremendous clouds of blackness."

Throw that away too.

They never looked at it before. That's anything, that's something. See, and they keep telling you, "No, I can't see a thing. No, I can't see a thing."

Another little cube, just in case. An expandable type of blackness this time.

They're looking right straight at huge white clouds or huge black clouds or blurred fields or something, right straight on through. See that? That's real silly. They are looking at something — they're looking at a black field. Well, there's something.

Throw that away.

All right. As soon as a case suddenly decides that everything is black when he's got his eyes closed, and he's very befuddled as to why you're beating him around about looking — he'll be in the corners of the room with his eyes shut — why, he will generally fess up and tell you, "Well, the field is black. It's black, I can't see anything." Providing you've run this exteriorization type of drill — locational drill. You've made him look or feel enough so that he is aware of — he has some sense of location. He knows he is not somewhere. Well, boy, that's more than he knew two seconds before you asked this question.

Now make the little tiny machine there, the little tiny one that'll make blackness any time you have to get hidden, when you don't know you have to get hidden.

And this is good enough when applied to past, present and future, in brackets — this little technique of "Where are you not? Who is not here? Who is not in the past? Who" — so on. "What other people aren't here that think some­body else is here?" That, by the way, is — you very often get a little flip on that because that's the rest of the bracket. When you ask all around the clock on this, that's a good enough technique — that's one of these "all by itself" techniques — that's a good enough technique to fish Homo sapiens out of his spinbin.

Be very careful of the little machine. Put it in a golden casket now.

Now, you understand the process? The process is "Where are you not in the past? Where are you not in the present?" And "Where are you not in the future?"

Throw it away. You can save the casket. All right.

Now, there's something else: "Where aren't you thinking?" must accompany this, to a person who is having any slightest difficulty. Because they may be thinking all over the place.

Get another little cube of blackness that'll produce black-producing machines.

We've been using a phrase to characterize this, which is "buttered all over the universe." Somebody's buttered all over the universe. Well, you collect him by finding out where he isn't. And when you first start in, you'll find the damnedest things are — in some cases are present, and other people are present, and he's in the past and there isn't anyplace in the past where he's not. And he'll start agreeing with you. You — and one of the methods of using this, by the way, is picking apart the childhood home. All right. "Are you in the linoleum of the kitchen of your childhood home?"

Now keep that. Save it.

The fellow will say, "Yup." Be the normal reaction. I mean, that's normal, almost.

And get another little cube of blackness with which to work. And save that one too.

"Are you in the wall closet?"

And get another cube of blackness. Try this one on just to make sure it will occlude you. And having tested it, save it carefully.

"Yes. Yeah."

And make another cube of blackness. And save that.

"Are you in the window in the front room — in the glass itself?"

And another cube of blackness. And save that.

"Yes. Ow!"

Now throw the last one away.

You found him. He, fifteen minutes, at two years of age, had his hand pinned down under a window which had dropped on his hand. Scared stiff. And he's been there ever since. You sprung him. Sometimes you have to be terribly covert to get them out of places — you have to name the most unlikely spots.

Now throw them all away.

Now, that's just "Where you are not," past, present and future. Now, you could actually just go right ahead and clean up a whole track on this negative location. Take you a long time. But it'd be a technique which would carry you through. It'll snap out somatics, so on.

Now throw away any remaining blackness that you have around.

The fellow says, "I have a headache."

And you've just about got it.

You say, "All right. Where don't you have a headache?"

Okay? How you feel?

"Where don't I have a headache? In my feet, of course."

Male voice: Oh, I doped off several times.

"Well, all right. Do you have a headache in your feet?"

Did you get any somatics?

"No!"

Male voice: Well, I — well, I've been getting them all morning. I was feeling them.

"Well, do you have a headache in your right ear?"

Yeah. Did you get any of those blacknesses?

"No."

Male voice: Well, it's not completely black, it's more of a gray. And I...

"Left ear?"

Did you get anything black?

"No."

Male voice: Yeah. I'm getting them, mocking them up, yeah.

"Do you have a headache in the back of your neck?"

You're getting black things, mocking them up. Okay. Did you get any outside the walls?

"Well, slightly."

Male voice: Putting them on the out — yeah, I got some. I got some blackness there.

"Well, do you have a headache in your collarbones?"

Uh-huh. With some effort in it.

"No."

Male voice: Plus I had a purple light turn on again for a while.

"Well, do you have a headache in the back of your neck?"

You did, huh? The Martian excursion number! (audience laughter)

"No."

I'm not evaluating for you. Just because I tell you that's the gate to Mars is no reason why it is the gate to Mars. It's — the truth of the matter is, it probably isn't the gate to Mars. It's probably the other gate to Mars. (audience laughter)

"Do you have a headache in your chin?"

By the way, another thing that is far more deadly than blackness — ask somebody to do it — is just what you're talking about: Have them mock up everything in ultraviolet light. They don't like this one because a thetan becomes visible with it.

