Okay. Second section of the November 17th morning lecture to the Second Unit.

And this is November the 17th, first morning lecture, Second Unit.

We have this drill. All right, now I've given you the basic basics on this drill. I want to give you a little more and I want to give you why we're doing this.

We have this morning several things to do. One of them is to divide the black sheep from the white sheep. And another one is to get some sort of an idea on how we start co-auditing and so on; but, if anything, more important than this: what we are going to use for a technique. That has some bearing on the situation. So I want to see this Second Unit get into good shape in a hurry and dispense with the testing.

You could take a preclear, by the way, and simply have him double-terminal blackness, each time "What is the significance of it?" and he'll line charge like the devil and won't get rid of his blackness, because he's got a machine that keeps making it all the time.

Now, with — the first group was processed and trained on the basis of "We're going to get into the experimental-technique line" — the first. And "I'm going to give you subjective reality on the techniques," I said to the First Unit going through, and carried forward that program. I overestimated, I overestimated. One, underestimated the techniques and overestimated — if any First Unit people here, please plug your ears — the auditing skill of those present. Because cases in the first couple of weeks just didn't move. Didn't move at all.

By the way, nothing is permanent unless he's got a machine making it permanent. You got the idea?

So we're going to start right off — right off here with this Second Unit, and we're going to put the throttle into the instrument panel, and going to hand out the (quote) "hot dope" right away quick, and expect you to apply what I give you to apply, specifically, and nothing else, and get these cases, zing! — good shape, and get that out of the road very early in the Second Unit's history. And that will leave us some time, which we didn't have with the First Unit, to process some outside preclears who react remarkably like human beings and not like Scientologists.

He can't send himself anyplace, really, just straight out, unless he says to something, "Now, you indicate that I am going there, and I go." So you find nearly everybody's got one of these silly machines that every time he thinks of someplace, he's there or has a facsimile of it.

Now, just following that up, I'm going to give you right now a summary of what is important in technique, and the "last resort" sort of a technique, Step IV: waste, save, accept under duress — that's enforce, of course — desire, and curious about, in brackets. One takes each one of those things in brackets.

After a while, he gets a machine that says, "Every time I think of it, I'll get a picture of it." And that accounts for these — the fabulous skill with which the thetan throws these facsimiles at himself and so on. He makes them and throws them at himself. The tremendous ability of a thetan is just beyond — oh, you can't describe it!

And now let me just make one little side remark on that step about brackets, is for God's sakes don't run half a bracket, because you hang cases up. You run part of a bracket and go to the next item on the list; and you run part of a bracket, the next item on the list; part of a bracket, and the next thing you know your preclear is — he's seven light-years out in the stratosphere and you don't quite know what happened to him. Well, what happened to him was, is you didn't run a full bracket.

Well, now we have this list and it goes from this column over here on the Chart of Attitudes from the bottom to the top — just the emotional list. And we put that emotion into everything.

Editor's note: The procedures LRH covers in these lectures were published in Journal of Scientology Issue 16-G, 'This is Scientology, The Science of Certainty" and Journal of Scientology Issue 24-G, "SOP 8-C, The Rehabilitation of the Human Spirit." Both of these articles have been reproduced for your reference in the appendix of this transcript booklet.

Now, how do we do that? We say, "All right. Now take a look at that case. Now let's put the emotion of 'slight resentment' in it." And then we put the emotion — "Now change that to the emotion of 'diffidence,' of not quite wanting to be there." Diffidence, you know, something — just something terribly faint, you see? That, of course, is the faintest one of cowardice. And — in other words, the faintest kind of emotions a person puts in there — nothing dramatic. You start him out and say, "All right, put terror in that case," see — he can't do it, so you made him fail. And the process to get him certain is just let him have wins, on a gradient scale, until at last he can win.

A bracket takes care of another factor: it takes care of the factor of agreement. And that is one of the most important factors in auditing. You run out the agreement on a case. If you could just run the agreement out of a case, the guy'd blow Clear. And that's a theoretical technique. I was doing that on the Second Unit yesterday. All right.

