Now, first and primary barrier to your auditing him, of course: the incident which you're trying to audit. That's really the first barrier that's been giving him trouble. Don't expect it not to give you trouble because it very definitely will give you trouble one way or the other.

You can fully expect any incident to be a rough incident. The only mistake you will make in this regard - the only mistake you will make in this regard is to suppose that this incident follows some other laws than those you know. And that I might ask you to fix in your mind very strongly. You will learn this by experience but at first you had better accept it on belief: that an incident, regardless of how it sounds or looks, will follow precisely the things which you are being taught about it here.

Let's go into a few more particularities with regard to the way thought forms up in terms of recordings - how to handle recordings.

I noticed this in training auditors a long, long time ago. That the auditor insufficiently acquainted with his tools was only too happy to suddenly suppose that new phenomena, never before encountered, had been encountered by him. And therefore, use this as an excuse to change his mode of auditing to try to make the preclear do something else, And in such a wise he would miss running the incident and invariably and always would have upon his hands an unwell preclear.

Now, you wouldn't be a bit surprised if you were out in Hollywood, for instance, and you were applying for a job in the film department and I was supposed to indoctrinate you in films and I stood there and told you all the various ways to file film. How film is filed and what kind of film there was. How it's preserved, how it can be wrecked, what alphabetical orders it's filed under, what rooms it's put in, what kind of pictures the studio has normally made and who is authorized to touch these films, and who isn't authorized to touch them. You know? You wouldn't be surprised. You'd put all this down very industriously and probably memorize it.

If you were to start into an incident with standard processing and were then to change over after you had run an incident a time or two, to counseling the preclear, in a large percentage of the instances you would send your preclear into a very sad, low-toned state. And you might even send him to the hospital.

Well, actually that's all I'm talking to you about, is just how films are made and how they're stored and how they're wrecked and how you can fix and handle them.

I am reminded - one time a fellow down at the house watched two preclears, one after the other, change from fairly alert, fairly normal individuals into sick people. He watched this, one after the other. He saw one preclear go from no temperature to a temperature of 103 merely by being run down the track and run into a measles incident. He saw him turn red, saw him begin to agonize and immediately tried to interrupt the session and so on, because obviously the preclear was being made sick. Obviously he's being made sick. Now this is "Terrible, terrible, terrible, terrible. So horrible. This mustn't be, this mustn't be, this mustn't be." So just for kicks I let him take the preclear's temperature. It was found to be 103. Preclear had the clammy cold touch, he had the semblance of a rash - he looked terrible. And this man, an endocrinologist of no repute, insisted - nay, demanded - that this preclear be sent to bed promptly and that no more auditing be done.

But there's a lot of mystery which has been put up around in the mind because mystery pays off. Give me a good mystery - a good mystery - any time, and I can show you a conquest of earth. One good mystery. No trouble at all. I mean that as fact. It's based solidly upon the past.

The other preclear was run into an incident, and I didn't finish running out the incident for the good and excellent reason that he was boiling off in it. And he had seen a man faint or go unconscious, and therefore, that person obviously needed immediate treatment, and he proceeded to try to administer it. (He was making quite a nuisance of himself.) And the second preclear got furious with him. Of course, the fellow was in a boil-off, and it's rather high-tension stuff he's running. Suddenly finds himself slapped in the face with a wet towel, he doesn't appreciate it.

Every great enslavement or every great release of man on earth has pursued from a hidden datum - a new phenomenon which nobody knew very much about except a select small group, who then held it to their bosoms and so holding it were able to use it to instill compulsion obedience upon the rest of man. That is very simple. That was done many times in the past, and it's routine the way it's done.

I didn't do too much to prevent all this because I'd just as soon the fellow got unpopular. And the upshot of all this was, that almost forcibly holding down this objector, I ran out the measles incident on the first preclear and finished the boil-off on the second preclear. And they both came up smiling, looking better, temperature was normal on the first preclear; second preclear - all the nervous tension was gone.

You take this thing, you make a mystery out of it. It strikes people; it startles them. You embroider it up. You make it a bit supernatural in some way or other. You fix it up one way or the other, And then you tell some luckless fellow that this is really what's going to happen unless he drops a nickel on the drum - anything, I could be very crude about this, actually, because it is a formula which man has used and has had used on him for many, many thousands of years. Practically all of his existence on Earth has found him in this circumstance.

This was really grim because it completely violated another man's reality, utterly violated his reality. When a person gets a temperature, he has a virus, he is sick. If he is sick, he's supposed to go to bed. If a person goes unconscious, he's supposed to be revived. That was the codified reality of this person.

You might not think of it in this way until it's mentioned, but do you know that there's a group of nuclear physicists in this country who hold certain phenomena in their hands and in their minds which cow nations?

That reality does not hold in auditing. If a preclear develops a temperature, you're supposed to run it out. And at first you may find it very hard to believe that your preclear's temperature will go away by the simple process of auditing. All that temperature is, is a facsimile with a thermal in it. It's a facsimile with a thermal in it. And in order to demonstrate this, you can run any preclear - or just remember vividly, very vividly, remember exactly how everything was on a hot day, or run the preclear into the hot day, and he'll feel the heat again. This is thermal. Fever is no different.

Now these people don't think of themselves as using a mystery, but they're using a mystery. They use quantum mechanics and atomic and molecular phenomena, and out of this mystic brew compose an atom bomb. As far as you're concerned, actually, that might have - been nothing but dynamite or a smoke screen or an erroneous news story that happened in Hiroshima and Nagasaki. You don't really know whether an atom bomb exists or not.

Now, the lesson involved is that the first few times you run somebody, follow the rules. After that, experience will tell you to follow the rules. If you don't get results on a preclear, the chances are ninety to one that you're not doing something called for in regular auditing procedure. The half of the remaining one chance will be that the incident has some sort of a freak phrase or twist in it that is causing an illusion, but is still running according to rote. And the remaining one half of one chance has to do with the fact that the preclear has not been indoctrinated in running it, and he's trying to run something else.

All you'd have to do is create the illusion that something like this existed and that a vast mystery was behind it, and you are likely to pay great attention to this vast mystery. Because the mind seeks to fix on things, so when it is confronted with an unknown it seeks to fix on some known factor in the unknown. And if the mind can't fix on some factors it will go into fear, and so can be influenced. Mystery!

Now, one of the most discouraging things about a preclear is he very often - low on the Tone Scale - will be told to do one thing and will do something else. And when you try to check him up and find out if he's doing what you ask him to do, he will tell you that he is, and keep on doing the something else. Preclears at 1.I are very good at this - very good at this.

Hashshashin, the Old Man of the Mountain, took the mysticism of Mohammedanism, constructed himself a good, solid MEST garden full of milk and honey, took young men, filled them with hashish, brought them in, told them they were in Paradise.

Now, I call to your attention the fact that running an incident presents very, very definite manifestations. An Individual who is running an incident, is running an incident. If they're really running the incident, they change their body positions, they are alert, interested in what they're running and they're going on through with the thing. And they are - have no compunctions about informing the auditor as to what's going on.

They woke up from a drugged state and were told they were in Paradise. And they were told also that they couldn't come back to Paradise until they had gone out and killed a certain person. Then they would drug him again and he would wake up in some far city yearning to do nothing but go back to Paradise. So some prince or potentate that the Hashshashins were angry with at the moment would find himself with a dirk in his heart.

A preclear who is faking it may be running something else. They may be flopping around but there is long pauses and there is a perceptible gap in their answer to the auditor - a perceptible gap - and when you find a prcclear who is answering you very, very slowly... You ask him the question and then there's a lo-o-ong gap and then he answers it, you should become suspicious of this preclear promptly as running something else that you didn't tell him to run. What he's trying to do is reorienting himself so that he can answer you - and he's trying to think up a lie. And they don't think fast when they're back down the track; they just don't think fast when they're in the middle of a facsimile. And he may think he's answering right up - pop - only he's not.

The fellow would merely walk up to the individual, run up to him anyplace he could be found, and stab him and kill him. Certainly the fellow's guards turned around and killed the assassin. That's where you get the word ussassin - from Hashshashin, the Mohammedan cult which lasted about three hundred years in the vicinity bf the twelfth and thirteenth, fourteenth centuries.

Another way to prevent this is to know your Tone Scale and do a very, very good estimation of where your preclear is on the Tone Scale and look at the behavior scale on the Tone Scale. Look at the behavior and so forth - what can be expected out of this preclear - because he'll communicate his incident to you just like it says on the chart.

Now, there's a mystery. The mystery in that case was the fact that Hashshashin figured out a way to prove to people that Paradise existed, and he used this credulity to enforce his demands upon Asia. He enforced his demands upon Asia so well that during the reign of these people there wasn't an Asian prince, king or ruler or governor anywhere that would have dreamed of disobeying a proclamation issued by the Old Man of the Mountain. That is the use of phenomena.

Let's say if he's at 1.1, he will communicate the incident or communicate with you like it says under "Communication" on the chart. So this you must beware. You must beware of a preclear running something that you haven't told him to run.

That's something for you to remember about the mind: that it tends to fix and locate data. If it fixes too solidly on a datum it is said to be obsessed. If it cannot fix on any data but continues to try and yet finds no correlative data, it becomes afraid. That's fear, one of the manifestations that it picks up.

You'll get preclears who will start wandering all over the track. And you say, "Now, are you running birth or something of the sort! You running this! You running that!"

Therefore, the mind of man and all of its phenomena has long been used for the control of man. Man has been enslaved by the fact that others did not know enough about their own minds to prevent the phenomena of their own minds from being used against them.

"Oh yes, yes, yes, yes" They're up at twenty and they're down to fifteen and they're lock-scanning a time. When you start a preclear lockscanning, you don't communicate with him for quite a while. You start him in a lock scan and then you're silent for quite a while. And you ask him once in a while what he's doing, and so on. You quite often find that he's wandered off of the track, so you want to keep in communication with him. You start the chain for him. You start him off at the beginning. You get the information from him when he's at the end, and if he doesn't give you the information when you think he ought to, you ask him for it. Quite often you'll find he's wandered off into something else.

