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.

And this is November the 18th, the first afternoon 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.

The first thing I want to tell you is that while I appreciate the fact that sooner or later you may feel you're going to instruct in this subject, I hope I'm not teaching your notebook. I hope I'm not auditing your notebook. That's a fact. That's right, I hope you're not auditing on that basis.

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.

When you sit down in front of a pc, you want this stuff in your head. And I'm trying to cover it over and over, backwards and forwards over the same ground and so forth, to put it in your head. Savvy? I want you to have this material so when you sit down and the preclear starts to scream, scream, scream and jump up and jump out the window and so forth, and go through the normal American evolution of being processed, that you got the data, pang! right there — verbally. And if you've got the data right there verbally, by that time, you'll be having no trouble with your case either.

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.

Now don't get self-conscious. If you still want to put down notes in your notebook, that's all right with me. I'm not telling you not to put notes down in a notebook. Go ahead. But make sure that I'm putting it in your head and not your notebook. A lot of people have a beautiful circuit, and some people have gone all the way through a university teaching a notebook. When they get all the way through a course, sometimes some goofball professor says, "Now, let me see your notebooks and make sure that they're thoroughly taught." (audience laughter) That's right.

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.

I know one professor, used to grade solely on the notebook. So we had a system: We just handed him in the same notebooks at the end of every course. He took them. Nobody ever bothered to appear in class, he never noticed. He'd gotten it — teaching — down to an automaticity the like of which we'd never heard of before.

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

But this morning, by George, while I was processing you, we had some of the processing going down in a notebook. Well now, by golly, I didn't like auditing that notebook because the person doing it needed processing. All right.

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, let's understand the purpose of these lectures I'm giving you. They aren't actually what you would put under the label of "I'm trying to teach you something." The truth of the matter is, I'm trying to unteach you. If I'm doing anything, it's that. And if I can succeed in unteaching you a lot of automaticities and preconceptions and so forth, we'll be successful.

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.

You wonder why I said we ought to have something called "American procedure." We ought to have something called American procedure very, very neatly, because this is the most automatic country on the face of the earth today.

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

Talking about space opera. Space opera used to be a lot of fun, you know. You'd spend two hours getting into your suit, and you get all this equipment and you get it all here and there and you stuff it and fill up your pockets, and then you climb up with this two hundred pounds of stuff, up a ladder that's about thirty feet tall, to get into some kind of an airport. And you get inside this ship, you see, and then you regulate about five hundred switches and you have to pair — repair four or five electronic circuits and you patch some things together with chewing gum and you strap yourself down in a seat and take off. And then you navigate like mad, going three times the speed of light, trying to navigate by stars that are invisible for some days. And then you land someplace for the skin of your teeth, and boy, you really knew you did something. That's right. You really knew you did something. All right.

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.

Space opera toward the end of that time got into this kind of a circumstance. (You did this over and over and over again.) A fellow went down and he climbed aboard a little trolley and he got in this trolley and it took him on up and he landed in the ship, see. And he'd sit down in the chair, and the chair strapped him in and adjusted his oxygen and so forth. And he — finally it just — the chair decided that he was well enough seated and well enough strapped in, and the ship took off on a prearranged course to a prearranged destination, at a prearranged speed. The chair and instruments and so forth took very good care of him, fed him and breathed him until he got there, and landed him safely at the spaceport. He got out. Nobody'd knew he'd done a thing because he hadn't done anything — it was all automatic. The people who had done it was the technicians. All right.

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.

Let's compare that with what we're doing with a preclear. And we find out that in those areas where an individual is accustomed to having everything done for him — you push a button and so on and that happens — we're going to get rough cases. And we're going to get the roughest cases out of the person who's pushed the most buttons. Just like that. He — his life is running on a push-button basis. It means that the society itself is busy keying in all of his automaticity. And one of the first things it keys in is occlusion. Pang! There he goes, see? It's all automatic. He knows he didn't do anything.

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

Now, if you could just get a preclear to go out — just get him to go out and take an axe and knock a fence to pieces, all the way down the fence — the end of that time he'd know he'd done something. Wasn't any fence there anymore, there's just a bunch of splinters. See? He'd know that he'd done something. You get that?

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.

Now, this automaticity goes further than that. It goes viciously further than that. It goes to the point where they expect the auditor to do it all. They think somehow or other if they punch a button on the auditor, the auditor will run for a certain number of hours and they will be Clear. The hell they will! They won't, and that's the end of it.

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.

So it's up to you as an auditor to knock out the second stage. And it comes under Step II of SOP 8-C, which is automaticity. And the way you do this ... You see, the earliest shadow of this is, "Mock up the body." You have him mock up a body — mock up the body several times, till he's used to having the body outside him and he doesn't collapse a terminal on it the second he stands outside. And then he's outside.

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

Why are we doing that to a body? Been doing that to a body in areas where I've been around for about eight months. The reason why is, he's setting up the most automatic thing he's got. It talks for him, it squawks for him, it speaks and sees and hears and it even has gotten to a point where it combs its own hair, and it drives properly without direction and so on. Cause level of the body may be pretty good on a number of subjects. But a person stops causing them.

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

Having a hobby is simply being cause level over some kind of an automaticity. It's being a supercontrol over the top of something that is supercontrolled. You see that? Somebody takes up the hobby of postage stamps; well, that's not very automatic. But the fellow that takes up the hobby of ham radio is at least being cause level over a terrific amount of automaticity. And you know, he keeps on being cause as long as he keeps building and rebuilding equipment.

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.