"Nobody has 'headaches in your chin.' What's the matter with you?"

Second male voice: He becomes invisible?

"All right. Do you have a headache in your nose?"

He becomes visible with it. At least he thinks he does at this time. Okay.

"Mm, no."

Did this leave anybody bogged down utterly? Or with terrific somatics? Hm? Well. . .

"Well, do you have a headache?"

Third male voice: Licorice all over the walls.

"No. Wait!" (audience laughter)

Hm?

You just put him in present time by calling his attention on negative reac­tion to present time. That's real covert, isn't it?

Third male voice: There's licorice all over the walls.

Well, it's not a technique that wears out. Now many, many of the older techniques used on somebody once or twice would find him in a null. In other words, he'd learn how to resist these techniques. Actually, we ought to call 8-C "American procedure," because Americans are far faster at figuring out and countering effect. Now, that's the only difficulty I've been having since I came back. And so I just boosted it all up into techniques which can't be nulled. And that one can't be nulled.

Well, throw it away. Blow it all up. Blow it all up.

Also there is the technique we have, and are using right this minute on blackness, cannot be nulled. And the reason why: It is the reason there is blackness. It is the specific reason there is blackness.

Make you feel better?

Now, there's the specific reason why people aren't exteriorized, is the one which you're doing as a drill right now. Sensation — you've got to be an effect. So we just get rid of that. And we'll get rid of that.

Male voice: Little bit better, yeah. Uh-huh.

By the way, somebody asked me yesterday ... I hope he doesn't mind if I tell this story. Where is he? Well, aha! Somebody missing a lecture?

What did that do to you?

Male voice: His fault.

Fourth male voice: Oh, it didn't hurt me any.

Mm-hm. Just like that. All right, we'll tell it on him! That's always a good time — that's always the way to get somebody to come to a lecture. It's like the old boys — nobody'd ever leave the barbershop first.

It didn't hurt you. Well. . .

Well, anyway, plugging along — "When are we going to get into some actual processing?" he says.

Fourth male voice: No. I got the effort real good.

And I said, "You are doing actual processing."

Got the effort good.

"Well, no, no," he said, "I mean real, real actual processing."

Fourth male voice: First rattle out of the box — effort to persist.

"But you are doing actual processing now. This is actual."

Mm-hm.

"Now," he says — walk along a little bit further, and he says, "why don't you clean up the cases first and then give the data afterwards?"

Fourth male voice: Before you even mentioned it — that's the effort. That was the effort.

And I said, "You have the specific data right now which you are using to clean up cases. Now that's what we're doing, we're cleaning up the cases first and we're going to get into theory afterwards."

That's right. It's the effort to persist. And many people are running on this effort. And some are running on the effort to persist — they're having to trust the effort to persist which they have made, see? And there's where you catch the lower rung of the case. But there's no sense in putting everybody through that wringer.

Very unconvinced. He was very unhappy about this. He sat around the waiting room for a few minutes sort of champing a little bit and snarling quietly to himself. He goes into room one — you guys know what happened; he all of a sudden — never seen a wall on this technique.

Fourth male voice: It was a desperate effort to persist at first. But it kind of smoothed out.

He'd always looked at a facsimile which was standing immediately in front of the wall. Outside of the fact that this was — for the first time had returned to him an actual mest contact, we weren't getting anywhere with processing. But he'd only had two or three hours of the stuff and he was seeing mest. All right, that's fine. There's nothing wrong with that, is there? That's actual processing.

It smoothed out. Sure.

So you're apt to treat these techniques as being very light. Because they are very high echelon, but they are very pervasive and they are not nulled. Now, you can't null these techniques. The only way you can null them is just refuse to answer. Just refuse to act. Just sit there rigidly and say, "I won't. I won't. I won't." And then you'll run that out. So that's why I say that we should call this "American procedure," because we're down to a basis of "What can't you know?" — not "What can't you know" but "What can't you null?" It's very important.

This is fascinating, in fact, but that of course — I didn't get into machinery this morning, but I talked a little bit about machinery yesterday, the day before. And it's a wonderful fact that this is just machine-made stuff. And I can tell you that bluntly, without you suddenly changing postulates on it, because that's what it is. You got a mock-up machine which makes black. That's all there is to it. And these people that have things "suddenly disappear on them" have got machines that unmock the universe.

All right, so we've got this past, present and future. The reason why a person doesn't escape this technique easily is because they get too interested. Because there is their primary interest: their primary interest is where they are. You see, they're mainly interested in that, the second they become interested in barriers. And they're much more interested in not being places — if you're going to get a case that's going to resist processing, they're much more interested in not being places than they are in being places. So you've just agreed with them a hundred percent across the boards. They practically feel like gripping you by the hand and pumping it up and down for half an hour without stopping. Boy, you really get agreement right there with your pc: "Now, where are you not?"