This is the history of the race. Somebody learns something about the mind. He promptly makes a secret out of it, a mystery out of it, and used it against minds. That's what's very peculiar about Scientology and the work on which I've been engaged in the last twenty-two years. It's been in an effort to expose all phenomena of the mind so you couldn't do it anymore. Now, therefore, if I were talking to you about the filing of film and the making of film in Hollywood, you would be very relaxed and very pleased and very pleasant about the whole thing and you'd go through it by routine, and you would walk into those film-filing laboratories and you would do a good job. But as it is I am apparently talking to you about something that is mysterious.

The lesson here is that the preclear very often doesn't know - in a befogged, anaten condition of being in the middle of some facsimile - he just plain doesn't know what he's doing, and he can't evaluate well enough what he's doing to stay on the right track to do him the most good. If some incident's telling him that it ought to be avoided, he'll avoid it. And you as an auditor are there to keep him from avoiding it. So you must remember this.

Well, the mind right now is about as mysterious as a roll of film. You see, you don't know all there is to know about a roll of film. And even if I told you all there was known in Hollywood about a roll of film, you still wouldn't know all there was to know about a roll of film.

So there is a happy mean between just sitting back and snoring while the preclear runs, and sitting there and drive, drive, punish, punish, kick, kick to keep the preclear going. If you find the preclear is getting very restless and unhappy the way you're auditing him, you'd certainly better get an adjustment of pace to his tone and get your auditing procedure between you and him straightened out. You shouldn't have any trouble auditing a preclear,

How do you make celluloid? Anyone here knows how you make celluloid? I mean know the process, so that with crude tools you could just go out and make celluloid? How do you make the emulsion that film takes and so on? There's a lot of data there, you see.

Now, phenomena that you discover should be very well known to you before you discover it. There's about two hundred and ten, or something like that, phenomena that have been discovered about the mind in this science. And there's about a hundred and ninety-six of them are not in use and do not obtrude upon you. They're manifestations that you don't have much to do with in auditing. And they don't suddenly send up a red flag and tell you they're there and interfere with the auditing.

There's still a lot of secret formulas in the making of film. Du Pont doesn't want Agfa to know, doesn't want Eastman to know how these formulas are put together. There's a lot of secrecy and a lot of mystery. Mystery is also paying off in the field of films but this doesn't worry you, does it? You say, "Well, this is routine and this is ordinary." Well, if you will accept the fact that the mind in its "mysteries" (unquote) is routine and ordinary, you will learn this very swiftly.

So there's two ways you can learn this. You can go ahead and start to study every aspect there is to know about film recording and filing - every one there is to know - and know them all and examine them all. And the other is to know enough to do a good auditing job. Well, of course, number two is what you should know first. And you should know number two very, very well and have all the answers right there at your fingertips so that you can just sweep him on through. And then, later on, you can get interested enough when you have experience on the line, to go ahead and investigate the rest of them if you want to.

What we're talking to you about, then, is the filing of film. These films are a little bit better than Hollywood films Some of them are worse. Some of them are very dull and some of them are very poorly plotted - like Republic Pictures' and so on. But they're just film. Actually, they're not even you - these films.

There's a terrific amount of mystic phenomena, for instance, that you can investigate. The time to investigate that is after you got through running incidents. Because it does not obtrude upon running incidents.

You stand there as an intent at the beginning of time "to be," and this intent underlies every other facsimile, and it is not itself a facsimile.

As a matter of fact, do you know that a preclear can actually step up off of the couch and go across the room and stand against the fireplace and watch you. Why, every once in a while you'll run some mystic and he'll start doing this trick. He's not auditing. He jumps out of himself and - you call this astral walking. That's a phenomenon that's been well known. It's a phenomenon which has been around for a long time and a lot of people can do it without any effort or trouble. It has a lot to do with auditing.

And then you have these recordings of the physical universe, And I admit that the film you're carrying around is very, very good and some of you can even look at it again sometimes, But it's a smellie, a feelie - completely aside from being a talkie. And it is very well stored; doesn't need a can to store it in. It doesn't have any bulk, no size. You don't have to strain your back shipping it anyplace, bringing it in. The filing system is very automatic.

But don't suppose that somebody who comes up to you and says, "You know, I audit you every night when you're asleep" is telling you anything. He can maybe come over and stand alongside your bed and give you a nightmare, but believe me, he can't audit you. I've tested this, by the way, and such auditing is not successful.

All I'm teaching you how to do is pull out the logjam in this film storage bank so that all the film can be filed properly. And this film even has the wonderful characteristic of filing itself automatically in its proper sequence the moment you straighten out the cans that won't let it be filed. Simple

You'd be surprised. I've gotten several letters from people around the country saying, "I wanted to help you, so I have come down every night, and I hope my work has benefited you," I get a nightmare every once in a while. I suppose that's what happens. You think I'm joking, but this is true enough.

This is so routine that actually, if you were to take a five -, six year-old child who had no training at all, you would find that you had no difficulty at all telling him how to file his film. He would say, "Yup, yup, yup, yup, yup, yup, yup, yup. That's very interesting." And he'd go around and you'd see him auditing kids in the neighborhood.

That's phenomena. It's valid phenomena. It doesn't happen to be of any use in auditing, that's all. It's not that I am trying to be stern or mean about it, it's just a - there's certain phenomena that's of use in auditing and these are the ones you should know and handle and when you get these well under control, then there's lots more.

I've trained a ten-year-old boy to audit. I've known six-year-old boys to audit. One little six-year-old boy one day walked out in the kitchen and found a visitor. This little kid had been around Dianetics quite a while, and he found this visitor with a terrible hangover. Little boy says, "What's the matter?" and the visitor said, "Aw, huhh? Just got a awful headache." "Ah," the little boy says, "you got a hangover. I heard you last night," And the fellow said, "Well, as a matter of fact I probably do have a hangover," The little boy says, "Well, let's see, what's the first drink you took?" And the fellow said, "What are you going to do?"

Now, I'll tell you a useless phenomenon. You can take half of the mind and set it up to audit the other half of the mind. And it will go on for twenty-four hours a day auditing the other half of the mind. You can take the whole analytical mind and set it up a yard or six yards or eight miles from the body and have it do all the computing for the individual. Because theta does not exist in space or time, it doesn't matter what you do with this theta. You produce an illusion to this effect, and the person will answer up to it.

The little boy says, "Go on, go on. Where's our first drink? Go on, pick it up." "All right, let's go all the way through, let's go all the way through to when you woke up this morning,"

You can take the whole analytical mind and move it out from underneath its facsimiles, for instance, and have it work the arithmetic for the individual so that he'll get his answers on a flash-answer basis. You set him a problem, he'll give you flash answers. This is more or less useless phenomena - at the moment, it is But it's interesting, it's very fascinating.

The little kid sat there and forced this adult who was about forty-five or so through this incident from beginning to end, over and over and over, and the adult's headache was gone. This adult, by the way, didn't know much about Dianetics and he was very struck, stunned and surprised. I imagine that was worse than the headache he'd gotten rid of.

Now, you can set up an auditor in the mind which will go on and audit the preclear when the preclear's asleep. Maybe you didn't know about this one.

Now in the process of education you have been told there are a lot of mysterious things. If I were telling you about these phenomena just straight, it would be very easy to acquaint you with these phenomena. But as it is, I'm telling it to you across dams of semantics, telling it to you across presuppositions absorbed from popular novels - even those. Across psychology, across philosophy, across the training and belief of parents, across the training and beliefs of a race for many thousands of years. And the only thing I can say about these barriers is that they were efforts in the past to make human conduct acceptable to the largest number of people under the existing circumstances, with attention to the little that was known about this phenomena. So every one of those is a stopgap.

& Probably this technique will be rampant in California 24 hours after this tape is released out there because it'd be a very interesting thing. I can just see - they can say "This is a new way to kill preclears, we're all set now boys."

Somebody came along one day and he said, "You have a soul. You have a soul," About maybe four thousand years ago, something like that, somebody came along and he said, "You have a soul."

& I'm not hot about California. I wouldn't say a word about the C.A.D.A. - I wouldn't say a word about them. The California association out there. A good bunch of people. Of course they don't know anything about the subject, and they don't produce any results but they're good people. They think that this whole subject ought to be turned over to the psychoanalysts so that everybody can run psychodrama while standing on the top of a bottle in Central Park or something. But otherwise they're good people. Outside of the fact that it was everybody in California that worked up - I think they called it psycho-Dianetics or something. Female voice: Not everybody. And this psycho-Dianetics that was developed was developed exclusively and wholly and from one end to the other - well it was actually developed by a man named Smith or something - or did he form the Mormon Church? [audience laughter] - Well they're not sure either. But we'll get on with this.

And everybody said, "What's a soul?" They didn't know what they had. Up to that time, they didn't know they didn't know they had anything. Yeah, this was complex, you see. They were living in their primitive ignorance - and very happy in it too. And this fellow says, "You have a soul." And - "What's a soul?" "Well, you've got to take good care of your soul."

What you could do is, you can look at a preclear fixedly and you can say, "Tonight when you go to sleep, the left half of your mind will run the right half of your mind through all the grief incidents of any and all of your lives and discharge the grief." And you say, "Is this understood!" And they say, "Yes." "All right, that's fine."

Well, everybody has a facsimile saying he has to take care of something. And he has an overt-act facsimile saying he definitely has to take care of - that he has violated his command to take care of something, so right away he says, "My soul. I've got to take care of my soul," Didn't occur to anybody he was his own soul.

Now, this preclear will actually go home and put his head down on the pillow and go to sleep and wake up the next morning with a soaked pillow. He's been crying all night.