So we start over in this column, and we take the faintest variety of these emotions and we simply put them into anything and everything. Put them into the corners of the room, put them into screens, put them into drawers, floors, put them into the right foot, put them into the left foot, put them into shoes, put them into windows across the street. And just go on directly looking, with mest eyes, at the object — or if exteriorized, simply looking at the material, exteriorized. But if he has any difficulty looking at it exteriorized, have him do it with mest eyes.

The other thing is, is you run — that's a basic technique; that isn't the best technique that we have, but that is a basic technique. And it is worked in this fashion: You just simply start — you got preclear, all right. You start at the top of the list, if you're just going to work SOP 8 without assessment and so forth (which can be, by the way, almost fatal on a very bad-off preclear), but if you're just going to dispense with assessment and E-Meters and everything, all you're going to have to do is just start at the beginning: Step I, doesn't react — couple of minutes on it, a minute on it; Step II, no reaction; Step III, can't; and here we go.

All right. The reason why we're doing that is to regain the control of those anchor points which he mutually owns, and which comprise the barriers of the mest universe. We're returning him into his first feeling of ownership, and then certainty they don't have to be owned, see? Those are the two stages.

Now, the test on Step III is not given in that text. The test on it is: can he hold a ball motionless before him in mock-up form that neither walks in nor walks out — if he can do that.

Now, people who are way down have a feeling that they have to own something or it isn't theirs. Now this is an immediate — a direct statement that they can't create it.

And the test on Step IV, oddly enough, is the same old test there was, which is: does he get easily a mock-up of the childhood home? They'll — normally do. There are many other ways to handle a childhood home, but you just see if he ... Then you don't do anything else about it. You go ahead and run the rest of it. You figure out this guy is all fouled up on the track anyway.

If a fellow — I tell you, if a fellow could create a jacket, (snap) you know, another jacket, (snap) another jacket, (snap) — he sure wouldn't care how many people came up and took the jacket. He'd think it very amusing. As a matter of fact, early on the track he was very upset when people didn't come along and pick it up. But later on he got upset when people came along and picked them up. So he got the idea that although he had things which he had made scattered all over the universe — these things being held out against him — he yet didn't own the universe as well as he should, so he went out on campaigns of conquest in order to own what he didn't have to own.

And you do Step V just as it's given, VI, VII — in that order.

A child, for instance, owns his hometown. You never ask him about it, but he simply does. If he's moved around too much, after a while he runs into enough people that convince him it's some other place, you see, and all of a sudden he doesn't own — he's moved to San Francisco, he doesn't own San Francisco. Why? Because he met some kids in San Francisco and they own San Francisco. It never — never occurred to him, you see, that anybody did own it until that happened to him.

Now, let's say, that at Step I or Step IV or Step VI or something of the sort, you popped the guy out of his head. See? Let's just say you did that. What would you do now? Well, please, please don't ever come up with the wrong answer on this. Because what you do now is a very simple thing: You start at Step I on the exteriorized thetan.

Well, by doing this drill, one reverses being an effect into being a cause. One is causing things to feel, rather than being an effect of things which feel.

Now, there are trickier ways to go about this, but this is the safest way. You just start with Step I on the person exteriorized. And you go Step I, and then you do Step II and then you do Step III and then you do IV and V and VI and VII.

The basic terror in interpersonal relations comes about because one feels emotions from people. That's the basic. They just don't like that.

Well, what do you know? Why do you do these things reverse on the thetan? Oddly enough, the easiest thing to do for an individual in a body is the hardest thing for a thetan to do. Why? The body is in complete agreement with these barriers called the mest universe. The body's in complete agreement with it, and so it very easily finds "What room?" The guy pats around for a while — "Yeah. Hey!"

You can take somebody who is supercharged with hate, something like that, and may be all right if he's blasting it over to the right or left, but when he starts to blast it straight at you — wooww, no, no! That's real bad.

Well, you got a thetan exteriorized — boy, he's got to be in remarkable condition, just remarkable condition, to be able to feel around and say, "What do you know — mest. Tff!" No, he doesn't. He says, "Nyaah. Oh, no, no. Huh, not today; tomorrow, when we're a little stronger." That's the fact of the case.