If you go into a ham radio shop or if you go into a ham radio shack, you'll find equipment and machinery and everything lying around all the time, and it's — "he's going to build" and "he has just fixed." If you'd happened to clip the switch and listen to a couple of hams talking, what are they talking about? Are they talking about their wives or children? No. Those poor people, the wives and children, have been forgotten long since — except when Irma comes in, is permitted to say, "Hello Joe. Yes, I'm glad that you installed the 6018 like you did. Mm-hm. Well, goodbye, Joe." The wife's permitted to step into the thing to that degree. (She's kind of automatic too by that time.) And when we have a conversation, it is a highly technical conversation about what they did to make something else more automatic. And a ham radio quits — he just quits cold — one of these boys stops when he can't build it any better. I swear, some of them, if they really thought they were reaching that goal, would at least plug in something on the wrong power line and blow it out. And you can trace back most of the accidents and so forth they have to just this anxiety "not to have it work too well."

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.

Now, some people run bodies that way. The body starts to work all right and then they get afraid that it's going to get too doggone automatic and they start clipping off the various things it can do and making it tough for themselves. They wreck it in order to repair it. Nearly every case you have coming in has been pushed into this category. (Except somebody who has been directly PDHed. And he's had an automaticity set up for him that is simply dependent upon an earlier automaticity that he'd like to be unconscious. That would be fun too.)

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

All right. What's this amount to in auditing? It means that you, as an auditor, have got to be prepared to be cause.

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.

How can you be cause? Well, the best way to be cause is to use the most basic mechanisms that you can possibly use to resolve a case. If you want to resolve a case of occlusion, the best thing to do is to take the very mechanism which takes occlusion and makes occlusion and continues occlusion. And what is that? It's an automatic machine that makes conclusions and occlusions and it makes exclusions and it's got all of these various things and it keeps jamming them in on the pc. He was happily using this machine on other people and other people and other people and other people, and this was all swell; except one day the darn thing got busted and wouldn't go, and worked all of a sudden on him! The machine's working on an "other person" target when it's working on his body.

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

When he thinks he has lost somebody that he needs — get this — he then has lost somebody he needs. Is that so? So the machine which is set up to run on "lost," clicks in. That's real simple, isn't it? The relay switches on these — basic machinery is Q and A. It's — "Lost?" The machine goes, "Lost!" see? "Crunch, crunch, crunch." So it loses him. See? And it makes him invisible.

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

Now, he's got other machinery that'll set up the same way. He drives somebody insane, so forth, he's got a machine there that he's going to use to drive somebody crazy. He keeps using it, keeps using it, and he keeps using it. And then all of a sudden, he suddenly realizes he has driven somebody a little bit off, he has reduced somebody's sanity, and the machine goes to work — on him.

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

He goes to college and decides the best way to do and get through college real hard is to concentrate like mad. And he concentrates and concentrates and concentrates until he gets cross-eyed. You can always tell this boy because when you tell him to look at the space around an object, his attention immediately snaps to a point beyond the object, slightly beyond the object. It doesn't even converge on the object. It's no space in the object, is what he gets. See, a scarcity of space — concentration. Too concentrated an attention. So he sets up this machine so that he can study. He sets it up so he can go into a lecture room and sort of push a little button, sit there, and he'll come out and at examination time he expects this machine to unreel for him three and three-quarters meters of chemistry. School system sets it up so he'll do that too. They keep telling him: "A student has to learn how to study. And the most part of that is concentration." So he sets up machines that do this.

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.

And then one day he has to concentrate too hard on life. How does he do that? Well, he gets into an automobile accident and just before the accident, a glaring headlamp is right between his two headlamps, and he's looking right straight at that glaring headlamp, and then there's a sudden crash. He's convinced by now, but it turned the machine on. What machine? Thorough concentration turns on the machine which thoroughly concentrates. This is an actual machine. Does it have nuts and bolts? No, it doesn't. It has just as much nuts and bolts as that microphone has nuts and bolts. In other words, it's just the real universe and so it is something he put there with postulates. This is all there is to that machine. But he recognizes it in terms of automaticity and machinery.

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

Why does he want automaticity in the first place? This is very simple. He wants automaticity because of the subject of randomity.

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

What is randomity? Randomity is the amount of predicted and unpredicted motion which a person has. That's all. It's a ratio. The amount of predicted motion in ratio to the amount of unpredicted motion which the individual has. And he likes to have about 50 percent predicted motion and about 50 percent unpredicted motion, and that's his idea of tolerance level on randomity. What is randomity? Unpredicted motion.

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.

You go down the street. You go down the same street every day. Nothing ever happens on the street. You walk into the same gates. You ring the same doorbell. You go into the same house. You eat the same dinner. And so forth and so on, and, boy, there's nothing unpredicted there. And you go down that street every day, so forth. And after a while, you're driving around, and you suddenly decide you'll drive down that street and have a wreck; at least put something on that street that is an unpredicted motion. So you've got to pretend you didn't predict the motion in order to have an unpredicted motion.

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.

That's the tombstone which sits over the head of every unaware thetan: "I've got to pretend that the motion is unpredicted in order to have an unpredicted motion." And that is the basis on automaticity. The basic problem is he wants to be surprised. Now you get a thetan to take — mock up a box: "Now put something in the box that you don't know is there, so that when you lift the lid you won't know it's there and you'll be surprised." So he'll do that. And then he lifts the lid and it goes pang! And he's very happy about it. That's unpre­dicted motion.

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, when you give a person all unpredicted motion, or nearly all unpredicted motion, boy, he gets real frantic — he hasn't enough predicted motion to stabilize him. So he doesn't know where he is, he gets lost. Why? He has to be able to predict where the eight corners of this room will be tomorrow morning to know there's a room here. Right?

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

All right. Supposing you fixed it up, or fixed him up, by processing machinery till the eight corners of this room started appearing all over the universe. Now, he wouldn't know where this room was going to be, so he didn't know where he was supposed to be the next morning. Rrrrrr! But that is super-unprediction. Now, that is too much randomity.

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

Now, as far as automaticity is concerned, it immediately springs out of this: You have to say, "I pretend I don't know anything about it," so that a certain effect will occur. In other words, a person wants to be partially an effect as well as partially cause.