It's something like walking down the street and seeing a fellow standing on the corner wearing a suit of clothes, and harassing him and haranguing him until he'll wear a suit of clothes. And then harassing him and haranguing him until he's finally convinced he couldn't possibly be wearing a suit of clothes. And so in his naked shame, fully clothed with a suit, he creeps off into an alley. It's just about the same operation.

You can make a preclear run out all the terror when he's asleep so that the bed is just going madly all night long and shivering and shaking, and when he wakes up the next morning, why - By the way, he doesn't feel any better for any of these things because it's subawareness level activity, and it is simply the restimulation of incidents and the illusion that it's being done. And to be obedient, he will simply turn on the manifestations without becoming any more aware of what's going on.

The phenomena surrounding the filing of facsimiles, so on, turns out to be very simple. Awfully simple. It's just like making and filing pictures. Simpler even! In pictures you have directors and you have that sort of thing. Well, you're just the whole film company and you just manufacture film endlessly, that's all! Good film, too!

Now, I know lots of them like this - just dozens and dozens and dozens and dozens of ways how the human mind can be made to react one way or the other. As a matter of fact, it is actually no trick whatsoever to make a man get very weak and give him chills even while you're standing and talking to him. All you do is slide into his valence and think weakness and chills, and he gets them.

I'd like to put you in a condition so that you can even look at it again sometime and find out what kind of film you've made. You're making film, actually, without a board of censors to bother you or anything of the sort. Some of that film is probably very interesting film.

Now, that's funny, isn't it! Well, you maybe don't know whether it exists or not. As a matter of fact, it can't be done very often and, as a matter of fact, you probably never tried it, but it can be done. What its usefulness is, that's something else. It's not useful in therapy. So this is all a very interesting array of material.

But now you know that filing it and unfiling it only requires you to understand what it is and how it's labeled and what kinds there are. That isn't even a big order. After that you can find out what happens to film, but first you must understand what film is: It is a substance which has no existence in time and space on which is engraved the fifty perceptics of which you are capable of recording. Fifty some perceptics - there's a terrific list of them. And all these record simultaneously upon the same film and it goes on and you make it in short or long units but it's continuous. People speak of episodes in their lives. Actually, one life is an episode, a complete episode. It's a complete play, you might say. Your school days. The second you say, "Your school days," this is grand catalog of film, a series of pictures entitled: "School days, complete. John Doe, early part twentieth century," That's the way the label would read, actually. "School days," That's just a generalized category. Now you say, "Grammar school," "High school," "Prep school," "College."

Do you know that you can actually take a preclear, make him look at a flashing candle for a few minutes and then tell him he'll forget every engram he has and they won't bother him anymore, and he will go around assuring everybody that he's now forgotten all of his troubles and they don't bother him anymore! He's not well. He's still got the pip and the epizookics and so forth, but something has happened - but something has happened.

& Theres five films. Or four films. Four specific films.

Now, there are two stages of making something happen: one is to make something happen which is spectacular. If you want the spectacular, that's one thing, and if you want a preclear to get well, that's something else - entirely something else. You could always have the spectacular. I can guarantee you that almost any preclear I take on, I could make them froth at the month, bark like dogs, run around in circles, scream, do anything. Spectacular.

They begin: you say to the old man, "Well, I'11 try to get along on my allowance," and you go off to college. And you walk in the front door and the registrar's there and they say, "Well, you can't take that because you don't have the prerequisites." And that becomes a little short subject called "Prerequisites: my struggles with," "My career: why I couldn't follow it" - would be another short subject. Another one would be "Are professors human?"

As a matter of fact, I took a preclear one time that nobody ever had - no one had ever been able to make do anything. Tnis preclear... Not in Dianetics - no one had ever been able to make this patient do anything in psychiatry. And the four psychiatrists that had treated her over a period of eight years came down to a lecture in Oakland, and managed to foist off this patient on me as the volunteer for the stage demonstration. And the fellow who was there managing the show was dumb enough to take her. And boy, she was as dumb as a wooden Indian! Whoo!

There'd be these little short subjects running all through the thing. Then you see, the college career is subdivided into episodes one, two, three and four. Or, in the case of a girl, "The Perils of Pauline." Freshman, sophomore, junior, senior - each one of those is an episode. And then there's - oh, this is very interesting. This is just all packages of film.

I came in to look at the couch and all of a sudden I said, "Holy cats, what have we got here!" Here's a great big audience out there, you see, and here's this stage and so on. And I thought, "There's something wrong here. There's something just a little bit wrong."

People do this, for instance, when they write autobiographies. Somebody comes along and says, "My Life" and "by John Doe." And then he tries to put down in print the complete film. Well, actually he's putting down a very second-rate rendition of it, even if it's beautifully written, because it's all on his film. And to date nobody's ever been able to set any John Doe up on a projector and let it run off on a screen for everybody to take a look at. That would be a very good invention, But you see, it isn't done at this time. And as a result people don't think of their films as films, because other people don't go look at them and nobody pays a quarter.

So I sat down and I found out that she had been in psychotherapy for a little while and all of a sudden said, "Well, they want a show, I'll give them a show!" So I just turned up this precLear up to eighteen dozen decibels and let her scream. I turned her up to high C and then up into supersonic and kicked the windows out of the back of the theater practically.

As a matter of fact, that's a fib. Over a long period of time people have been paying lots of quarters to look at my films. I find out that most of my stories have been completely autobiographical. My confidence in my own imagination has just gone by the boards.

The cop in the foyer and the ushers and everybody who was anybody around the theater at all, they were coming in and they were standing there in the aisles just blanched-faced, looking at this proposition, you see. Because they never knew that a human voice could be this loud. There's incidents almost in any bank, in any case, that you can really start turning them up. You talk about release of affect, she was getting a release of affect, all right.

Now, if you were to file these, how would you file them? You would file them according to several things so you could find them again. The first thing you would file them in regard to is time. That would be the broad file classification. And every film or facsimile in your mind has a time tag on it, and each one of those is carried along. Everything is on record and all the film is there.

And I ran her offstage and they finished running out the incident offstage that this preclear had been - that I'd run her into. It was getting down to a point where she was only screaming mildly, so I kicked the couch off the stage and finished the lecture.

That was another control mechanism telling you you didn't have all the film. They said, "Somebody else has it" or "You've lost it," or something of the sort. It isn't true. You have it all. So you have this time tag on each roll of film. You have it on each moment of each roll of film. This is much better than Hollywood. They do not have marked on the side of the square what frame it is, and you do. Every frame. You take, with the eyes, about twenty-five to seventy-five frames a second and you even got marked what frame and what second it is - very, very good in its index system. Fine index system, very poor file clerks.

Well, the four psychiatrists - three of the four psychiatrists were sitting in the front row. And I had had them spotted when they came in, and I all of a sudden realized they had something to do with this patient that I had just run, because they'd come in sneering, and they were sitting there looking pale. They were actually very pale. They are very easily restimulated people.

Well anyway, you get a person with nine-tenths, ten-tenths - not quite ten-tenths of his film thrown over in the corner apparently completely tangled up, with the cat's dish in the middle of it, and a couple of old pairs of overalls thrown over the top of it, and the wrench the plumber left sort of dropped on it, and that whole room lost somewhere. The remainder is what you now know as you, and what you're using-the remainder of the not quite ten-tenths.

The next night the audience was almost double; the preclear was a little bit better too. She at least found out that she could scream that loud without splitting a vocal cord.

Actually all the other film is there. And what you're trying to do in this science is simply get ahold of the rest of the film and put it back in the vaults because it shouldn't be in there with the cat's dish and so on. It really is not good care of film.

So you can do all kinds of things in auditing, if you know phenomena and you know the subject from beginning to end, you can play on a human being like you can play on a toy piano. That's all there is to that, there's nothing to it.

Fortunately, this film has many other advantages: it does not deteriorate. You can leave it out in the wind and weather for a long, long time and it doesn't corrode, shrink or stain. That's remarkable. It does not corrode or deteriorate. Once you have taken the picture, the picture is there.

I always consider it rather unfair to use all this - any of this material for anything except working preclears or investigation. And so should you, by the way. You realize that a large percentage of the people out in the public, if you just told them to go into the engram necessary to resolve the case and snapped your fingers, the fellow would look at you rather blankly and all of a sudden probably curl up in a ball. They will! They will do that, particularly after this subject's reputation is way up the line. They know you're an auditor. You start looking at somebody rather fixedly and you say, "You know, without much trouble a lot of people can be rolled up in a ball on the floor." And the fellow says, "Y-y-y-yes! I kind of doubt it," he says.

Now don't make any mistake about this fact. If you've taken a lot of pictures with a myopic astigmatic lens or a calcified binaural hearing system, the quality of that film is not good, but you will have on the film as much as you've perceived and been capable of perceiving, and that's a lot more than you think is there. It records all night long, by the way. Terrific waste of material. It records all night long and all day long and when you're drunk and when you're mad and when you think you're not there and when you're dead, and it records all the time. It doesn't know the word "stop." Of course, I realize it has this in connection with some of these long-winded pictures of Bette Davis. They don't know when to say, "The End." But it has been going on now for an awful long time, this film has.

"Well, it's like this," and as you start to raise your hand, he'll roll up in a ball on the floor. That would be shortening the technique.

Now, it also records when you're unconscious. Somebody comes along and gives you a shot in the arm, knocks you out, hits you over the head, runs over you with a truck, something like that, the film keeps on recording with as many perceptions as you have turned on. If you're just drugged, the film keeps on recording.

Now, the phenomena in which you're interested in auditing is very simple phenomena - thought, emotion and effort as they are recorded on facsimiles. You're interested in the fact that a facsimile can be run from the beginning of it through to the end of it, and that the preclear can go from the beginning of it through to the end of it again. And, by the way, that's phenomenal. That's strange that anybody could do that, but they can do that. And you as an auditor sort of sit there as a watchdog and give him a hand. Maybe the facsimile has gotten him bogged a little bit, but you plus the preclear make it possible for him to run the facsimile with ease.