Now, the mest universe is evidently mutually created, and it is the second universe. And we have three universes, and one is one's own universe, and one is the mest universe, and one is the other fellow's universe. Now, the mest universe is a mutual system of barriers on which we have agreed so that we can have a game. And one's own universe and the other fellow's universe are those things which moderate and monitor the condition of the mest universe. But the mest universe has gone along to a point where it, being a mutually agreed-upon thing, has decided, on its own responsibility, apparently — you see, I mean according to the thetan — that it can't be destroyed.

Now, there's many people who have been exteriorized, and who consider themselves in good condition, and who are in remarkably good condition — they know it. This is — be no shock to them. They know that they're looking — they're taking a facsimile, ping! and then looking at the facsimile. And that is the favorite way of a thetan to avoid contact with a barrier.

And you get every physicist coming along the line — this is really why your physicist is in horrible condition — his cant and his creed, the affirmations which he eats with breakfast, lunch and dinner, is conservation of energy. Morning, noon and night — conservation of energy, conservation of energy.

First place, he isn't sure the barrier is there. In the second place, you shouldn't even try to convince him it's there, for — because in the third place it's not there.

Well, as you go up scale, if a person can't destroy, he can't create. He's afraid to create endlessly if he can destroy nothing. So you get people trying to come back into their own, sometimes, with tremendous, chaotic, emotional splurges of destruction. They try to destroy, destroy, destroy. That's all they can think of. They're in an anxiety state which is horrible. That's Hitler — that's his anxiety state. He — in order to create anything like Germany, he had to destroy endlessly in all directions, so that he could create something — he thought! Why, his intelligence service and German science had almost achieved the ownership of Earth. There was nothing like German chemistry. It was fabulous. And when I was a kid in engineering school, if a fellow wasn't able to read in original German, he might as well quit. Because nobody began to print anything like the number of reports being issued from Germany.

You see, what the thetan feels is the body feeling the wall. See? He — this is a different thing, rather than there being a "feel" to the wall. See, this is different. There is no "feel" to this wall. If the wall were there, without any second wall, and no other contact point, there'd be no wall. See, it takes a dichotomy. In order to be convinced of a barrier, you have to have something that will be convinced that it will stop when it runs into the barrier. That's the essence of all of this limitation, barrier stuff. So there is SOP 8.

How many reports are you getting from there on science now? None. You go over, and everything is being made on an American pattern. Isn't that cute? Their whole economy is American. Because America is still at the level of creation — in terms of mest objects — where it doesn't have to destroy everything before it can put something American down in its place. And I don't believe Germany was on that Tone Scale. But I believe Hitler and the clique which took over from an exhausted state, were. So they just had to destroy, destroy . . . This was the most asinine gesture of this century. They owned the world — the thinking world, the intellectual world, the mechanical world — all the worlds there were to own here on Earth, were being slowly, more and more, dominated by German equipment, German chemistry, German machinery, so on. And then all of a sudden, why, somebody has to break out a rifle. Yeah, utterly, utterly silly.

Now, SOP 8-C is tremendously refined over this. But, believe me, SOP 8 works. It has limitations — it very definitely does. It is defined as the safest technique, broadly, in people's hands who are not specifically trained, that has been devised out of the material which we now have. It's the safest technique. That is to say, it won't get people in trouble — too much. It'll still get them in trouble once in a while, if an auditor really puts his mind to it.

But there is the psychology — if we must use that word — of a criminal. Psychology is used because it's Homo sapiens' effort to make himself more complex. And he has gotten to a point where he has to destroy mest, somehow or other, in order to own it.

But now, SOP 8-C is a more delicate sort of a tool. By misusing one step on SOP 8-C, which I did on purpose one day — I just did it on purpose. I had a case in a remarkably good condition, you see, and I practically spun him, see, and then unspun him. It's awful easy.

I've read some accounts of pirate ships, where always the kids are led to believe that piracy was something very colorful. Well, it was colorful in terms of lots of motion. But their equipment told a story: It was as much as a ship's rigging was worth to be used by pirates for a month or two — as much as her hull was worth, her guns were worth — anything. She was a ruin — enMEST, enturbulated mest. They had to mess everything up that they touched in order to have anything. Now, you see?