There are two ways to handle machines. You waste them in brackets or you create or destroy them in brackets. You waste them, save them, accept them and desire them, be curious about them — in brackets. Now what's a bracket? We've heard a lot about this bracket. Let's make sure you know what a bracket is. A bracket is: person does it for himself, somebody else does it for himself or herself, another person does it for another person, and somebody else does it for the preclear, and the preclear does it for somebody else. And that is a bracket of five.

"I'm not at home. Ha-ha!"

When we start dropping space around people, we do a bracket of six. And the additional bracket is somebody creating space for somebody else with somebody else in it, and somebody creating space for somebody else with the preclear in it. You can look that over as a pattern and you'll get the idea of what that is. That bracket is quite important to you at this time. And you can blast through without using brackets, but it's not very easy on your preclear. And very often a case just sort of hangs up because some part of the bracket hasn't been run on something.

All right. Now, there's two tricks that go along with this one which you should know. Location — you'll need these; you won't think right now in this class that you need them, but you'll need them sooner or later — is "Negative Location by the Impossible." Now, it sounds like an impossible title, but you'd better call it that because you're liable to skip it. And that is "Are you in the office next door" or "Is your body in the office next door while it is in the dentist's office?"

Now, in view of the fact that I ran blackness on you in irregular brackets this morning, may possibly park somebody — that's why I was being careful at the end of the session, but it evidently hasn't. Okay. Because you see, you should run people making the walls of the room black for other people, and people making the walls of the room black for you, and you making the room — walls of the room black for others, and you making them black for yourself, and somebody else making them black for himself. See?

The fellow says, "No, of course not."

You can also hold corners of the room this way: the preclear holding them for himself, the preclear holding them for somebody else, somebody else holding them for himself, somebody else holding them for the preclear, somebody else holding the four or eight corners of the room for somebody else. And there you've got a bracket.

But you might have been beating your brains out for ten minutes trying to find out where he was not during that operation or during that period of time, see? And then all of a sudden you have to just resort to the impossible in order to give him a certainty. And that certainty carries him forward. Impossible, see?

Female voice: I'm beginning to feel very funny at this point.

"All right. Were you in 1930 while you were in 1950?

Funny?

"Well, I don't know."

Female voice: Yeah.

"Well, all right. Were you in 1900 while you were in 1930?"

What's the matter?

"Huh! Well, I don't know. Might have been. Let's see, 1900 . . ."

Female voice: I don't know. I'm shaky all over.

"Well, was your body in 1210 while you were going to college in 1940?"

Hm?

"No. Of course not." (See? Now, you have to get that wide out some­times.) "No."

Female voice: Sort of shaky and faint all over.

So you've got location by the impossible. Now you just start narrowing it down. And he starts spotting himself all over the time track, see? Real, again, covert — it's by the impossible.

Well, mock yourself up as shaky and faint. Again. Again.

And the other mechanism is that it's "by the incredible," which is, is his body lying on the ceiling during the operation?

Make sure each time that you make it persist. Again. Again.

"No."

Mock yourself up shaky and faint.

All of a sudden you'll find out the fellow has no body in this operation. He's told you — the E-Meter — you've done an assessment on this case. This case got real sticky on you, you see, and so you did what you should have done in the first place, only we never seem to do it, is break out the E-Meter and just start naming dates. You know, and all of a sudden the E-Meter goes whong! And then you start naming different kinds of people that have been associated with him — children, women, men, so on — until you get a pong. And then you run that down and you chase it down — a date. In other words, you're finding out where he's stuck, where is he latched up on the track.

And now mock yourself up in the future, shaking yourself to death.

Remember Book One didn't happen to be wrong, it just didn't readily solve immediately this, because its techniques could be nulled by a preclear. That's the only disadvantage it had. But he — they're still stuck on the track somewhere and sometimes you'll process all over the place madly and find the case keeps slumping. Well, why does the case keep slumping? Well, he's stuck on the track and you've never freed him.

And again in the future, as having shaken yourself to death and being buried.

Well, you have to really address the incident where he is stuck. There's some other reason why he's stuck. He's fresh out of space and all sorts of things that a lot of indirect techniques — which will free him eventually, but you just get sick and tired of this case. A case has to be real bad off in order to do this. You do yourself a thorough assessment, find out what date he's stuck in. Just that, what date? And if you can't find it immediately this life, well then, damn it, what life?

Got that? Come on, mock yourself up now in the future. Get yourself in the future, dying because of such shakiness and sickness.

He'll all of a sudden give you this wonderful piece of data that he should have given you very, very early in the session and that was, namely, he is always sitting there looking at his grandfather's face in the coffin. He has this visio all the time. Well, and he thought probably everybody had it, see? Everybody sitting there looking at Grandfather's face in the coffin. Doesn't strike him as unusual. It's too concentrated an attention so he can't think of where his attention's concentrated. You see that? So you find out where he's stuck on the track, and now you have to enter the incredible. If you said, "Are you there in the coffin with Grandfather?"