If you were theoretically drugged and laid down without touching anything, and you weren't even touching what you were lying on, you were just drugged, you have a full recording from beginning to end of the effect of a drug on the body, which is to say, just a numb feeling. But don't think for a moment that isn't a record. It's a record.

You find that you walk twenty feet away, by the way (talking of another phenomenon) - you walk twenty feet away from the preclear and his ability to run the incident will drop. Sometimes drop enough so he can't run it. Sometimes he can keep right on running it but not quite as well.

If somebody came along halfway down the time between your going to sleep and waking up under the influence of the drug and hit you, thud! and said, "Boo!" - if an auditor were running along on this thing, he would eventually hit "thud!" and "Boo!" and you would pick this up out of the film.

Now, some auditors, by the way, who know the subject very, very well, can run these facsimiles from beginning to end themselves. But that's not the same thing as your psycho who goes around out of valence running engrams on himself. You'll find psychos who will do this.

Many people have tried to prove this. What they do is take one installed drug engram which is lying on top of eight million to the eighth-millionth power of drug engrams or engrams of unconsciousness back through your many lives, and they try to take this as the last one and then say, "Well, that's very easy, We'll pick this up and knock it out." Oh, yeah? Because your late films are really harder to destroy than the earlier ones. They have greater durability. It's harder to plow through a moment of unconsciousness that's late than one that's early. Something you should recognize. This has considerable to do, by the way, with Facsimile One because the older one gets, the harder it's keyed in, and that's probably all that age is.

You start auditing them, all of a sudden they'll pick up a circuit and they'll jump in there with that circuit, and they are always out of valence. And they swing just a little bit out of valence and start auditing themselves - only that's themselves, see! Somebody else. And they run themselves through the incidents and they experience the somatics and so on.

Mixed up with this film you have several particular facsimiles that have glue on them. Now you take all this, films thrown over there in the corner, mixed up with the cat's dish. If you could imagine throwing in an iron wedge which was thoroughly covered with glue, and kind of stirring it up amongst this other unfiled film, you'd get some idea of what Facsimile One will do to the memory bank.

What are they doing! They go into the valence of somebody trying to hurt them. This valence has the capability of hurting them, so they go right on hurting themselves, and this type of self-auditing is merely self-punishment; it's a sort of a masochistic practice. You'll find people do this. You'll find they'll do this. Doesn't do very much good.

Now fortunately nothing destroys this film. Just because it's laid in on top of Facsimile One is no great reason why it is going to be wrecked. You take Facsimile One out from underneath it again and you've got a recording. You can get the glue off, in other words. I'I1 tell you how you get the glue off, That is a process known as auditing. That's how to get the glue off.

But there's no reason why a fellow in valence can't run all the engrams he wants to on himself. They're his files. He can only fail to run them when he is convinced they don't belong to him as files. He's assigned their cause to somebody else.

Now, under no circumstances should anyone be bewildered just because there's lots of film. The film vaults of Warner Brothers are best inspected on the back of a motorcycle. They are just vaults, vaults, vaults, vaults, vaults, vaults, vaults - lots of them. The card-catalog system pertaining to those films - files, files, files, files - there's lots of them. Any Home sapiens has lots of them. Home sapiens is a breed of man who has the remaining zero-tenths of his ten-tenths visible from his film files.

All right. Those facsimiles contain fifty perceptics, and they are all perceptions of the physical universe. They contain sound, taste, smell, sight, hearing, thermal, motion - these are perceptions. There's over fifty of them. They contain the conclusion of the individual, his evaluations, his postulates - and those are important parts of them. And the whole thing sets up into a composite of thought, emotion and effort. And that's what you're running.

Now, what you're trying to get is this fellow's films back for him - as an auditor - and he should not be particularly bemused or amazed because there's so much film. We've solved that to a large degree, knowing Facsimile One, knowing its existence and being able to run it. It separates the film so that it can be refiled with great ease.

Now, you run through thought, emotion and effort - any incident which contains thought, emotion and effort - and if you run it through and through and through and through, all of a sudden its thought, emotion and effort are gone. It's a blank piece of track - it's a blank incident. Before it goes, however, you have to turn it up to its highest possible level of affinity, communication and reality. On its highest possible level, you turn up like that, and after that it blows and doesn't bother you anymore. It's quite fascinating that this happens, but that's about all the phenomena you need to know - the only way you have to run it.

And so I want to impress upon you that there isn't anything mysterious about this film - it's just film! It's theta recording fifty perceptics or fifty viewpoints of the material universe of matter, energy, space and time, starring you. That's all there is. And it's got sequences that say, "Daydreams when I was five!" and you know they're daydreams. Afters while you pretend you don't or something, but you knew they were daydreams when you were five.

It's true, for instance, that he can strike a phrase in an incident of somebody saying, "Stay down," and he'll stay down. In other words, the facsimile will give him the idea that he's still in it. But your preclear will only do this if he's pretty low on the Tone Scale. That is what is known as a holder; and there's bouncers and holders and groupers. "It all happens at once" will actually operate as a grouper occurring in a heavy incident, and seem to bring other incidents down on it as an illusion. But you don't have to know about that.

And you take this film, straighten it out and put it into the proper file vaults, and the body, then, is able to function better because you are able to make your body more functional. Because you haven't got some of these old films, say, like "The Adventures of Stick Crazy, the Great Defective." "The time when he falls off a cliff and bunged up his head," or something of this sort. This one can get scrambled up so that you don't have this particular film available in an uncleared state. Well, clearing it up, you have all of these bumps in the head and that particular hair-raiser is all available and you can put it in the proper files too.

You can audit without knowing anything about the effect of laneguage on an engram because it's much more important to get the effort out and get the emotion out and get the person's own postulates out than to get out what's said to him.

And as long as a film is lost, oddly enough there's somebody giving you hell for it, so you mustn't lose film. And that is evidently the one proviso under which you operate as the manufacturers and takers of theta pictures. Each one of you is a tremendous production company. And all I'm trying to teach you how to do is not produce film at all, I'm just trying to teach you how to file it.

In order of importance - in order of importance, the things to get out of an engram are thought, meaning the person's own thoughts, evaluations, postulates, conclusions; emotion, the person's own emotion; and the effort and counter-Effort; and the inhibitors of affinity, reality and communication; counter-thought, as the final swing. You can also take out of it counter-emotion,

[At this point there is a gap in the original recording.]

Now, that is the order of importance but it is not the order used in reducing a facsimile. The order of reducing a facsimile where you use these various items and where you address these various items of the facsimile, is a different order. What I have just given you there is the order of value, the important things in the incident. And the first of importance is thought: the own postulates and self-determinism of the individual.

All you have to know, actually, to audit is the behavior of a preclear running film. And you as an auditor become, then, to the degree, a projectionist. But you become a projectionist only to the degree that you want to unfile and file film.

[At this point there is a gap in the original recording.]

You're the kind of a projectionist who is not trying to amuse the audience, but the kind of a projectionist who is trying to help this other studio straighten out this awful mess it got into when the Chase National Bank foreclosed on it or something.

The order in which these various things come up out of a facsimile is not completely constant. In other words, I can give you the order of importance with ease, but the order that they will appear out of the facsimile while you're auditing the preclear is not a constant order. It will vary, not only from incident to incident but it will vary from preclear to preclear.

Now that's very simple. You are making the other company run off some of its more important pictures to find out what it had. That's all. And as soon as it finds out what it really has, this other company is of course able to become affluent and straightened out in its affairs and capable of supporting itself.

Now, there are preclears that when you set them up at the beginning of an incident will simply sail straight through, pick up everything in it and come out at the other end - whew! like that. You run them through it a few times and it's gone, and you have not had to ask them for a single thing.

And as a projectionist - auditor - you even sometimes suffer from the competition spirit. You realize that putting this other studio into 100 percent operation may do something to your pictures. That this new angle you've got on taking pictures by clerking in a grocery store or something - that might not be so good if grocery stores started hiring for its clerks just Clears or something. So you have a tendency - nearly everyone has a tendency, whether he admits to it or not - to experience this little feeling of competition on the line.

There are preclears that will run through it and will get everything out of it but the effort. They will get a shadow of the effort when they get the pain. They will pick up the pains out of it without picking up the efforts and counter-efforts which create the pain. Because you see, pain is not a separate perceptic. Pain is simply the impact of counter-effort and effort. And when it's too much impact, you get too much randomity, and that too much randomity is pain.

It's very interesting in the field of spiritual work to find out that somebody comes along and they say they're very humble and they're very this and they're very that, and they want you to be good and well, and help you out, and the next thing you know, you get into an awful argument about who is humblest. And they claim they're much holier than you are, so there. And they don't show any vanity and they're completely selfless, so there.

When these two things come together, the immovable body and the irresistihle force - impact - why, the result is registered as pain.

I've seen this develop into a full-fledged slugging fight over who could pray the hardest. So you have to realize that you are possibly endangering your own business to some degree by helping this other company, which is always, no matter how much a friend, in the guise of a rival company as long as it's somewhat bankrupt. And by the way, as long as this other company is desperate, you really are in danger as an individual, but this other company rich, makes you richer. That's the way it really works out.

So that they will get these high points of pain. They'll just get the pain and they'll run through and they'll consider that they've run the incident.

Yes, because there's better pictures on the market, and your pictures are better too, and maybe you don't have to worry so much about showing pictures. Maybe you can go out and make more pictures. And that would be very nice not to have to sit at a desk from nine till five every day making pictures - I mean just showing pictures. Showing off reels one to four "College education," It gets boring. Maybe you'd rather go out and make - go out on location for a change. Go down in the desert and pick wild flowers. Well that might be possible if everybody in the world didn't require such an eagle eye to keep him from getting out of line.