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

Well, he starts out with a chessboard. He mocks up a chessboard. And he decides to play chess with himself. So he sits on one side of the board, and then he moves around to the other side of the board and then he moves back to the first side of the board and moves a knight. And he moves to the second side of the board and moves a bishop to counter the move of the knight. And he moves back to the first side of the board and he moves out a pawn in order to guard the knight. And then he moves over to the other side of the board and puts a knight up in place in order to check the bishop and so on. And he looks at this and he knows, each time, what the motion's going to be. Of course, chess is a very unrandom game.

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

You can forecast chess practically with the first — given the first three moves of the game and two average players, you can always predict the end of the game, poom! That's a very unrandom sort of a game. It's a very interesting game, I guess. But they had lots of time in India. So, anyway, even with a game like this, a person says, "Lookit, somebody else has got to be on the other side of that board." All right.

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.

So he goes over on the other side of the board, and he sits down on the other side of the board and he says, "I am somebody else." That's the first stage. Then he comes back to the first side of the board.

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

Little kids do this. You can observe this. And they sit down the first side of the board and say, "Now my name is Bill and I'm making this move. And I go around to the other side of the board, now my name is Joe and I'll make this move. Now I'll go around here," and he'll — pretty soon you'll hear — you'd hear the person saying, as he was being Joe, "Bill, that was too clever for me."

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

Well, the next real stage of this is a very simple one. He sits on one side of this board and he says, "Now there is a person on the other side of the board." And if he's a real able thetan, he simply mocks one up, endows it with life and then occludes its identity. But gives it an identity and occludes its actual origin. And its actual origin is that he made it.

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.

Occlusion of actual origin is the first break over into an automaticity. An automaticity is something that will be done that something doesn't want to know anything about. The heck of it is, that there is not a thetan who can still make a body twitch, who himself is not capable of doing everything one hundred times better than some cockeyed apparatus that he set up that would trigger when he thought a random thought. He could always do it better. And yet he's got machines that make his mock-ups, he's got machines that unmock things, he's got machines that unmock the mest universe, he's got things that occlude the mest universe, he's got things that unocclude it, he's got things that make it solid, he's got things that put up barriers where barriers are not supposed to be. He's done these things all the way down the track and he's still got all his machinery. And he wonders why he's in a dwindling spiral.

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

And the final end product of all of this is a body. And now you ask somebody to get out of the body! The body has been eating for him, thinking for him, spitting for him and doing everything for him — giving him all of his sensations, so forth. As far as he's concerned, this thing called a body is the most automatic gadget he ever heard of. It's learned how to play bridge, it's learned how to play chess, it's learned how to play the piano.

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

And you get some boy in his last stages, he will simply tell you, as he sits down to the piano, "Well, I don't pay much attention to it — my hands do all that." Sure, and he's got a sheet of music in front of him where Brahms is doing all the music. What's he doing sitting at the piano? (Probably is nobody listening to him either.) I mean, so it goes from "all ability to do everything," such as look at a piano and say, "Let's see, the way you play the piano is so and so, and probably melodies could come out of the — and let's see those strings. Those strings are — ah! very interesting, those strings are various wavelengths and they probably chord in this fashion, and that's probably going — goes on a cycle of eight, doesn't it? That's very fine. All right." Crash! Something twice as good as the "Moonlight Sonata." You think so? You think not.

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

Probably this looks very horrifying to you: the thought of looking at the doggonedest biggest truck with thirty-two speeds forward — and maybe you couldn't even drive a car, and you look at this thing and you say, "Let's see, now, the motor and so forth burns some kind of fuel or something. Yep. It's got wheels — they could probably go round. And let's see, the steering wheel goes this way, and now all you've got to do is slide it in. There must be some way to make it go forward and there must be some way to make it go backwards. The connections are so and so. Oh, those make it go forward and (mumble) backwards. Ah, that's all we need. Okay. Now that goes down there and there's some kind of a storage — there's juice down there someplace. Yeah, that connects up with a little, and one of them starts circling in, and there's got to be a flow of fuel over here so it comes out. Now, push the button there, throttle her here, push it in," and go off down the road. Doing a far better job than a truck driver.

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

You see how foreign that philosophy is to the current philosophy that if you just study real hard, and if you drive one to get the experience, about fifteen years, you will eventually know something about a truck — at least to the degree of being an assistant driver on a transcontinental run.

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

And of course we all know that an airplane pilot has to have four thousand hours in the air on all types of multiengine aircraft before anybody would trust him to sit in the passenger seat, practically. We know that.

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

All right. Contrast that with a fellow who goes out and he says, "Hm. Hm. Hm. Yeah, there's (mumble) — mm-hm, mm-hm. Gee, this thing must take a nice line of balance. Well, all right, let's take it into the sky and find out." And then he'll say, "What the hell am I driving it from here for anyway," and go outside and put a beam on it and lug it across, the same system. Super-super-superautomaticity.

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

The more automatic things get, the less the individual. There's a definite law. The less automatic things are, the greater the feeling of accomplishment and the greater the knowingness. The more automaticity, the less the knowingness. The more automaticity, the less the certainty. The less automaticity, the more the certainty. The less the automaticity, the less the impacts. The more the automaticity, the more the impacts. Savvy? It's a very simple problem.

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

So we're taking Step II. And Step II consists of knocking out the machinery.

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

And let's just knock it out and to hell with it — you can always put it back! This is one machine that if you take it apart even vaguely in an orderly fashion ... If you at least pull the balance wheels out of this watch on the order of the first balance wheel that shows itself, one after the other — if you'll just go about it in that orderly a fashion and so on, it'll come out to the smoothest, slickest, cleanest job you ever saw in your life. Well, you'll be able to do anything. This doesn't mean you have to be permissive and let the preclear do anything he wants to do; because his favorite machine is the one you're gunning for.

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

What do we get at the end of all machinery gone? We get somebody who can do anything. Just literally anything.

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.