You start dealing with the dynamite which we can deal with now, and you can blow preclears up pretty easy. For instance, if you — all you've got to do is to start to handle the Assumption on somebody who has it somewhat in restimulation (and you handle it on some of these techniques, some of the expansions of SOP 8) — you just handle the Assumption and then forget about it. Oh, no, no. He'll be hot and cold, and have fever and chills, and think he's in the middle of Fac One and Easter and Christmas. And yet what did you do with the technique? It is very, very remarkable. You just — a process which is (well, we might as well give it a name and designate it, but that is — it doesn't need a name), it's "Being Space Processing." You just have him be the space in front of his face and be the space of his body, and the space back of his body, and the space in front of his face, and the space of his body; and now be the space in front of his face from the right side, be in the space in front of his face from the left side — uhhhhhhhhh, this gets real wicked.

Now, you will see this — that's the mockery level of the Tone Scale, down there around 2.0 and so forth, that mocks everything that is higher on the Tone Scale. Because we've got a repeating cycle as it goes down. Everything is — goes down in reverse geometric progression. All right.

See, if he's got an old Fac One body, you might say, he's — if he has — what they very often run into: I've had a person get out of five bodies. See, they get out of their head, and then they get out of the body they got out of their head with, and then they get out of this body, and they get out of that body and so on. I had a fellow do this three times one day in an Exteriorization by Scenery. He got out of his mest body, and then he got out of the body he got out of the mest body in, and then he got out of that body.

We've got up at the top of the Tone Scale this feeling, "Well, let's see. Let's make it run a little bit wrong so we can make it run right again." Good. More people are doing this with their bodies: "Let's see if we can make it run a little bit wrong, so we can make it run right."

What was he doing? Well, he was just so sold on bodies, that he had three of them. Well, I've had them with as many as five of them. You see, you've got these layers and layers and layers. And this accounts ... A fellow can actually step out of his body, and very often does, in a complete rig-up. I mean, boy, you'd think Buck Rogers or something. A fellow will look around and say, "I'd better not be out."

Way up, the fellow says, "Now, there's a nice mock-up. Whssh! There's another nice mock-up. Now we'll take this mock-up which we have now and we put another mock-up there, and we'll get these two mock-ups interested in each other. That's good. That'll be good for so long. Now let's turn them around so they fight us. Oh well, we have to make somebody to be us." And here we go. "Now, we'll have to get some kind of destruction going here, otherwise we can't create unlimitedly."

"Why not?"

Time is a wonderful mechanism of uncreation. Time uncreates, pocketa-pocketa-pocketa-pocketa-pocketa-pocketa — automatic destruction. "Nothing 'gainst time's scythe can make defence / Save breed to brave him when he takes thee hence." Well, Shakespeare's eleventh sonnet — you're pretty good this morning! Time is the great destroyer. And the thetan comes up against time, which he has set up and which he's agreeing with madly, and then he decides he'll let time do it. Not "Let George do it" — his motto should be "Let time do it."

"Oh, I'm just an invader from space; I'm no good!" Bang! In he goes. I mean, he's really convinced, see. He's convinced on a negative line.

And you know that you can very often get somebody who can't destroy a mock-up easily and just say, "All right. Now let time do it."

Well, you'll run into all kinds of phenomena like this. You don't have to worry about that phenomena. That isn't worrisome, it's just stuff you run into. There's a motto which you could have as an auditor which is: Be surprised at nothing.

"Okay. It's gone."

That's an old family coat of arms that I saw down in Charleston, South Carolina. And this enormous rook, who is about eight times as big as the castle, is sitting on this little tiny turret, which is the castle, and the scroll on it says, "Be surprised at nothing." That's very good for an auditor.

You should wonder a little bit at this tremendous force time has. You say, "All right. Let it age a hundred years."

And as far as discovering new phenomena is concerned, I'm afraid it's getting dull for me. For about two years now, we've been over this ground pretty thoroughly. When we got through with What to Audit phenomena — overt act-motivator sequence, all of this — once that ground was gone over, why, the stuff that shows up after that is just fabulous. But the second you evaluate it against whole track Theta Clearing, it becomes quite natural.

"Okay, it's gone." Time to destroy.