Actually, in addition to that pain is their effort and the countereffort, and the incident cannot be considered to be erased until the effort and counter-effort is out of it. So you want to watch that. Now the very sticky sort of a case may start running nothing but effort, and all you can get off of this case is really just some effort and some counter-effort.

Think of the amount of restraint that is put on you as an individual because there are lots of criminals around. There's plenty of restraint put on you as an individual. You may be an honest, upstanding citizen but because criminals are in the environment you have to toe the mark to certain laws. And of course as an honest, upright, understanding citizen, you are the only one who toes the mark - which is the catch - but the criminal never does, That's the Sullivan Law: it inhibits the good citizen from defending his life and makes it possible for the criminal to be the only one urho can carry firearms. It's not very sensible. But it's just as sensible as somebody wanting somebody else insane or reduced in his activities.

And you fool around with effort and counter-effort and effort and counter-effort, and all of a sudden some emotion appears out of it, and so you run the emotion. And after you've run the emotion for a while and run the emotional curves particularly, all of a sudden here come the postulates. Because what the preclear thought himself is important, far more important than what was said to him or what someone else thought about it.

Now, in projecting this film you only want to project as much film as is necessary to process that film. Let's say this other company made some bad pictures - really bad pictures. You know, Monograml-type pictures. Or something by Rank. Rankl over from England. And they made these horrible pictures. They've never been able to recover since. And if they could just sort of get some more film to make some more pictures on, they might be able to cover.

Now therefore, the usual order of affairs of running preclears is you're liable to get some pain and some effort and some counter-effort, and then you're liable to get some emotion and then you'll get some postulates and conclusions.

Now, what you do is permit this other company to scrape off some of its recordings, and therefore be able to say honestly and forthrightly, "I don't have those recordings anymore." Of course, the public around this person will keep saying, "But you made these pictures - we know. We know you made these pictures." This fellow can say with honesty now, "No, I have no such picture in the files," and he can recover therefore.

That is, maybe the first run through - maybe you'll get nothing but a little effort; and maybe the next run through, why, you'll get some effort and counter-effort; and the next run through you'll get a little bit of emotion; and the next run through, you - why, he gets some more emotion. And then the emotion becomes very plain and then all of a sudden postulates start to fly out of this. And about the fifth run through, you start to get the postulates out of it. That's quite ordinary as an order.

You, by the way, you were to take a criminal and clear him and make him the most honest fellow in the town, the public would still insist that the police chief was more honest than he. The public would still insist, then, that this crooked police chief - I mean this average police chief - was far more honest than this cleared criminal. That, of course, would be contested violently by police chiefs if they knew I had said such a thing. By the way, I have nothing against police chiefs. I love cops. Lawyers, that's something else. Anyway... (laughter) When you process this film you're sort of getting - we're letting the fellow get his records straight.

But in many cases all you'll find there, when you run it through the first time, is emotion - no postulates, no intentions, nothing - just nothing but emotions. And you run them through from beginning to end, and you'll find they're running nothing but emotion. And out of this emotion may fly postulates, or out of this emotion may fly effort. It may go either way, because on either side of emotion - above emotion you have thought and below emotion you have effort. So you just have to reduce this as it comes up.

Let's say the whole studio, all this time, was doing nothing but sit around and worry about that picture he made about "Forth from Firth of Forth" or something which laid enough eggs to keep the area supplied in poultry products for a long while. And they keep worrying about this. And they say, "Gee, we made this picture 'Forth from Firth of Forth,' Gee! We made this picture and there it is" and so on, and they get to the point where they think that's the only picture they've got. That's how irrational they get. And they say, "This is all the picture we've got." So they keep running out and insisting on showing everybody "Forth from Firth of Forth." They will keep on not making money. They'll keep dramatizing this engram called "Forth from Firth of Forth," What you want to do is show them that "Forth of Firth of Forth" is not a permanent production. It is, after all, just another picture, and that they probably have hundreds of thousands or even millions of better pictures around, and they should show those.

Then you will find that your preclear doesn't have a very good evaluation of what he's doing. He has a very poor evaluation of what he's trying to do. And he'll start floundering through and Lord knows what he isn't running.

Well, unfortunately they will give you an argument quite often and say, "Well, we've got to go on showing this picture." And you say, "Well, no, you haven't." And they say, "Well, we have to."

You take somebody that's been through seven, eight, ten years of psychoanalysis - been psychoanalyzed four times a week for ten years - Who has - he's probably a pretty sick boy He has nearly every incident in the bank stirred up. In other words, this fellow's all piled up with facsimiles and he hasn't - isn't able to make anything out of them. And he tries to run one incident and he's into another incident. And all this time you may think he's running a facsimile, but actually all he's doing is running some kind of a concept of what his facsimile was evaluated to be by somebody else. He's not running effort, he's not running thought, he's not running emotion. He's sitting way up in present time or back on the track someplace taking a long telescopic view of something.

And so you pull an awful stunt on them, you say, "Well, show it to me. Run it off for me."

The auditor who does not know what his preclear is running is in a very bad condition because preclears can run the whole thing out of a vague memory of what somebody told them, and the auditor may think that he's running the incident. You get the idea! But if you just ask the preclear, "Now, how are you getting this!" And the preclear describes, "Well, uhm, I'm - I'm getting it all right." "Well, what are you getting!" "Well, it's just like my mother said." "Well, all right. What did your mother say!" "Well, I remember now that she said so-and-so~" "What are you running in the incident!" "Well, it's what she said, of course! What else could I be running!" You're dealing with somebody who can only do what somebody else told them they could do, you see! You're running somebody with Facsimile One in full bloom, by the way.

Well, when you run it off with auditing, you start him in at the moment he made it. He thinks he's just projecting it, perhaps, but you start him in into the first moment of production on it and you run through the actual production of this picture - the intention of the company with regard to this prodyction and everything that was produced - and you run it through clear to the end. And then you tell him, "Well, I didn't quite understand this picture. Let's get that production sequence over again."

Well, that's a very interesting case! And you've got to do some light Lock Scanning and a few other things. You've got to do some indoctrination on this person. And by the way, if you do meet somebody who has been psychoanalyzed, take some Lock Scanning and wipe out the psychoanalysis. It only takes a few hours at the outside. Sometimes you can do it in ten or fifteen minutes I pride myself in being able to knock out five years of psychoanalysis in five minutes, and I ...

By the time you've done this two or three times, the emulsion is getting kind of - well, the picture is getting kind of thin. Its density isn't so good and it's getting spots on it that look like halation spots - bad recording is going on there - and all of a sudden they got a blank piece of film in their hands. What you've done is play back this film and rub it out against the material universe, You've rubbed it out again.

Oh, it's wonderful. I had one fellow one time that had been treated by psychoanalysis for ulcers for a long time. And he'd finally learned to live with them, and if he was very careful and he didn't get off base in any way, why, he just felt fine. And he sort of talked this way, as though he were just on the verge of falling off a cliff or as though he were walking a girder a hundred feet in the air or something. And so I said, "Well, when did your analyst first tell you you were cured!" "Ohhh," he said, "I don't recall if he - yeah, he did tell me I was cured. Let me see..." "Where was he sitting?"

It might have had an awful influence upon the company at the time it was made, and have had ever since a bad influence upon this company, but after you have knocked out this piece of celluloid it isn't going to trouble anybody anymore.

"Well, he was sitting at his desk - no he wasn't! He was standing out in the hall when he told me that. And I was standing there, and he says, 'Now,' he said, 'you'll just have to learn to live with it.' That's right. That's what he said. 'Just have to learn to live with it.' And 'Handle yourself carefully and be careful of what you eat, and remember to live for the moment, don't try to plan into the future.' " And urp! - his ulcers were right back.

Then you sort of have to coax the person along - "Well, let's look in the files and see what else you've got." And he finds out all of a sudden that he doesn't have anything else in the files to worry about; that most of them were good pictures. So they go out and exhibit some pictures that are good pictures or they go out on a location and take some new pictures, and you don't have to worry about them anymore. And that's approximately what you're doing.

What it was, was a hypnotic cut-off, really. He had gone into rapport with the analyst and the analyst had shut off the ulcers with a command. And all I had to do was get him to recall the moment it was shut off with a command, and of course, the ulcers came back on instantly.

I put it in these terms and it's more comprehensible, but you possibly think I am oversimplifying it. No. The manufacture of motion pictures is actually more complicated than the manufacture of theta recordings which - known to us as facsimiles. More complicated.

So he sat there and was very sick and he writhed and so forth. And I says, "Well, what happened to the psychoanalysis! It only cost you fifteen thousand dollars."

In the first place, you had these processes natively, and they had to develop films. Films have weight and mass and they're hard to store and they put cricks in your back carrying them around, Well, running off a film, a projectionist in running off a film, is not likely to get any cricks in his back particularly.

I lock-scanned him over all the times he had thought to himself that he was going to be sick. And we lock-scanned all of this, and he came out of it, and his ulcers didn't bother him. And it took an hour or something like that. Do you get the idea of the impact and power of your techniques?

But if you were to make him go out on production and pack around all of the props that he had packed around once before, he'd get a crick in his back. You get the idea. By running the production of the film again, why, you will get all the pains and agonies of the film. The unfortunate part of it is that you're running just film. You're not running physical universe energy or effort really You're just running pictures of it and so the whole thing reduces or erases and goes. Doesn't trouble anybody anymore.

By the way, I'm not laughing at the psychoanalysts. I sympathize with the boys. The moment they departed completely from Freud and said that Freud was no good, they ceased to do very much.

The entire difficulty with the human mind is that it is in an unfiled state. Hardly anybody can get to any of his pictures. Hardly anybody can get to them. And there are various processes in this science by which an individual can get to these pictures.