Somebody was talking to me the other day that — who has no bearing on this, particularly, but this shows you what, on a relatively low level, a person can do. As a kid I used to have a lot of fun picking up the know-how on something else to do. And I'd pick up the know-how and then I'd be bitterly criticized by somebody — oh, but bitterly! You'd have thought I'd robbed the mint or something, you see? Because I could then do what I had picked up to do, but insisted that I could do it. And of all the arguments! Brother! They knew it took experience and so forth, and that fact I never found out.

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

And nobody was ever able to teach me this until sometime during the war I was running a corvette, and I had been called one time too many on an attack in the dark of night.

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.

The favorite time for the subs to attack was around twelve, one o'clock, when it was nice and dark, you know. A little bit later in the war they were getting even worse. They used to attack at twelve or one o'clock after the captain of the sub had finished breakfast — after a late breakfast, you know, they'd attack the convoys — when he had good light, you know, and could see them. But early in the war they were still being foolishly cautious. I've never found out why they were being cautious early in the war, because there was certainly nothing attacking them!

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

Why, I'd just been called one too many times at one o'clock in the morning. You know, when you're called — you've been up all day and then you're called first at eleven o'clock, but that was a log that your sound operator picked up; and then you were called at 11:22 (you'd just gotten back to sleep), and this time it was an empty lifeboat. And no fight in it, so you'd go back to bed and at 12:01 (oh, you were really asleep that time, you see), ring! and up you would go again to find out, of course, that it was merely a message which had come in on the battle channel that there was a battle going on just to the south of you. You didn't have anything to do with that, so you went back to bed again.

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

Well, the only trouble with this, and the way that the automaticity got laid in was, of course, I wanted it to be laid in, but I remember this sequence very vividly: at first, I merely had one call buzzer. You know, they hit it twice and I would hit the bridge. That's all, I mean, it was very simple. They hit it twice, I'd hit the bridge and then I'd hit the general alarm gong — if there was anything wrong. But war was speeding up a little bit, so we finally got up to two bops on this buzzer, which would simply go bzz-bzz rather calmly up above my bed, and they would hit the general alarm simultaneously.

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.

Well, it was quite interesting because the general alarm gongs which they were issuing in World War I were merely automo, World War II, were merely automobile horns. They weren't general alarm gongs at all. They were stuff that they'd taken out of Buicks and Packards and automobiles, yo see, and they'd just park them all the way around the ship and these horns would suddenly open up.

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.

Somebody'd throw a big lever on the bridge and that'd switch on all these horns all through the ship. And one, of course, would sit just outside my cabin. Bong! see? On would go the horn, and then two buzzers. Well, it was getting difficult to get out even with that, you see? That's — you get really staggery after a while and kind of sleepy. You know, your body isn't hitting too well, and you're supposed to be in the state of beautiful sadness of exhaustion because it is a war, and you're supposed to be doing something.

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

So a telephone was run in. So the telephone bell, the buzzer, and the general alarm gong were hitting then, see? Well, that was quite adequate and got along for a while — until I missed one. So we put in another one. We put back into operation the old whistle tube. So another lookout would — on the upper bridge — would get on this whistle tube; and it screamed in my ear, right there, and I'd be out on the bridge with the whistle tube. Well, that was all right. But I got through all of those, and one time didn't turn out for GQ and neither did the executive officer. It was, I think, our fifth GQ of the same night, and so they — after that they sent a messenger down too.

Mock up, now, a signboard — completely black.

In other words, we were actually building an automatic system. I was trying not to be there, you see, and the war was saying "be there." And my God, I never realized that an automatic system had been worked up until about 1946. About the spring of 1946, I was walking down the street, and a Buick pulled up to the curb, right near me, and blew its horn. And it set off this machinery. It set off the whole cockeyed works. And I got sleepy and I — I got sleepy and I got groggy and I got a sort of a frantic feeling, and I looked around and couldn't find what I was looking for, which was, of course, the bridge steps, and they were not in Los Angeles. And we got this thing, and it just got worse and worse. Every time I'd hear an automobile horn after that and so forth, I'd get nervous. It's a — upset. I knew I was supposed to go someplace, and I couldn't quite locate where I was supposed to go or what was supposed to happen. So I'd take it out on the automobile. And I'd say, "Well, that goddamn fool, what's he doing sitting there honking his horn!"

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

All right. I've only told you this for one reason. I want to show you that Los Angeles is not in the North Atlantic. Nor yet, is it in the North Pacific — even though in the Pribilofs some gay soul, during the war, planted the sign: "Los Angeles City Limits." They really aren't out there, they're actually just before you reach Hollywood. But they had it in the Pribilofs. Los Angeles is a small village which is located very close to the Salton Sea. They have some interesting press relations with the rest of the world, but that's about all.

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

Anyway. Here we have, all across the line, automaticity. It's the right signal in the wrong place, making you reach for and try to attain a goal which geographically is not present. And when an automatic machine starts doing that, we get anxiety, demand for motion, feeling of danger in the environment. All of these things come right on in: tiredness, semiunconsciousness — all of these things. What are they coming out of? They're coming out of one of these darn pieces of machinery. That's all there is to it.

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

But the only machine on that whole channel that would count even vaguely is probably back there, for this body, a couple of hundred thousand or a couple of hundred million years someplace, where it's all indoctrinated, see? It's supposed to answer to a certain stimulus-response.

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

Very early on the genetic line — even an anthropologist, a Darwinian, has long been recognizing this — that there's a sudden screech at night, and a fellow turns around and starts to go into action with his teeth or something. Very often he will roar.

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.

By the way, did you ever do that? Be startled at night and turn around and yell? Roar like an animal? Something like that. I've seen people do it. They are jumped suddenly, or startled. Well, an automaticity goes on in the body which tries to repel things away from it with sound.

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

Well, I imagine that you'd see that the fingernails tried to shoot out a little bit longer and get a little sharper right about the same time. Certainly this action happens: the palm of the hand develops sufficient sweat to permit a person to hold on easily to rock. And the soles of the feet develop sufficient moisture to be able to stick to what they're on, so that a person can get traction.