And these are the principles against which you evaluate phenomena. One: Knowingness exists above space. There is a condition of knowingness where a person really knows. He actually knows without looking, and so on. This is very easily mistaken by people who have been in mysticism, in terms of telepathy and other things. It is not like telepathy, it is just a high, crystal-clear certainty. That's all. He knows it without looking.

So we have, then, the automatic destructive mechanism in this society. Well, anytime he depends on any automaticity, he's — gets in bad shape. Because that's a dependence on something. And when it goes to a point where he can no longer be causative and no longer engage in motion, when you start salvaging him, why, these dependencies he has, these automaticities — depending on automatic machinery which he's forgotten about and depending on this and depending on that, rather than doing it himself — he's at the point where the motorcycle is taking him down the road, he is not taking the motorcycle down the road anymore.

And then we get into the first echelons of perception. Now, the second we get into perception, we get into space. The definition of space is viewpoint of dimension. And that is easily our most important definition. What is space? Viewpoint of dimension. Dimension is made by anchor points. You have four anchor points and you have a piece of space. You arrange them as a tetrahedron, and you have a piece of space. Now, that — easily the most important viewpoint there is, as far as we're concerned, in terms of definition. The most important viewpoint definition: space.

And in order to make him take the motorcycle down the road, why, you just have to give him drills which makes him own and control motorcycles, not motorcycles own and control him. Simple, isn't it? (Completely irrespective of a couple of motorcyclists in this class; I've been using that for some time.)

And here knowingness, knowingness, comes into the first of the phenomena which (I almost said degenerated) — which regenerates or something, into the mest universe. That's the first phenomenon. Out of this, and the fact that there are three universes, we get the entirety of everything we're doing.

The anchor points of the room — these anchor points here — are looked on as somebody else's anchor points by most people, do you see? He never recognizes that they belong to him. They belong to him and others, or everybody else, see?

Viewpoint of dimension: In order to have a viewpoint of dimension, you have to have the location of the viewpoint with regard to the anchor points. And this is a mechanical definition of location.

And if we're going to create more causativeness on a case, we have to at least give him some sort of a lease on the space he's occupying. Otherwise, the space keeps catching up with him all the time, and we have this system of barriers here. You see, a game is composed of limitations, and limitations become barriers, and these barriers are such limitations to him that he just looks at it and he says, "Well, I know that stuff is real. I know it's real. It is real." And as a matter of fact, it's a lot realer than he thinks it is.

Now, just pure knowingness has no definition. It is a feeling of certainty. You can best define this by knowing that one knows. And when we say Scientology, that's a science of knowing how to know; that means the science of knowing how to be certain, which actually is a track-back of the agreements which have culminated in the state of the individual at this level. Certainty is what marks this level of knowingness. It is unmistakable. You needn't ask me any more about it, because that's actually all there is to know about it, is it's unmistakable.

That's what's remarkable about all this mest, it is much realer than any thetan thinks it is, and it isn't real at all. See, he's got to go up through the band of its tremendous reality, and only then he's getting up to a level of certainty where he can put up more barriers. Then you ask a thetan to dispense of all of his barriers? Oh, no! Hm-mm! There's things like privacy, there's things like this, things like that.

Now, we have prospectors and they go out, and they're always willing to laugh at the tenderfoot, because the tenderfoot goes and he pans gold, and he turns up some iron pyrites and looks at it fixedly and knows that he has gold. And he does this, and he pans fool's gold and saves it in a poke, fondly believing that he has gold, until one day he strikes — no matter how microscopic — a real "color" (what they call a fleck of gold picked up out of a gravel bed). He just is panning, and all of a sudden he sees a real color — he sees a real piece of gold, a real flake. He never makes a mistake afterwards.

A lot of people are engaged totally in maintaining a distance. They use their words, they use their gestures and so forth, to maintain a distance. Such a case, you say, "All right, now what is your zone of occlusion?"

How do you teach somebody to distinguish gold from iron pyrites? Well, you certainly could probably put several university courses together, and you could probably do an awful lot of analysis of iron pyrites, and you could say gold dissolves in aqua regia, and iron pyrites dissolves in both the aqua and the regia, and you could go through all sorts of chemical definitions and oh, back flips and high dives and deep textbooks and formulas and everything else, and you still wouldn't have taught the guy the difference. See? It'd be a big long communication system which you'd invented, so that now he was really confused. So just get this similarity between that real fleck of gold and certainty.