And Freud and Breuer, by the way, with their catharsis treatment were not doing what modern psychoanalysis is doing. Freud and Breuer were doing quite something else. All right. They spent a lot of time, by the way, and Freud spent a lot of time, trying to explain how he was doing it - he never succeeded. Which makes people suspicious of one-man therapies. They think they fall under terms of faith healing.

Now what happens, really, is that the top pictures get too heavy by being old hat, by being something that has been done a lot of times. And they get boring; they're not very interesting. They get all sorts of things wrong with them because of the precedent of prcxluction. One of the production managers or one of the directors or something of the stat might be said to have had a fixation on the time he made this picture when he was very young and the picture was a terrible failure, so he's been trying to justify this failure ever since by making pictures just like it. He's been trying to get people to accept this film that he made when he was young because this says that he was right then and that's actually what the mind is trying to do.

All right. So apprise yourself of this preclear film-storage bank. Find out who else has been handling it and find out how he customarily handles it. And for heaven's sakes find out how he's handling it when he's on the couch, because you may ask him, "Now, let's run some postulates out of this," and you think he knows what postulates are, but your code system has broken down. You haven't explained to him what you mean by postulates, and so you will fail in trying to run postulates. Instead of this, he's running back the time he took geometry or something. He thinks that's what you mean.

It makes a very bad picture and then it keeps on insisting that it was a good picture. And it keeps on apologizing and demonstrating it to the body. It keeps on to the world at large saying, "This is a good picture, this is a good picture - there's nothing wrong with this. Now you've got to take a look at this! Nothing wrong with me, wrong with me, wrong with me, wrong with me. I'm not crazy, crazy, crazy. Look, perfectly logical and normal. And the reason why I keep running down the street on one foot and jumping into the curb on one foot and saying,'Squeeze me' is just - is just because - is just because - well, I had - I had - I read a hook once and it said that was the way to get rid of the pip," and you get some remarkable explanations.

And when you say, "Run effort," why, he knows what you mean by effort - that's emotion. And when you say, "Now, run the emotion off of this," he says, "There's no emotion on it and there's just apathy," And of course apathy is emotion. So is determinism, by the way; these are emotions.

That's exaggerated, but not very much. You have somebody saying, "Well, the reason you have to punish these little kids is because you have to make them good." Whereas obviously if you keep on punishing children you're going to make them bad.

Tell him to run the emotion off of this and he says, "There is no emotion here."

Now people have been observing the fact that the more they punish children, the meaner they were to children, the worse the children got. They've been observing this now for a number of millennia - and they continue to punish children.

"Well, can you get the feeling of having to endure!" (If he's very low toned.) And "Sure, I can get the feeling of having to endure." Well, run the feeling of enduring off of the incident and you've got the first emotion. You get the idea!

Then they go over, once in a while, completely the opposite polarity and they say, "Well, there isn't any reason whatsoever to punish children. We're going to let the child express itself." So they don't train the kid at all. They don't ever show the kid what's in this material universe around him, they just let the kid sort of run off automatic. And the kid runs off on it, harassed here and there, and this and that, and rattles around and gets in trouble and falls down and isn't trained to do anything, and gets an exaggerated idea of the world around him and his role in this particular life, and has an awful time. That's the tendency of modern child psychology.

If he'll run through a feeling on the incident and you ask him for a feeling or how he feels about it, you will very often get something that he doesn't bother to articulate, but you'll be getting the thing that's supposed to come off the facsimile. Get the idea!

Actually there's only a couple of things you have to do to a kid to bring him up along the line. Just when you give him something - make sure you gave it to them and that they own it afterwards. Don't keep on controlling it. And don't contradict a child and keep changing his mind when there's no need for it. Try to examine his demands as real or unreal and act accordingly. Because if you keep validating his unreal demands by punishing them or doing something else about it you're going to ruin his reality. You can see how that is.

You don't have to get too technical with him, but a good way to indoctrinate him is to hand him a chair and say, "Pick that up with your right hand," and he does. Then you take the chair and you say, "All right." Take it away from him and you say, "All right. Run through that." And he says, "What do you mean, run through that!" "Well, go back to the moment you picked up the chair and heft it again. No, no, don't reach for the chair. Just heft it again as though you were imagining it was happening," or something, you know.

So here you have irrational practices going along madly. Well, when did this irrational practice of punishing children first come along? Well, the fellow made a production of being punished way back sometime or other, and he determined that he was going to get even with people for having punished him, so he started punishing people to demonstrate to them why you shouldn't punish people. And then the next thing you know, he was saying, "Well, you have to punish people" - because he's already punished somebody, he has to justify his action. This is the way it works.

So he does, and "Do that now until you get the weight of the chair in your hand." "Well, yeah! Yeah, I can do that." "All right. That's effort Now run it through three or four times." He does. And "You see, the effort is going out of the incident. That's right, that's right. Well, that's reducing effort." "Oh! Is that what you're talking about! Well, that's fine." Then if you hit him on the shoulder, slap him on the shoulder or something like that and say, "Now, that's a counter effort. Now lets go back through it again and run out that effort of the impact against the shoulder."

Now these films have the strange characteristic of puppetizing the human body. As long as an individual has his file in a bad condition, those files can react and act upon the human body, changing its form and structure.

Mmm. He maybe runs his own effort to resist the impact. You can tell if he's doing this. And you say, "Now, get just the force hitting your shoulder, not your shoulder's force hitting back at the hand." And he works at this and works at this and you say, "You know, it's the effort of the atmosphere or the environment. It's the atmosphere or environment's push against you, that's what we're looking for," "Oh, is that what it is! Yeah, I can get that."

There's a great deal of argument, perhaps, in the world concerning whether or not structure monitors function or function monitors struclure. This is a large bone of contention.

Now, you've got his effort and you've got counter-effort differentiated for him. Now you say, "All right now, let's run an emotional curve."

Any time you start to advance to an individual who is trained and believes the idea that structure changes the mind and that the mind does not change structure, you're going to have an argument on your hands because he's going to stick to his guns very solidly.

"Well, how do you run an emotional curve!"

You don't have to work very hard to prove this to him. I worked in the field of endocrinology until I was satisfied that function handles structure. Because you could shoot a person with hormones all over the place and get no results, but you could pick up a couple of aberrations and then shoot him with honrwnes, and the hormones now would take effect. Other words, the brain was inhibiting the absorption of hormones into the system.

"Well, can you pick up a time when you felt happy and somebody said something to you and you felt sad! Can you pick up that!"

This was proof enough for me, but if you want a better proof, it lasts in this: Well, most of these new drugs just work because people think they work. And although nearly everyone considers this bad, it is a direct proof that function handles structure. And if you want to hoist the engineer with his own petard as it says in Shakespeare, just quote the opinion of people who believe that structure monitors function. They have been saying all the time the only reason this has any effect on people is because they just think it has. If a person can just think that it has an effect, and it has an effect, he's certainly using function to modify structure, and it is proven in that breath.

"Uh-uh. "

A doctor actually can issue flour and water pills - lots of flour and water pills. And when he's issued the flour and water pills and has told the patient that these are the newest remedy and they've just come out of Blitz and Blatz Laboratories; and that they are okayed and thoroughly tested by the American Medical Association, Good Housekeeping magazine and other organizations; the patient goes home, takes them and gets well. That is a direct proof, as direct as you want, that function monitors structure.

"Well, can you pick up the Last time you felt good and somebody told you you shouldn't!" "Oh, yeah, yeah, my wife." "Oh, all right. All right. Pick up the last time this happened." "Well, I can't remember it."

If you were to take a new drug and shoot eighty people without telling them it would do anything for them, your results, let us say, would be 10 percent effectiveness. Let's just say that's 10 percent effectiveness. But if ytw were to take eighty people and give them a tremendous sales talk on this wonderful new concoction and then shoot them with distilled water, forty of them would get well.

"Well, feel as you would feel just before she said something and then feel how you would feel after she said something."

This is a test, by the way, that was used to determine some cause for ulcers. And they decided that ulcers were therefore just attributable to the imagination, and therefore shouldn't be treated. What you should then use on them was surgery. I didn't follow this "logic" but it was the logic in the article which I read on the subject Because they shot a long series of patients with distilled water - telling them that it was a new drug that would cure ulcers - and 50 percent recovered from their ulcers.

"Okay. "

In other words you get very positive results handling this from the viewpoint function handles structure. And you get rather poor results trying to make structure handle function.

"Now, feel just before. You got that feeling!"

Now, these films can definitely alter the studio. They definitely do. If a fellow gets enough bumps on the head and starts wearing these films, his forehead shape will modify. The best proof of this is to take some of the films and reduce or erase them and throw them away or put them back in their proper files or do something like that to them, and see that the shape of the forehead will alter.

"Yeah," he says. "Yeah, I got that."

As a good auditor you should be able to see a change in the preclear's facial structure after every session. It should be that marked. It should be marked enough so that you can detect it.

"All right. Now get the feeling just after." And he sort of slumps.

Now, I hope you have a little bit better understanding of what yoll're doing. As soon as you introduce the factor that you are handling a lot of unknowns - a lot of x's, a lot of Q factors - that you don't know about and you wish you did, but they aren't something or other, and "they might if," and all of that sort of thing, you're not going to do a good job. Because, you see, you're introducing factors into the machine that aren't there.

He says, "All right, I got that feeling."

You're trying to handle film by assuming that all film, let us say, is made on lead plates, and it's not. But if you keep on insisting that - the film is made on lead plates, you're going to try to handle lead plates and you won't be filing film. You'll be filing lead plates that aren't there. And this is difficult to do.

"Now get those two feelings, one after the other, one after the other: the fairly cheerful one and then the sad one."

So what you want to do is establish it very clearly in your mind - forcefully if necessary to yourself - this is film on which is recorded by fifty or more perceptic channels, images of the physical universe. And I'm handling images of the physical universe and the intention of the person about these images, and that's all you're processing.