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

And you find anybody who has moist hands, he's in a state of perpetual signal saying, "Danger. Danger." And the equipment for him to put the automatic machine into action isn't present. There's no bridge ladder. See, something like the automobile horn is saying, "GQ-GQ-GQ," and he isn't able to find the bridge ladder. So he's half-unconscious, he's stumbling around, he's in a state of what they laughingly call "nervous anxiety." It's just "unable to finish a cycle of motion." Not nervous anxiety, that's one of these complicated definitions — doesn't mean a thing. It's just this thing: He can't finish the started cycle of motion. This machine is set to start running at any time "signal X" happens in the environment, see? When signal X occurs from the individual or the environment, the machine starts running.

Male voice: The sun won't obey.

Yeah, but the environment's shifted! And what do you know, man has progressed as well, in this society, as he has been able to continue to be cause over a changing environment. He's never adjusted to the environment. He's adjusted ahead of the environment, where he has survived. And so we have a continually changing environment, so the bridge steps are never present. The fellow is not in that locale all the time. The situation is never the same the second time.

Huh?

So you get your overt act-motivator sequences. The situation: He's got a machine set up to whereby he's learned how to box. So when somebody takes a poke at his jaw, even though he's unconscious, why, he hits the other fellow in the solar plexus. See? That's an overt act. Now the other fellow goes down.

Male voice: The sun comes through.

So someday, somebody comes along and hits him in the brisket, and he of course knows what he's supposed to do now. What? Go down. See, the other — it's — the machine's rigged so that's the way it happens, you see?

Sun keeps coming through?

But somebody, fellow — some fellow comes along someday and hits him like that, where's he supposed to fall? He's supposed to fall in the exact geographical location where the first time he dropped a guy. That's where he's supposed to fall. So ever since, he's trying to fall down on "spot X," which is a thousand miles away from where he is. He's never going to fall down on spot X, that's all. So an overt act-motivator sequence stays in suspension.

Male voice: Uh-huh.

The machinery of attack and offense, defense and getaway, and apology, is in continual restimulation. Just continual. So a fellow goes along the time track saying, "What time track? Where am I? Just — if I could just get my feet down someplace and say, 'This is X.' Ha-ha-ha! Maybe I'm supposed to pass out when I reach X. But that doesn't matter as long as I've at least got X." Because it takes X to get the machinery running again, see? Then he feels it'll all come out all right.

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

But it's never going to. An automaticity never answers a second occasion. And the prime mistake that a thetan makes when he sets up all these beautiful gimmicks and gadgets, is that no matter how wonderful it was, it will never act for the second occasion.

Male voice: No worse than I felt before.

He puts machines away and forgets them so that they will act for a second occasion. But they never act for the second occasion. Some modified version — contradicted how many times, checked and counterbalanced — make it poorly workable the second time. And it goes on in this purely workable fashion.

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

You sit down at the wheel of a racing car, and if you've got lots of experience as a race driver — tremendous experience as a race driver — and you drive that car automatically, some kid is going to come along who's sixteen or seventeen and this is his second race, and although every veteran driver on the track is going to say, "My God, who let that goddamn fool on this track! He ought to be shot, outlawed, the three A's ought to throw him on his ear," and everything else, the kid still wins the race! Why?

Male voice: Oh, yeah.

Now, people go through this second stage — they realize that they have become too unalert. It's all too automatic. And they all of a sudden give the machinery a kick and step back and take a look at what they're doing. And just by the process of consciously doing it.

Did you get them outside the room?

Here's a guy, he becomes a veteran driver. All of a sudden he realizes he just lost his fifth consecutive race. Something's wrong. Well sure, it's wrong. So he looks this thing over carefully and decides to drive in another fashion. And this time he decides to drive the car, not to rely on the training that old Bill Wheelwright slipped him when he was a kid, because that seems passe. He's now going to drive the car.

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

So he drives the next race and he's a little better. And then he consciously drives the next race, and he's a little better. And then he real consciously drives that next race, and the quivery feelings he was having by changing over style and things like that — these things are going by the boards. He isn't laying in another pattern. He's becoming more and more in command of the automaticity, simply by doing it in the mest universe.

Mm-hm.

If you can just coax somebody to climb up the side of the Empire State Building — outside it — he would lose, I assure you, about the fifth trip up, all fear of height. By doing what? He's just taking command of and keying out all of his machinery.

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

So, you see, we have this truth, sitting back of this, about training. But people think that this is training. That's not what's happened. The person sets up a machine to do something, then depends upon the machine, then the machine lets him down. Then he decides to hell with this automaticity and he simply decides from there on to be cause.

Well, that's all right.

For instance, I was taking your pictures there a short time ago. I had some of the most beautiful, beautiful photography machines you ever saw. I mean, I just — it was just gorgeous. I mean, they checked over everything automatically and saw that it was all right and it's all wrong and that the time was proper and the bulbs were set. It just checked it over beautifully. And then as time went on, why, the flashbulb wasn't in, the shutter was set at the wrong speed, and — I mean, what was happening? The machine was breaking down. Because the machine is only as good as the person is conscious of it, and no better. And as he becomes less and less conscious of the machine, he becomes worse and worse.

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

So all of a sudden I just decided to take pictures again. I go around and each time I look at the camera, I say, "How the hell does this thing work," see? Ss-ss, boom. "Well, and this is — slides, so on, that's right." Why? It's obvious how the mechanism works. You can look at it. You go around the front and you look in the lens to see if the shutter is open or closed. Not is the thing on "T" or a fiftieth of a second.

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

I would have royally loused up the picture I was taking of you this morning because the camera — this beautiful piece of automaticity — was jammed on wide-open, no matter where you turned the shutter. Well, immediately that you looked at the camera, you could see that the shutter blades were wide-open. This is immediately apparent. But if you looked at the dials that were supposed to tell you about some other dials, which are supposed to tell you about some other dials . . .