Now mock yourself up in the immediate future now, as no more than walking down the steps than you pass out on the street. And then the people come and find you dead.

"Yep. Sure."

Make you feel better?

"Well, is Grandfather's body on the ceiling?"

Female voice: It's a little more under control.

"No. It's in the coffin. It's not on the ceiling."

Good. Now mock yourself up as completely out of control.

"Is it in the lampshade?"

Female voice: (laughing)

"No, it's in the coffin!"

Just flying all over the place. Shaking, flying all over the room. Completely out of control.

You finally get Grandfather's body well enough located — so sure enough located — by the incredible; just by having it in the wrong places. You see, the impossible is to have two different times or two entirely different spaces simultaneously. The incredible is just to have in a space or a time which is not quite possible.

Female voice: (laughing)

So he finally gets Grandfather's body to the grave, and then gets the town back where it should be, a thousand miles away. But you find out if he's in the coffin. Well, you can't.. . He'll tell you yes, he's in the coffin. Well, is he in the lamp? No, he's not in the lamp there.

Somebody trying to control one of their own machines. It's always a silly picture. Machine is supposed to move, and they're trying to keep it from moving but it's their machine so they can't stop it.

By the way, I've found people in very weird places. I have found them in a picture in the living room. Found them all over the place, see? I found them in a picture of the living room. And the childhood home is the worst offender. It's a bad enough offender that, very often, if a case is starting to get laggardly or a little sticky on me, something like that, I'll just simply take the childhood home and start beating it up. You know, "Are you in the woodwork? Are you under the front porch? Are you in the chimney?" and so on. "Where are you not? Where are you not? Where are you not? Where are you not? Are you in the dish cupboard?" And you all of a sudden find out he's in strange places, in that moment. You'll find out you narrow it down to the room, and then you narrow the room out. And every once in a while you have to jump in with a new impossible. "All right, are you in the living room while you're in the dining room?"

All right. Mock yourself up out of control.

"No. That's two places. Impossible."

Mock yourself up going downstairs utterly out of control, flying off the walls and banging against the stairs.

"Well, all right. Are you in the childhood home? When was it built?" you say.

Female voice: (laughing)

"Oh, it was built about 1890, I guess."

Got that? You feel better now?

"Well, are you in the childhood home in 1870?"

Female voice: Mm-hm.

"No, obviously — it wasn't built."

That — there are three basic rules on the resolution of automaticity. You just make the preclear do it all by himself, and — if you just make him do it instead of having it done for him — and he'll recover from that automaticity. That works in any universe. See, I mean, it works in the MEST universe, his own universe and other people's universe. But make him do it himself. Now that's the basic law: You make him do it, and he owns it.

So that's very tricky auditing. You'll see more of that. But actually, it's very simple auditing even though it permits a lot of imagination to be used.

Now, if you can't make him do it right away, you can make him change it or you can make him alter it, some slight fashion.

And remember it's used in a bracket. "Who else isn't present?" Well, by golly, you'd be amazed how many preclears have somebody else right there in front of them.

Now, another way to handle automaticity is to merely create and destroy the mechanism which is doing it. You mock up a mechanism which you say is doing it and then destroy it. Create it and destroy it. Now, you can do that on a gradient scale. You can mock up a little piece of the mechanism and you can destroy a little piece of the mechanism, see? Until you could mock up the whole mechanism, create and destroy it. That's very direct.

Now, there's another method of dispensing with this. It's just "certain they're present; certain they're not present." That's in 16-G. This is a better method, this method I'm giving you. You just have — "Well, is this person in Washington, DC?"

But don't omit this one, please. It's much more effective to waste, accept, save (it doesn't matter which way you run those two), desire, be curious about — in brackets — the machine.

"No."

Male voice: Anytime.

The person is present, they've just told you that.. . You just start going over the family. You've done an assessment and you've added up all the relatives and everything, and you just start going through them and you say, "Is so and so here? Is so and so here? Is so and so here?" You find their stuck moments this way too. You say, "Is your grandmother in the room?"

That's in anything. Anytime you want to run something that's going to make a case feel better quick: waste, save, accept, desire and be curious about — five of them — in a bracket of five, works much, much, much better in the usual run of preclears. You understand that? And they have to know they're really wasting it — that's the test.

"Yes."

My God, sometimes you'll get a communication lag that you'd think — require a time clock or something. You feel like setting the clock and coming back tomorrow and we will get it. But the pc really has trouble sometimes wasting something.

"Grandfather in the room?"

"All right, now, let's waste Mama." You just say to some preclear, grandly, "Let's waste Mama. Okay?" Bog!

"Yes."

You almost always enter that one on a basis of gradient scale. You waste on a gradient scale: "Let's waste Mama's shoe."

"Is your dog in the room?"

"Waste Mama's shoe. (sigh) Mama's shoe. No. I couldn't possibly . . ."