"Now, see if you can get the feeling of dropping down through several emotions to get to the sad one. " "Yarms-yep-yea-yea-yep. Oh, yeah! I got that. Yeah! I got that. Yeah." All right. He's run an emotional curve. And by the way, if you make him run this several times, he's going to wind up at the beginning of a service facsimile lock. He'll wind up in a heavy incident if you don't watch it, because this emotional curve precedes all heavy incidents. Now, that's an emotional curve.

There's no other bugbears, You're not suddenly going to have a preclear divide in half or develop wings and fly away or something Like that. You're not going to learn later in this course that all of this, really, was very interesting, but what you should do to heal the mind is hit the preclear over che head with a rubber balloon.

You say, "Now we're going to let you ..." - if he's having awful time feeling emotion, as many people do have - you say, "Now, we're going to feel one emotion. Have you ever felt afraid? Do you remember a time when you felt afraid? Can you remember a time when you felt grief?" You can exercise him on these that are the tough ones first. He can't feel these. All right. Maybe he can - that's fine, but let's say he can't.

And this is not going to change. This has been standard for a long time now. Actually, this concept of film and its erasure and so forth in its basic understanding has been in existence now for over fourteen years and there are an awful lot of people well through this standpoint and viewpoint. You're not handling a lot of extras, you're not handling a lot of Q factors, you're not handling a lot of bric-a-brac.

"Now, can you remember a time when you felt determined about something?" "Mm-hm. Yeah, yeah. I feel like that all the time."

Take for instance language. Language is very interesting, but it's certainly not very important. Language is a code system. You, as a ship, are capable of hanging up certain flags which another person, as a ship, could then read and be informed about. Those flags are words. Your thought preceded the flags and his thought succeeds the reading of your flags,

"Well, experience that."

Now these thoughts, by the way, have long since come to a definite and positive agreement about what these flags mean. You're both operating out of the same signal book. He isn't operating out of MERSIGS while you're operating out of the US Code of the Weather Bureau. You're both speaking English. You both know what it means. Or you're both speaking Japanese or something of the sort. And if words are come into dispute, you have words by which you can define words to each other. "This is what I mean by ..."

"Okay" he says, "I'm experiencing it right now"

Language has been overstressed in its importance because it's something like - arguing about language would be something like two naval officers engaging in a terrific dispute about the plan of attack of the last battle they were in, solely and only by discussing the original and basic meanings of Able, Boy, Cast, Dog, Easy, FoX, as flags. In other words, they would never get down to talking about the battle at all, they would be talking about the signal flags.

"Okay. That's an emotion."

Of course, this is a great academic, scholastic mechanism to keep from talking about anything important. If you talk about the signal flags and only about the signal flags long enough, why, you can completely obviate, obfuscate and ruin anybody who is trying to talk sense.

"Oh!" he says, "Is that an emotion! Well, all right, I feel that. I feel that all the time."

Did you ever, by the way, talk to anybody who would break down your conversation in the middle and define a word for you? You're going along very happily and you said, "yakety-yakety-yakety-yak" and you were telling them something or other. And yc,u're trying to tell them about this concept that you have concerning the driving of a car. You've just learned the idea that cars have to be sped up to go round a corner and you say, "So you accelerate..." And he says, "Now wait - wait - what - what did you say?" You say, "You accelerate."

"Well, let's feel that up and down the track a few times. I mean, let's feel it in various situations. Let's reexperience this."

Now, you have a picture of accelerating. He could have a picture of it too if he were not down at 0.6 or below on the Tone Scale, because that's where he is. And he says, "Accelerate. Now, what do you mean by accelerate?" And you say, "Well, go faster."

And all of a sudden, we're right on the chain - central aberrative chain: his feeling of determination which is continually blunted. And he'll suddenly start hitting not just the determination, but he'll hit the blunting and his drop in tone. You get him to run this as an emotional curve.

And he says, "Well, accelerate, you're talking about going round a curve. Accelerate, accelerate. Now, could you mean the - uh - um-uh - vernacular acceleration or something like that?"

Or maybe the preclear is a bit in apathy and you say, "Run an emotion." And he says, "I can't run an emotion,"

And you say, "No, no, just acceleration. You know, go faster." You're trying to give him another code signal. He doesn't want that code signal. He's all hung up on the fact that you flew the wrong flag for him, and that's all he can think of.

"Well, run the feeling of apathy."

It's like two ships going along. One ship says to the other one "William aueen George." In other words, "You're going aground," And the other ship conies back and says "'George' is a signal which is only used when you have a rear admiral or superior rank aboard. Now why have you used the signal 'George'?" And of course, he goes aground and actually so does any individual who would play this trick on you. He'll eventually go aground, very grandly aground. Not on your shoals, but he'll make himself so highly antipathetic to everybody around him that he'll eventually go out of contact and out of sustenance. His body's in bad shape anyway. He's pretty low Tone Scale when he does this.

"I can't run the feeling of apathy." (By the way, that's all he feels all the time.)

In other words, you'll find lots of people who will stand around and talk about signals to you. And you can sit down with those people and you can clarify the whole code of signals. You can say, "Now look, we're operating out of this. Basic English if you please. And you use that dictionary and I'll use the same dictionary and I'll look up the words before I use them. And you look up the words after I've used them and therefore we'll know exactly what we're talking about." And the fellow will say, "Well now, how do you mean 'accelerate'?" You say, "It means 'go faster.'"

You say, "Run the feeling of enduring. Feel how you feel when you have to endure something."

He says, "Well now, accelerate is ..." That is broken communication, and very, very low on the Tone Scale an individual will break communications. He will find an excuse not to read your flags.

"(sigh) Okay."

All right. Language: a word is no more and no less than a symbolic sound code of the physical universe in action or in static, and refers to nothing more than a condition or lack of condition of beingness for the physical universe.

"All right. That's an emotion,"

Words are all physical universe because they are designed to go on a physical universe system - sound system or eye system. Visual-sonic signaling should be the classification for language, because it's all it is.

"Oh, is that an emotion! Oh, I feel like that all the time."

There are meanings and thoughts behind these and believe me, we have all lived in the physical universe and we all know, actually, what this physical universe is composed of. And so therefore there's no faintest chance of us describing the wrong universe when we're using the language, In other words, you'll find language as a barrier sometimes.

"Well, let's just run it for a while," and sure enough, you're right into the central computation on the case.

For instance, the only reason why this science is not easily taught to old psychotherapists is because they have gotten up a code book which is a useless code book, and I say that quite bluntly without any intention of insult. By the way, I quote them about the uselessness of their code book. The professor of psychology at the University of Illinois wrote the most damning article on the subject of psychiatric and psychological classification I've ever read damning anything. Why, it was gorgeous.

Now, you can make them feel shame. Not shame for themselves, but if you pointed out "Have you ever been with somebody else and you felt shame for them when they didn't feel it?"

He said: "All we've done is label, label, label, label and we have not found out the meaning of anything!" So you come along with the meaning of something and you run into a barrage of labels. You say, "This preclear." And they say, "What do you mean 'preclear'?" And you say, "Well this - this person I'm trying to clear," "Uh, what do you mean 'clear'?"

And they'll say, "Oh yes. That's my Aunt Tibia," or something. "Yeah, I can remember a lot of those." And they kind of color and blush and squirm a little bit. "Yeah, that's when she bawls out waitresses. Heh,"

"Well, it's a state whereby a person's film is all filed in the right thing. He's got his marbles on the right rack."

And you say, "All right. Now, let's feel this up and down the bank several times," and sure enough, you pick a lot of emotion off the case. And that's emotion, and that's very valid stuff to get off of a case.

And he said, "Marbles, marbles. I used to play marbles when I was - what were you talking about?"

All right. This indoctrination should include what you mean by a facsimile. And you can say a facsimile is just a - the picture you took of what was happening. And the guy says, "Well, I never thought of it that way before." "Well, try and get the picture of you sitting at the breakfast table or sitting here or there doing something." "Well, I don't know. Well, I got a picture I see all the time," he says. "Was that the only picture you got?"

And you say, "Well, now the best thing that I can do" you'd say, "in order to teach you to use this material is to show you that there's such a thing as a postulate or a lock. Now a postulate or a lock is a thought and so forth."

"Yeah. Yeah, that's the only picture I got. I - that's - that's it. Yeah. I never thought about it before, but you know, I - I - I got this picture all the time. I - I see it all the time. It's a - it's a picture of my dog."

"Oh," he says, "you're talking about the libido theory. The libido super-complex unrelated theory. Oh yes, Freud thought that up. Yes, we know all about this. Now, as we were saying, the only thing good for this patient is electric shock."

"Oh", you say "When did the dog die?"

And you say, "Just a minute, we're talking about a lock. A lock. The way you run a lock. An individual is home, he gets - has an unhappy experience; that is to say, he records something unhappy. He comes back to see you again and you're unable to work with him because he's thinking about this unhappy thing all the time. Now, what you do is send him back to the beginning of this thing and tell him to reexperience all the way through."

And the fellow says, "Why ... That's right, the dog did die."

"Oh," he says, "psychodrama. Yes, well we know all about psychedrama. We've done that for a long time, but the trouble is when they ask their mother to represent the devil or their father to represent the devil, they seldom cooperate so it doesn't work."

You say, "Well, just - let's run the feeling of regret over it."

You say, "No." Yes, I know I'm probably being very insulting, but I'm only talking out of slight exasperation. I feel like a fellow who is standing out there in a scout vessel and I've just said, "I have sighted the enemy. They are traveling at thirty-three knots north northwest and they are proceeding in a wing formation. Where are your bombers? Where are your bombers?"

"Do what?"

And they keep sending back and they say, "Where is your requisition for the twelve pairs of dungarees which you ordered?"

And you say, "Well, just look at the picture and feel regret. And feel regret over it a couple of times."