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

Reminds me of a fellow that taught me something about diesel engines one time. Yeah, we all had to learn something about diesel engines because diesel engines they made during the war didn't run. And they were stationary — they'd take big, huge, stationary, light-plant engines, you know, and strip all of the iron off them, supplant it all with aluminum, and then put them on a derrick and put them into a ship, and we run them at variable speeds. Ha-ha! Real cute trick. So you had engines 50 percent of the time. And sometimes even during an attack on submarines or something, your engines would keep going long enough for you to get away from the depth charges you just dropped. And the few times that engines would stop, well, ships were expendable because the navy yard and shipyard workers have to work, you see? So it all worked out for the best in this best of all possible worlds.

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

But it is embarrassing when engines keep stopping like that. So they decided that anybody going aboard this new type of corvette was going to have to — to skipper one — was going to have to learn its engines too. This is an insult to — of any bridge man, you see?

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

But I got to listening to this guy. He was an enlisted man and he knew what he was talking about — almost synonymous. And this fellow had worked with these engines a long time. And he says, "Now," he says, "I want to teach you about gauges. I want to teach you all about these little 'pyrometers.' The name of the gauge is a pyrometer. It tells you hot — how hot the engine is. Now, you know that a diesel engine has to run at a certain heat level in order to produce enough combustion on the injection." So he says, "Now, you — this pyrometer, you put it up there — you can put up this pyrometer and," he says, "you pay close attention to the pyrometer." And he said, "And after you've carefully read the pyrometer, which tells you how hot the water is and so forth, and after you've gone around and read all the rest of the meters," he says, "then you go around and take a look at the engine." And he says, "You put your hand on the water intake pipe and find out how hot it is. Now," he says, "you should have a big tub sitting somewhere near the engine so that you can throw the valve open and fill the tub halfway in order to see how clean or how dirty the water is that's pouring through that thing, and whether or not you can put your hands in it. Then," he says, "you go around to the other end of the engine and you look at the bearings on it to see whether or not they have oil on them because this glints in the light." He says, "But be sure and read those meters!" (audience laughter)

Get it withdrawing them.

As a consequence of just that piece of instruction, we were all broken down outside of a harbor one day, and I kept yelling down at the engine room — trying to use words to effect something in this society, heh-heh! — and kept yelling at the engine room and finally said, "Oh, to hell with it," and went down there.

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

"Camshaft on the starboard engine won't budge. No oil. Must be bent. Must be warped."

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

Just looked at it — nothing, nothing. "Nothing wrong — getting oil."

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.

"Must be warped. That must be what's wrong with her."

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.

I said, "No. There's probably something dry on it, if it's not turning. It's probably frozen someplace along the line. Probably frozen."

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

"Well, if you did get it unfrozen, you couldn't do anything about it because this gauge over here that says it's getting oil. . ."

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

I just remembered this guy just in time, see? And I took a look at this gauge, and sure enough, the engine was not running, and the oil pressure pump was not running — which the engineer has neglected to note — and the oil pressure gauge was reading sufficient pressure. Wasn't that cute! The pump wasn't running that gave it the pressure!

Now put black jerseys on them.

So I sent for a couple of big pipe clippers and cut the pipes of it off and jammed the two ends together on a piece of rubber hose so that no oil went through the gauge. And got a piece of crocus cloth and held it on the shaft, while somebody rotated the shaft down at the other end, took an oilcan and squirted it full of oil, we started the engine and it ran.

Paint their faces black.

You know, after that I suddenly realized that everybody that went aboard one of those ships that wasn't willing to go down in the engine room every once in a while, would have trouble with his engines; and I never had trouble with another one of those engines. Never did have any more trouble with them.

Put black pants and skirts on them.

Why? Because every once in a while I'd go down in the engine room and take a look at them. And they'd sit there and they'd run. Furthermore, I'd often go along the side of the ship and take a look at their exhaust ports, and if they started pouring out vast clouds of black or green or white smoke or something like that, why, I'd get on the phone and say, "What the hell is happening down there now?"

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

"Oh, sir, we — we just — we just turned on the — the air injector too quick. That's all. We won't do it again."

Now put some effort in the cones — squish!

On the ball, see? Well, as long as a skipper was willing to let his engine room run automatically, his engine room didn't run. Why? Because you didn't have very many people that could run engines. Tells you any ship in which anybody's not interested goes to hell.

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

And it tells you any body — body, now — in which the fellow isn't being cause twenty-four hours of the day, goes to hell. And I don't care whether you're talking about its eyesight or its liver or anything else, it goes to hell just like a ship because it's just a complex organism which is set up automatically.

Okay, throw all that away.

Now, that doesn't mean that you should do all of your breathing. But it's a good thing, once in a while — what do you know — to stop your breathing and start it again. It'll make you live for a while, you know? Breathing machine is never going to go to pieces if you do it.

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.

I'll show you what I mean. If you — here's a beautiful example of automaticity.

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

Now, take a breath.

Get a truck to carry them around with. Okay.

Mm-hm. Now let it out.

Now turn the walls of this room black.

Now just take the normal kind of a breath that you take.

And then look at them as they are.

Now let it go a little quicker than you ordinarily do.

Did they un-black?

Now take another normal breath.

Male voice: Little bit.

Now let it go.

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

Now take another normal breath.

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

Now let it go.

Now throw the blackness away.

Another normal breath.

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

Now let it go.

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

Normal breath.

Throw that away too.

Now let it go.

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

Now take a normal breath and hold it a little longer.

Throw that away.

Now refuse to let it go.

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 let it go. (pause)

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

What's happened to your breathing now? Did you go on having to breathe? Huh? Did it really lapse back into automaticity or just go on breathing? Or did you have to go on breathing?

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

I'm very unwilling that upsets your breathing for the rest of the day. But do you see that I very well could, with that process? It could just set it up for the next month — you'd have to remember to take every breath. Boy, you'd consider this a real hardship. And you'd say, "Well, gosh, all of my attention would be occupied, then, with breathing."