"Yes."

"Can you waste a footprint in the garbage dump where she walked five years ago?"

"Is your aunt Martha in the room?"

"Yeah. Yeah. Hrmph. She wouldn't have walked in a garbage dump. She's pure. She told me so all of her life. And I gave her so much trouble at birth. I tore her to pieces. Everybody said so. And that was why she was sick all the time. My, if I could only immolate myself upon that altar." (audience laughter)

"It seems like everybody's in the room," they'll say. "Yeah. Full of people."

Yes, Ed?

One case I had recently — there's one I was running to develop this procedure on how far south can you get, and I went as far south as I could get. When I hit that technique, I had: "Is there a TWA aeroplane, 10,000 feet up, on the chair immediately beside you?"

Male voice: Ron, when you say "extend cables to present time," I don't get that. I am present time. And that means that some source of present time's a thing somewhere I'm putting cables to. How am I mixed up in that?

And the answer was, "Yes."

Okay. Where is present time?

Huh? Real cute, huh? So we had to have her practically — we had her feel all over the chair and finally — then she tried to turn it all off by saying, well, she was just kidding. She wasn't kidding — that room was full of people when we started out, and we got it emptied. How? By making her feel all over the place and make sure. Well, her case did a quite remarkable — not an alteration physically, it did an alteration on the basis of orientation. The case is blind, so orientation is of the utmost importance there.

Male voice: It's what I am.

Well, you find these people that will surprise — even some of you right now when I say, "Is your dog in this room?" (pause) And who got a "yap-yap-yap"? (audience laughter)

Okay. Where else is present time?

So you see that? You just get places parked in the proper places. And it doesn't take very long. And I don't run this technique very long in order to produce a result with it.

Male voice: Well, the other fellow's universe where he thinks he is, or feels he is, or is.

"What other person here thinks somebody else is with them?" And that's a real weird one. You start — really, straight out — you just start stripping out entities by you doing that. Until you've asked that question, it never turned up that Grandma was present all the time. Well, Grandma is there, and she thinks Grandpa is there. And this was when the old lady was sort of senile, she used to go around talking to her departed husband and the kid heard them all the time and this was quite impressive. So the kid sort of kept Grandma when Grandma departed this life, and Grandma is keeping Grandpa, and here we go, see? And it opens on that third bracket, third part of the bracket. All right.

Mm. Nomenclature here. We're talking about — when we talk about present time and we just say present time, we mean mest universe instantaneous nowness.

"What person present doesn't think you're here?" is another variation.

Male voice: That's what I mean.

And they're liable to say, "The auditor." Quite routinely, people will say — "Well, who isn't here?" and quite routinely, just almost give as a flash answer: "The auditor." See? Almost as a flash answer. I — it probably has deep significance, but I've always neglected it.

All right. . .

That's location: "Who isn't in the past? Who isn't in the future? Who isn't in the present?"

Male voice: You said put cables to it.

Now, you want to know where they are and also where they are thinking. Got that? "Where aren't they thinking in the present?"

But that — you couldn't be present time. That stuff can be, though. You can be present time too, for a moment, if you want to be. But that's the stuff that regulates it. It's a coordinated motion that's going forward and backwards across the whole universe simultaneously. We'll go into that a little bit more.

"Oh," the fellow says, "all around." He's got some sort of machine that lets him think elsewhere when he is there — when he thinks he might be there. And oh, he's all around.

When you say reach for present time, you might as well say reach for the corners of the room where they are this instant. Got it? So that puts you in contact with MEST.

"Well, are you thinking down at city hall?"

Now, of course, the only criterion about time is the preclear. But you're asking him to reach for an arbitrary time. Present time is an arbitrary time. That's the agreed-upon time. And it's the instant — the same instant, across the whole universe. It isn't later at some part of the universe than another part just because the universe is in motion. That confusion gives people the idea of a communication lag. Okay?

"Yeah."

What else do we find ourselves bogged into right this minute? Nothing very horribly serious? All right.

"Are you thinking in 1892?"

Now, I'll give you a little bit of the patter here of what we should be pattering about. All right, I'll just give you this as a whole, as a drill right now.

"Yeah."

Let's put some thinkingness in the forward wall. Let's get the forward wall to think a thought. Any part of it.

"Are you thinking . . ." you say, "Ulp! Are you thinking in last August?"

Now let's get one of those chandeliers to think a thought.

"Mm, yeah."

Let's get the other one to think a contrary thought. (audience laughter) I didn't say an insulting thought! All right.

"Are you thinking in this room? (pause) Well, are you thinking in your head?"

Now let's put some effort in the first chandelier up there. Put some effort in it.

"No."

Now let's put a little tiredness in the other chandelier. (Sometimes a little bit tricky because there's light emanating from them and people have the idea of light as a symbolical.) All right.

"Are you thinking in your body?"

Let's put a little tiredness in the top upper corner of the door up here. Put a little tiredness there.