It's an exasperating position to be in. Because actually it would take practically no time at all to retrain every psychotherapist in the business so that he could go into his office in the morning, sit down to his chair, patients come in - swamp, swamp, swack, swack, bang, bang - guys walk out the door, good shape, everything's fine. Instead of that he goes into his office in the morning and says, "I know what I know doesn't work. These people come in here - they're crazy, and they leave crazy. And after I work them for two, three, seven years, they're still crazy. I know I'm failing." They know this, and as human beings down deep they suffer from it. You can't keep failing like this without really suffering. And here we are, all we're saying is, "Hey look, you don't have to keep on flubbing the dUb." And they say, "Flubbing the dub. Yes, I know that word! You mean we're flubbing the dub?" In other words, I get to a point where I'm willing to use any code system.

And the fellow says, "Yeah, I did and it went away."

& There's actually thousands of people ...

"Well, feel regret across it a couple of more times."

"Yipe!"

There's the dog busy dying. He'll probably blow a grief charge, something of this sort. Because people retain pictures which are sad pictures which they regret because they're trying to work the incident over again, you see? And so, you have opened a case which is practically unopenable.

And then there's the case to end all cases - and now we're getting into tougher and tougher cases that I've been talking about this stuff - the case which is completely blank from one end of the track to the other, and it's all black and there are no pictures of any kind. And they can't feel an effort and they can't feel a counter-effort and they can't feel an emotion, but they can tell you about the time the Empire State fell on them because they know the Empire State did fall on them, or something like this.

Whee! You can work as an auditor and sweat and slave and squirm and try to do something about this case, because this case is - maybe you can't get them to run anything.

Yes, you can. Yes, you can. There's something that case can run. This comes under the heading of cause and effect, regret and blame. The action of regretting something is the action of trying to get it undone. Regretting means "I wish I could do it all over again. I wish it had not happened. Meaning, the best way to dispose of this incident is to get ahead of it, and go before it so that it didn't happen. And if you simply run the incident backwards, from the end to the beginning - running all actions backwards - you take the regret off of it. You run the incident backwards.

These are just strips of film, by the way. They go backwards or forwards; you can run them either way. People are accustomed to living life by running the film forwards. The film runs forward through life all the time, so they think their film can only run forward. This isn't true. It's just film. They can turn around and run it backwards, too.

And when they run it backwards, the regret and the feeling of regret will come off of it. This is a quite handy thing to know, because most of your preclears are stuck just before some incident which they are deeply regretting. And if they have a picture of the incident, they're blaming themselves for it. They say, "I am the cause of this. I regret it, therefore I don't dare act about anything, and I'd better stay right here, just ahead of this incident."

So there's that incident in restimulation. You say, "Run it backwards a few times." The picture goes. The incident will blow and you can get rid of it and get on to something else.

Now, when the person has no picture of any kind whatsoever, it means that they are assigning cause to everything and everybody else in the universe but themselves. You see, a fellow shouldn't either blame himself or blame others. Blaming is just assigning cause. So he blames the whole universe around him but never anything else. He shouldn't be blaming himself as an alternative to this, by the way. He just should be able to accept the fact that he can cause things. He isn't doing this.

All right. His track will be blank. Why! Because, simply, he has disowned the physical universe. He say, "I didn't cause it and it isn't my fault, and it was other people's fault, and I am no cause, and I had no part of it. I am guiltless; I'm not to blame." So he says, "I can't handle my own facsimiles," in the same breath.

It's other people's causes. Other people cause - so other people cause my facsimiles, too. You get how that would be?

The facsimiles are of the physical universe which he has disowned, so he's also disowned the facsimiles as well as the physical universe. He disowns the picture with the actuality, and therefore you ask him to run something and of course he can't because it doesn't belong to him. He can't handle it. It's not his fault. And you get somebody with a completely black track with absolutely nothing on it at all.

You can get things onto that track and get incidents on it by running "blaming others." Just have him scan "blaming others" through incident after incident and the first thing you know, he'll start to get some concept of pictures and reality on it.

Of course the reason why the individual is completely occluded is because he's stuck in the middle of a black incident. And visio on Facsimile One is black. Blackness. And visio in those things we used to run and don't any more - prenatals - is all black. And, as a consequence, the individual is stuck or held in an incident.

But let's reverse it around. He is, after all, self-determined, so to some degree he is holding a facsimile in front of him which has a black visio. And instead of looking at other facsimiles, he's trying to look through this facsimile at other facsimiles. And of course he can't see them. He's doing all of his thinking beyond this facsimile which he's trying to think in and act in and be in all the time. So he's being and acting and working in this one facsimile while these other facsimiles parade on by.

This doesn't mean that all of his facsimiles are black now. It means that when you get rid of this black visio facsimile, and when you knock that out, he is no longer having to regard life through that exclusively, so he sees, feels and hears his regular facsimiles. In other words, the "I," the individual himself, has recorded these facsimiles. These facsimiles are in existence. It is just whether or not he chooses to try to get to the other facsimiles he has through a facsimile he can't see through or hear through.

In other words, he has a facsimile blocking off his facsimiles. He's holding on to one through regret, blame or pain, or something of the sort, so solidly that he can't see, feel or hear any of the other facsimiles. And this, also, is emotion.

A case is determined in its position on a Tone Scale by the tone of the moment in the facsimile which the case is holding all the time.

Now, let's take a - just take a facsimile which the patient has - the preclear has continually. He holds this facsimile before him all the time. Where is he located in the facsimile! Well, this should be of great interest to you. You think of cases normally as having all their facsimiles in apathy if they're in apathy. No. There's an apathy underlying all the facsimiles taken since he came into apathy. But if you knock out that basic facsimile, the others turn up with a different tone value. You understand how that is?

So here is an individual going along consciously [marking on blackboard] and all of a sudden goes unconscious. At the deepest point of the unconsciousness - in the center of it, the deepest part of the swing - the person is in apathy. He's almost dead. On the Tone Scale he's dropped down to 0.1. He's unconscious; he's almost dead. But there's still 0.1 between him and death, by the way, so he's not completely gone. Up here, [marking on blackboard] up here he was angry when he went into this incident. He was trying to hold on, he was trying to make them stop. So his tone, the tone of this point, is anger.

Over here, let us say, [marking on blackboard] as well as here, here and here on the incident, are points of fear. He's become very afraid all of a sudden.

He was angry. Now, he's found out his anger didn't work, so he drops down Tone Scale - although he's going unconscious all this time - he becomes afraid, and his fear brings him down to this point.

Now, a little bit lower than this in it, he's actually in grief there. And he's in grief there as he comes up out of it again.

Now, there's effort and counter-effort at each one of these points, and there's also postulates at each one of these points. And his life has summed up in such a way that he's holding on to this unconsciousness facsimile at one of these points on the dip: he's either holding on to it at anger, he's holding on to it at fear, at grief, at apathy. One of these points he's holding on to it, and that determines his chronic tone. See how this would be? Now, he can vary a little bit from that chronic tone, but not much if the facsimile is really strong.

Facsimile One has an enormous variability of emotion throughout the thing, and it all depends on where the individual was chronically hung up in it, what his tone was.

If you can get him jarred loose from that point to a higher point, he will run as an entirely different case. You follow this? Because it's quite important for you to realize that it isn't something physiological or it isn't something wrong with the guy's theta that puts him into a low tone - nor it isn't a quantity proposition. It isn't - doesn't mean he is in a low tone because all the incidents of his existence are lowtoned incidents.

No. There's one that is - one point. The first point on the track - that is, the first point where this individual is holding on to a low-toned facsimile - is the first thing that determines this low tone. And as that thing is restimulated, that is, as he uses it more and more and more and more and more, he more and more chronically becomes this tone until you, as an auditor, comes along - come along and knock him out of it.

You knock him out of it, you'll change his tone. And you can change his tone lower or higher at will, particularly when you're addressing Facsimile One. You can move him all over the Tone Scale in Facsimile One, just by moving him at different points of the incident, different levels of unconsciousness, which are different points of emotion through different postulates in it. He looks like a roily coaster if you graphed him on a Tone Scale - up, down, all over. There's high manics. There's hate, there's fear, there's terror, there's confusion, there's apathy, there's cowardice, there's braveness - there's everything on that thing.

Because the people they were doing it to, namely you, were very volatile, volatile in their emotions, and so they really responded on this one.

All right. This then gives you some idea of what you're trying to take out of an incident. If you have a preclear that's very, very low on the Tone Scale, it may be possible just for you by shifting him a little bit in Facsimile One, to find yourself operating a fairly high-toned preclear - just as easy as that.

If he's in apathy and you want to bring him up the Tone Scale a bit, just lighten up the point he's sitting on. It's an apathy point. Make him scan times he felt apathetic and you'll get all the locks off and all of a sudden the basic apathy incident will show up. Run him through the basic apathy incident, make him experience the feeling of apathy, and he'll start coming up the Tone Scale. That's how you resolve it.

Very often you will find a case is too spooky, too low on the Tone Scale to work with heavy auditing - that is, work heavily through heavy incidents. In that case, you work them with the handbook, you escort them very carefully, you work with them.

If they're psychotic, you use the ten basic steps which appear in the handbook and tell you how to audit psychotics. But we're assuming the bulk of your people will not be that low on the Tone Scale. You have no business fooling with psychotics. Not that you can't handle them, but somebody had better take that up whose work will lie definitely in that field. And there's nothing wrong with it, you can handle psychotics, but it's a rather thankless task for a little while. And what I'm trying to encourage you to do is get out there and improve the able up to such a point the whole tone of society will kick up the line, and they'll take care of their psychotics. Working on psychotics is not a good road for you to take at the moment.

Therefore, you take low-toned preclears, put them on a handbook and let them work on the handbook. Even have somebody else read the handbook to them, do various things in order to bring them up the Tone Scale. And you'll get them up the Tone Scale a ways and then, wham! - you should be able to carry them on through the remaining heavy incident which you have to audit in order to clear the case.