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

Oh, would it? You mean you'd have that much more attention, is what it means. Anytime you can find something to put your attention on that you're regulating, you have that much more attention. And nobody ever realized that — they think it's the reverse. They think attention is a finite quantity. They think a fellow is born with two and a half quarts of attention.

Now keep that. Save it.

You can get, finally, so that you can go clear across the boards with this. You can make the heart beat. You can make the blood flow. You can do all of these things.

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

Mystics in — not mystics, but the lads over in the mountains over in India used to do this. Well, they did it wrong way to, and to the opposite ends of the poles, as far as I could see, when I was a kid. They would take over these functions, one by one. Yogi is the process of trying to take over these functions. They try to make this the end-all and regainment of. And then they write a book saying, "The various centers of awareness of the body are . . ." And then they name seven of them, and one is the serpent and one is the dog, and it's very interesting and very complex.

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.

But one's the "corona" and I don't know whether they thought the corona was the thetan or not, but I know there is a ball of fire in where they say the corona is, that used to be an old eye. And here we have the — how to actually liberate these centers. You start at the furthest one from the thetan, and they bog you down with the problem of can you exteriorize an entity? Urrrr! By the time anybody has worked on one and two and three and four — you see, he's number seven — why, he's got himself so doggone thoroughly out of control and in restimulation that he'll never get out of his body.

And make another cube of blackness. And save that.

It's very simple. I know, because I worked this. I just — with malice afore­thought. I saw the book of the chakra and looked it over and — oh, gosh, I must have been about fifteen — I got real curious about it, I started asking people about this darn book. And I ran across it not too long ago — gorgeous pictures and so forth — ran across it and I said, "I wonder ... Now, that's very interesting. It's very funny that a person answers up on the meter to the names given to these areas. And the meter bongs every time you answer him up on one. It's very curious."

And another cube of blackness. And save that.

And so I started to exteriorize somebody in that band — they didn't talk about exteriorization, they merely talked about the rehabilitation of that center. Well, I thought, "Well, the best rehabilitation that center could have is give it a boot. So let's just exteriorize it one right after the other on up the line." And I got to center number three and the whole case fell in on me. I was doing it very nicely too, very carefully, well within the Auditor's Code and everything else. Real grim. In other words, it really pinned the fellow down.

Now throw the last one away.

It's like Bishop Sheen the other night. (He doesn't have very much sheen, so don't hold it against him.) He was talking about everybody had to have a hard head and a soft heart. The brain had to become solid. That was it. And what God really wanted people to have was a completely solid brain and a completely soft heart. Now, this is great. I mean, this is wonderful allegory. The only trouble is, that seems to be straight into the teeth of clearing, isn't it? And, of course, no tradition has ever come down the line that people mustn't be free! There mustn't be such a — never would be, naturally. I mean, nobody of that character who was trying to sell saints would ever try to unconvince other people that they weren't. So, you see, naturally, that supposition is very libelous against the Church.

Now throw them all away.

That's an inverted seventh dynamic. Very often you don't get anyplace with an inverted seventh dynamic unless you waste ghosts. Somebody's been into spiritualism, something, well, you waste ghosts in brackets. All right.

Now throw away any remaining blackness that you have around.

Now, we're not off the subject two inches when we're talking about this. Because we're talking about Step II and we're talking about automaticity. When this fellow — you ask this fellow to get out of his body, he — who has gone into very deep automaticities, and he's actually down below III or IV or V, you wouldn't ordinarily do very much to this case but just go on down the line. Except with Clinical Procedure. And you have to know all this about all the case levels on a Step II basis.

And you've just about got it.

In other words, what is Step II to all cases? Well, Step II to all steps is the automaticity of that step. And somebody who cannot bring himself to discard this much automaticity — one body — is going to require a little more work before he exteriorizes. And that's what Step II tells you, and that's why: "Mock up the person's body. Mock up his body. Mock up his body."

Okay? How you feel?

Normally, if you just kept on mocking up his body for five or ten minutes, he'd exteriorize. If you just kept this up — unless he's in the effort band. You got to put lots of effort into things, you got to just get him so he's real good on effort and thinkingness into everything under the sun. And when he's real good at that, he'll be able to exteriorize. Because why? He can't work, because the body does all the work.

Male voice: Oh, I doped off several times.

And the one common denominator of all cases difficult to exteriorize; the one common denominator, difficult to exteriorize — and below that level, what they have called neurotic, psychotic personalities — they have one common denominator that goes clear across the boards is, is they can't put out much effort. And the less effort a case can put out, the worse communication the case is in — communication state the case is in — and the less he will exteriorize. Can you follow this? He can't put out effort if he can't handle effort. So when you get a case there, he is either fixed on the idea that he's got to handle effort — in other — he's got to work, he's got to put out effort, or he's in a position where he can't anymore. So you fall into the two categories of work, which immediately mean effort. And there is your index. There is a beautiful index.

Did you get any somatics?

You ask this person to discard a piece of automaticity. What automaticity are you asking him to park off of there for just three minutes or two minutes or one minute? You're asking him to park that piece of automaticity called a body off there. If he can't put it away from him four or five feet for a minute or so, believe me, he thinks he has to have it to do practically everything for him. It has to think for him and work for him and sweat for him and do the emoting for him. And he gets convinced on this one way or the other, and the thing for you to do is simply to bust the conviction.

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

Now, we can actually actively bust a case and run a case with just Steps I and II. But we can't take one of these steps and carry it along independently of the other step because we keep running into the machinery. We ask this

Yeah. Did you get any of those blacknesses?

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

And he says, "I'm looking — I must be looking at a facsimile of the body, but I — I know the body is out there someplace. I'm certain I'm outside, but I just can't really see the body very well and I don't quite know several things about the body," you know? He's just in a situation there where he has a failure because of a machine that hands him facsimiles rather than hand him the real McCoy.

Did you get anything black?