"No."

Now let's put some effort there anyway.

This is what's known as a negative dynamic. "All the way out" on spir­itualism produces that one. They're not in their body, and that's one place where they are not, only that's the only place they've got to think with. And you have to do quite some considerable coaxing, you have to go a long way out and start chipping it off and so forth, and they'll finally find out they're thinking in their head. They're just working with so darn much automaticity, that the one place they're not thinking is where they are thinking. See, a complete reversal. That's an inversion. So you'll run into that problem every once in a while. Not a very important problem. You just strip it off. All right.

Male voice: (laughing)

"Are you thinking in . . ." There's another category there, and that's "by the dangerous" — where are they not, by the dangerous — dangerous location.

How many people blew a lock on Mama? Okay.

"Are they in the middle of a cutting machine?"

Now let's put, into that door, some apathy.

"No."

Let's put a little grief into it now.

"Are they in the Camden sewer system?" Well, they might be.

Male voice: (laughing)

"Well, are you down in the powerhouse, glued to the switchboard. Is that where you're thinking?"

Okay. Now, let's put some cowardice in it — timidness, anyway.

"Oh, no!" (Big certainty, see?)

And now let's put a little bit of fear in it.

"Are you thinking in the — around the corona of the sun and into the corona of the sun?"

Male voice: (laughing)

"No, no."

Now let's make it be angry.

"Are you thinking in the Bureau of Standards chill room where they have a 273 degrees below zero centigrade?"

Let's put some resentment in it.

"Do they have one down there?" they'll say.

Male voice: (laughing)

"Yep."

You getting good this morning?

"No. I'm not thinking there."

Male voice: (laughing)

See? And that gives you, by the way, the immediate clue as to how people take an impact. See, that immediate clue. That's why people prefer an impact. It tells them where they are not because it puts a dangerous place they mustn't be. And these people who have been having a tough time gathering themselves up and keeping themselves in one piece prefer to be driven into one piece. They think they have to be driven into one piece. They're in one piece in the first place. All right — or in six or eight or a hundred billion, as they prefer.

Now let's put a little boredom in it. Put just a little tiny bit of boredom in it.

Now, all you're doing there is discovering where the preclear is by letting them discover where they are not. And the modus operandi of the whole process is just on the basis that he can't be where he is looking at. And you'll find out that people have big trouble with the body, and when you ask them to step out of their head and immediately look at the body, you very often completely collapse a case. They can't see their body. Well, you're asking them to see the one thing they've never seen. See, they can look at mirrors, do all sorts of things — tricky techniques involved with this, but nothing very workable. But they've never seen their body, they don't know what they look like, and it's a great surprise to them what they do look like.

Now let's put a little bit of indifference in it.

Did you ever show anybody a photograph of his own profile? If you have, you will get some idea of what would be his reaction when you exteriorized him. Because he always tells you that doesn't look like him. He has never seen his own profile. He doesn't customarily stand and look at mirrors which converge and show him his profile. He has an entirely different idea of what he looks like.

Now let's put some desperate boredom in it.

In consequence, you ask him, "Look at the body," the surprise is generally too much for him, and he will immediately occlude it and shut it off. And then the body goes occluded, and then he pops back in and goes in kind of apathy about the whole thing. So you don't ask him to look at the body. Ordinarily, if you have any doubts about the case at all, why, you just don't ask him to look at the body. Not for a long time, not until you — you pop him out, if you can, right away, and then, "Where is he not?" Then if he doesn't go out, you say, "Where is he not?" You see that?

Male voice: It is not, then, sleepy.

You do this anyway, and that gets him localized. And that's by location — location where he's not — and you'll find out that he's most not in locations that are dangerous to him, he feels.

Just bored — just doesn't know what it's going to do! All right.

And then he's in, then, those that are incredible to him: like, is he under the mattress on the upstairs bed? And he knows he's not there. He thinks that's silly of you to ask, but of course, he immediately turns up a little more horsepower — immediately afterwards. He can't quite account for this, but he does. All right.

Now let's put some conservatism in it — some impartiality, some doubt.

The next part of location that you would want anything to do with is simply — actually, it goes on down to Step VII, which, of course, is, "What room?" — that's by actual contact. Now, we don't, however, have to treat that; because we are treating it with putting emotions into and out of things as a technique, which although we're covering it in advance, and very early in the case, it is not an early technique in the procedure itself.

Now let's put a little enthusiasm in it. (audience laughter) Okay.

So the next point is, you have him actually be in places after you've found places he is not in. You have him be in various places. He's out of his head and you get him — little unpleasant places, you know, under the radiator where it's kind of dusty or under the bed or under the icebox or back of the chimney or something of the sort. That'd be about the limit of the dangerous places you'd send him into.

Now let's put a little bit of ecstasy in it.

Then you send him into very pleasant places. And you finally send him into more and more dangerous places, actually be in these dangerous places, until eventually he's perfectly willing to be in any of these places.

Now some serenity. (audience laughter)

But quite often a case, you will discover, is unable to be in very many places. So you have to build this up by a gradient scale. And you've asked him to be in a place, and he can't be in that place, then you have some place very similar to it, but one tiny shadow of it, and you just build him on through into the place. In other words, if you couldn't possibly get him into the corona of the sun immediately, so forth, you could at least get him to mock up a candle and be near its flame and then finally be out near a gas stove that's being on and then finally into a gas stove.

And now put a little pain in it. (audience laughter)

And the technique of being in the corona of the sun finally is achieved by being what? Just gradient scale on up the line. A very simple process. A process I could very easily talk too much about — very easily.

Some pain in it there real good? (audience laughter)

Now, you should know this part of this process on Step I. You should know it quite well and you should become able to use it quite well. Because if you're going to do any coffee — what you call "coffee shop auditing," you know, you meet this fellow and he says — you ask him how he is and he tells you that he has a neck pain, and he expects you to turn it off or something of the sort — well, this is the fastest, easiest way to do it. That's no kidding. "Where isn't he?" And you can run "Where isn't he?" all over the darn track. And quite rapid in the therapeutic value, if you're going into therapy of aches and pains.

Male voice: Yeah!

That's a dirty trick, by the way. If you only knew how a thetan has to work to get a little bit of an ache or a pain and then you, you beast, comes along and turns it off! Psychotherapy went into complete apathy on this. They said, "No" — they made this announcement many times — "No psychosomatic illness is curable because the person simply becomes psychosomatically ill in some other manner." Apathy, apathy, apathy, apathy, apathy, apathy. End of paragraph. Apathy, apathy, apathy.

All right. Now let's put some frigidity in it. (audience laughter) Sexual frigidity. (audience laughter)

The fact of the matter is, the remedy for the situation is a very easy remedy. You just make it possible for him to get walloping big loads of tremendous, creaking agony, and he won't bother with having a little old — little old psoriasis or something like that, that occasionally gives him a twinge. He's interested in having a satisfactory amount of pain. Well, if he can't manufacture it — a satisfactory — pardon me, an "acceptable state of ill health" in this society. How wrong can you get? Homo sap. You have to be a little bit wrong to be polite, and it goes down from there. You have to be a little bit sick to be acceptable. People figure this.

Now let's put some sexual conservatism in it. (audience laughter)

And you start running Acceptance Level Processing — which is an educational on a process — and you start running it, you know, and my God, Papa and Mama, the only thing that was acceptable to them was a sick child. The only time they ever were nice was when the child was sick — horrible state. All right.

Now let's put some sexual longing in it. (audience laughter)

That's a rundown on this locational material there. This can become very, very complex. But, by golly, learn its simplicity.

Now let's put some sexual anticipation in it. (audience laughter)

All you're doing is getting relationship of the individual with regard to barriers. And it's achieved by getting barriers which he isn't in. And then you can have him around in barriers, and he'll know he's in them. See? Tricky.

And some sexual happiness.

But remember all the time you're running this, that you're only running barriers and validating barriers so he can recover the barriers which he has validated, and which he has then had invalidated for him to a point where he lost them. And you've recovered a barrier for him good and strong, don't just dust your hands off and say you got this barrier strong. He knows the barrier's there. Then we get onto the technique that you're doing right now: you finally get him to a point where he knows he's putting it there. And that's the drill which you're doing these first couple, three days.

Now let's put some sexual sensation in it — raw! (audience laughter)

Well, you got to get it real good. Because, you see — not just emotion, that isn't our goal there. We're going to get so we can put the barrier there, where we can move the wall of that room around, so we can not have it there and have it there and so on. That's what we're trying to do.

Now let's make the door happy.

All right. Step II of this will, of course, be the subject of the next lecture.

Now let's mock up a broom. Now, you see, this is one's own universe we'll go into now. Mock up a broom, or anything that you say is a broom, or any concept of a broom. Have it ridicule you.

Now mock up a car and have it ridicule you.

Now get the idea of somebody else's mock-up of a broom — other person's universe — somebody else's mock-up of a broom and have it ridiculing you.

Throw it away.

And get the front part of the room ridiculing you — mest universe.

Get it disgusted with you.

Have it be pleased with you.

Now have your nose ridicule you.

The tip of your nose ridicule you.

Put some frigidity into the tip of your nose. All right.

Let's put some frigidity into the tip of somebody else's nose. Okay.

Now let's put some darkness into the first chandelier. I don't care what part of it. Put some darkness into it.

I'll give you a real hot, good game. There's a light — now put some darkness into it.

Male voice: That's effort.

That's an effort, isn't it? Any one little tiny part of it. I don't care what part of it you put some darkness in. I didn't say make the whole thing dark. All right.

Now have it think a thought that relieves it of the darkness. Feel its relief.

Well, this comes very close to being your drill. Now, you see the variations on this.