Now, you can go complete reverse and say there's a reason for it. Anytime you say, though, that there's a reason first and an action second, you're trying to reverse and invert this "Looking-as-condensed-feeling Scale." See? You're saying the thinkingness down here is senior to the effort which is immediately above it. See? So the reason for: this fellow doesn't want to get out of his body, so he does so-and-so. Oh, that's a fallacy, it's a fallacy. You're making a mistake when you do that.

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

He doesn't have any reason why he wants to get out of his body — he's lost all of his reasons. He's got lots of reasons now, and he'll tell you lots of reasons, but these are justifications and they're merely after the fact. And the fact is, one, he starts to lose himself geographically by setting up automaticities. In other words, he keeps looking around for the bridge ladders and the bridge ladders aren't there. See that? He's nowhere there is a bridge ladder anymore.

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

There are people all over here who are thoroughly trained for space opera. Oh, just gorgeously trained for space opera. They're gorgeously trained to be couriers on another planet. They're just wonderfully trained and their bodies are wonderfully trained to be hunters. And the only thing they can hunt is something in a hat and silk stockings now. Nothing to hunt, see? Here are all these mislocated beings: They're mislocated in place and they're mislocated in time, and the culture is not the kind of a culture they're trained to be located in, and so they're completely lost. And they've been saying for thousands of years, "Where the hell am I?"

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

That's the first thing anybody says when he's been knocked over his head. You could drive a little dog insane simply by banging him on the head, and while he was unconscious, moving him into the next room and standing him on his head in the corner and letting him come to in that fashion. The little dog, the rest of his life, would go around saying, "You know, I didn't go — I — I just know I didn't go out with my head down in that corner in that room." So the two places are trying to be collapsed by these two dogs. He's here, while he's here, but this first room must be then this second room.

Uh-huh. With some effort in it.

The dirtiest thing you could do to a guy is slip an anesthetic mask over his face in one room, operate on him in another room and let him wake up in a ward. Why not just shoot him? Unless he gets processing he's going to be lost for the rest of time. Where? Just where you found him stuck on the time track — in an operation or something of the sort or in an accident. All right.

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

The fellow hits with a terrific impact, goes unconscious, and the plane or the car bounces and goes someplace else, and then somebody drags him out of the thing while he's unconscious, and they put him in a car and they drive him to some town. No wonder when people have been knocked out, the first question they ask is, "Where am I?" First question they can think of when they come back. Because they've got a machine — all their machinery is set to go on geographical locations and positions; and as soon as they're transferred suddenly from one geographical location to another geographical location, they lose their sequence of positions. And when their sequence of positions are gone, they can no longer get from one stage of the machinery to another stage of the machinery, and the automaticity is lost and so they must be somebody else. They're living another life.

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

Death to another life is just that mechanism and no other mechanism. Now, this person — you ask this person, "Well now, if people have lived before, why, they of course know their name and so forth." Well, no, they don't even know where they went to school in the former life. I mean, they're bad off.

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)

Here they've got all this automatic education which goes into fine furor and fury every time they try to study something. You know, it just blasts them. Now all of a sudden this person, they just can't study arithmetic. They — no accounting for this, see, and can't study arithmetic. Well, if you went back down the track or something or other, they were one of the most well-known authorities on Newton or something of this sort at some other university in some other time.

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.

Arithmetic be damned, they were mathematicians. You start them up now with new stimulus-response mechanisms, new automaticity; the second he starts to make arithmetic automatic — he's all right as long as he's still cause where the arithmetic is concerned — he starts to make it automatic so that he knows the multiplication table automatically and pang! he loses his geographical positions because he's already lost them on the subject of mathematics. These geographical positions mix. He thinks he's, after that, someplace else with regard to arithmetic. He can't study arithmetic. He goes mad. You say, "One plus one equals what?"

Second male voice: He becomes invisible?

And he says, "Six, I guess. Is that right?"

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

See what happens on automaticity and mixture of geographical positions. You can't take the subject of automaticity and throw away the subject of geo­graphy. And the only place you lose an automaticity, become really unconscious of one, is when you set one up in position A and start using it from position B. And your preclear that's holding on to some part of the track, is trying to hold on to the connective sequence between his automaticities, so he doesn't lose his sequences of geographical positions.

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

If you restore to him his sequences of geographical positions, they can fall into line. Then the time track unravels, and all of his machinery stretches out into time where it belongs.

Third male voice: Licorice all over the walls.

I don't know how long it would take to do this, but it's plenty long.

Hm?

(Recording ends abruptly)

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

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

Make you feel better?

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

What did that do to you?

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

It didn't hurt you. Well. . .

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

Got the effort good.

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

Mm-hm.

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

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.

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

It smoothed out. Sure.

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.

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.

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.

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?

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.

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

Funny?

Female voice: Yeah.

What's the matter?

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

Hm?

Female voice: Sort of shaky and faint all over.

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

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

Mock yourself up shaky and faint.

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

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

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

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.

Make you feel better?

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

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

Female voice: (laughing)

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

Female voice: (laughing)

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.

All right. Mock yourself up out of control.

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

Female voice: (laughing)

Got that? You feel better now?

Female voice: Mm-hm.

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.

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.

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.

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.

Male voice: Anytime.

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.

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.

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

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

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

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

"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)

Yes, Ed?

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?

Okay. Where is present time?

Male voice: It's what I am.

Okay. Where else is present time?

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

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.

Male voice: That's what I mean.

All right. . .

Male voice: You said put cables to it.

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.

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.

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?

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

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.

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

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

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

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

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.

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

Now let's put some effort there anyway.

Male voice: (laughing)

How many people blew a lock on Mama? Okay.

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

Let's put a little grief into it now.

Male voice: (laughing)

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

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

Male voice: (laughing)

Now let's make it be angry.

Let's put some resentment in it.

Male voice: (laughing)

You getting good this morning?

Male voice: (laughing)

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

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

Now let's put some desperate boredom in it.

Male voice: It is not, then, sleepy.

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

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

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

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

Now some serenity. (audience laughter)

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

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

Male voice: Yeah!

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

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

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

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

And some sexual happiness.

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

Now let's make the door happy.

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.