Now, the ones I didn't point up and run a full scale on is on mock-ups. And let me tell you where that goes. That can go as far as and as rough as a mock-up of Mama — we shouldn't attempt this with anything like a group at this time — but a mock-up of Mama, and you simply have the preclear change emotions in it, clear all up and down the emotional band, including the second dynamic, including ridicule, love, affection, hate, so on. And the two things you start beating to death are love and hate — in terms of people in your own universe. See that? Mock-ups of brooms, mock-ups of dustpans, of stoves, of cats, of dogs. Anything — even a thought of a mock-up on the thing, you see? And you just change the emotions in the mock-up of the thing which you have created.

A good drill on this is just to put this new list I've given you on all the emotions — ridicule, love, hate, sexual sensation and so forth — and just do some Self Analysis and just put those emotions into the mock-ups which you get. Just in routine. See that? See? Oh, yeah?

Male voice: Sexual sensation — / cant get no concept on the thing.

Well! (audience laughter) Can you get the idea of frigidity?

Male voice: Yeah. And sexual longing and sexual disgust and . . .

All right. Well, you just work those enough then and all of a sudden this thing will turn on with a roar. That's right. Okay?

Now, you could, as I said, just do some Self Analysis in — with this list, and put the emotion, in turn, in each one of those. However, that's rather — a little bit in advance of some of the people present. We're right back into the worries about making up mock-ups and so forth.

So, to some slight degree, we'd be neglecting one's own and other people's universes. And we probably won't unneglect them until we have done something of Step II, which is get rid of these damn machines. And we're not ready to do that step until you've got this mest around you here in remarkable condition.

So the only new thing or variation which I would really ask you to do today — now, I've just given you a pattern on the whole process, you see, but as of — what I'm asking you to do today here is a little bit different: put it into mest, all these things, and blackness and effort and so forth. Put it into mest, in a bracket — bracket of five. You putting it into MEST, somebody else putting it into mest, somebody putting it into mest for you, you putting it in mest for somebody else, other people putting it into MEST for other people.

Now, you got that routine? Boy, it's sure awful self-evident, that routine there.

Male voice: For the moment being — neglecting own universe and the other fellow's universe.

Yeah. Well, I say. You — because we'll run — rattle into and bog down on: "Can we get some mock-ups and can't we get some mock-ups?" And the only reason you can't get mock-ups ... I beat my brains out wondering — trying to why — find out why people couldn't get mock-ups. And honest, I almost am at the point of strangling somebody when I find out all of a sudden how easy it is to undo this one. The only thing that's wrong with it is we've worried about it so hard right now, see? You got machines that wipe them out faster than you can make them, of course. Because when you put up a mock-up, you'd be located! And if you got located you might go to jail. And there's somebody still looking for you in the ninth ward of Arcturus. I mean, that's what it amounts to. Grrrrrr! (audience laughter)

Another thing is, is we've got to solve, we've got to solve — I repeat this — before we do any further auditing: the primary reason for a tacit consent of nonadvancement of cases amongst the people of their own class. You see how you solve that? People are afraid of emotion and they're afraid to look. And if they're afraid of emotion and if they're afraid to look, then they're scared of turning on any real hot run in somebody else, and they're afraid of emoting themselves. So they haven't sufficient volatility to respond to very much processing. Well, we've got the technique which unlocks this. Believe me, this is the technique which unlocks it. So let's unlock it!

If I were auditing you personally, vis-a-vis, you on the couch or in a chair, and me sitting at my desk and so forth, and we were going at it by the hour, this is exactly what we would be doing. Wouldn't be doing anything else. It'd probably have a lot of frills on it and it'd probably surprise you to death where it went occasionally, but at the same time it would just be the deadly proposition of making awfully sure that you could enter some gradient scale which would put blackness and lightness and — we'll go into that this afternoon, shouldn't try it this morning — colors. Miscolor things. Different color things. And a blackness-lightness, effort-thought, on all the emotional band, into any and every kind of a mest object, in terms of brackets, so that you're willing to let somebody else put it into mest too. See? Get that?

And you'll find out that a person's been getting along horribly and all of a sudden he's perfectly willing to let somebody else put it in, but he won't. And you'll find somebody else is in — gee, he was just getting along fine as long as he was putting it in, but all of a sudden other people putting it in for other people, well, nowrrrh! Or other people put it in for him — he can do it himself! I've had people get real mad. You just run them on a bracket, see? Not particularly surprising.

So I'll be real mad at you if you don't get real good at this. And if you don't get real good at this, if I get real mad at you, it'll create a terrible effect upon you. You realize this? (audience laughter) You understand then? You're doing this in self-defense, you realize this? Oh, dear. Gee, I haven't gotten mad at a preclear since 1950 — that is, not seriously. (audience laughter)

Okay. In the next two minutes, why don't you all step — the Second Unit — step in the other room and let me snap a wide-angle photograph of you.