The fellow says, "What do you mean?"

You'll be processing a preclear, and all of a sudden it's like something goes kind of click or flip or something there. All of a sudden, he knows something. How does he know it? Does he know it because it's been defined? No. Does he know it because you told him? Well, that's the time he won't know it. And you go right straight on through, and you'll find out that there — this thing is defying reason. And so it does. If you're going to define it any further at all, you would say: Certainty is something that requires no further reason.

And you say, "Well, how far don't you see away from you? Where can you put a mock-up up?" something of that sort.

When you've gotten into reasons, when you've gotten into reasons why, and when you've gotten into "who" — that's the end-all of — that's really in the slums, that's really back in the slums of knowledge: "who." And yet, we find all of our entire history and everything else is made up of "who." And it's "who, who, who" until they get everybody playing the "only one" and so forth.

"I don't know," he'll say, "there seems to be some kind of — if this is what you're talking about, there seems to be a sort of a shell out here, right out here."

A thetan can only have a good time when nobody knows who the hell he is. And when he's certain enough about existence and about himself, he doesn't have to have a name to be certain of it. He goes flying around . .. You can't get around this universe with an identity. The state police and the cops in general, and the FBI and the IBF and — oh boy, it's real, real cruel. They've got photographs and they've got fingerprints and they've got the wavelength of your breath, and they've got all sorts of fabulous ways and means, and one of these days they will probably have a "lie detector characteristic beat" or something. Be real good, see.

And if you'll notice, it's just at his fingertips, see. He knows he can shove something away that close to him, you see? But something that's three inches further out, he can't do it. So his zone of occlusion is actually the motion of his arm. And you ask somebody to trace it out — it comes right straight in up against his back; he can't reach back there. That is not an ordinary case, that's a case that's pretty far down on causation. He can't, in other words, cause a repulsion or create a space wider than that. See, he's lost further ability to do so.

Well, way back on the track you'll find people being registered by their wavelengths — thetans were. That was a last-ditch attempt on the part of a society to get some law and order and some police action, regardless of what.

Space is a viewpoint of dimension. It doesn't exist without a viewpoint. The problem of space was not solved in physics and is not even defined in physics. This is — ordinarily and routinely says that it is a problem of psychology. And psychology didn't solve it and so, more or less, isn't here. Find psychology is a perishing (quote) "science" (unquote). Why? It had two basic things it had to solve in order to resolve the human mind, and one of them was time and the other was space.

All right. An identity is going to crop up in the preclear continually, continually, continually. He keeps asking, "All right, but who did it to me? Who is God? Who? Who? Who? Who?" To hell with it. For every "who," listen — substitute "where." Not who are you afraid of, but where are you afraid of. Because you've gotten, then, workable — you've gotten it workable; and we get into the first Prelogic.

Time is the co-motion of particles — planned co-motion of particles. That you're in agreement with other people on how these particles are moving is fabulous. I mean, that's — you agree that the particles move in such a way and they do. And you go on.

Now, you see there's no substitute for this thing called certainty. A person knows he has it. All of a sudden he becomes certain one day of something or other.

Of course these bodies are all in tremendous agreement. As long as you stick with a body, you stick with the agreement. You exteriorize somebody, bing! and some weird things start to happen — space starts to go wrong on him. Now, you start putting motion in people and you'll notice this — at least two or three people present will notice this — they start this exercise I'm giving you, they will suddenly see buildings lean toward them. Aaaaaaaah! And other strange things are liable to happen to the scenery. But the stuff always goes back again the way it should be. And you might not think it will, but it does.

Well, one of the basic, base ways to make him certain is to hit him. And then he knows he's not there. And this is a certainty. You see how just insipidly silly this is — how an impact works, you see? Here the fellow is, and all of a sudden — he's got a face, see, and let's say this is his face, and a baseball hits him in the face — bam! it goes, you see? And makes a terrific impact, and just before the impact, he says, with all the force at his control, he said, "I'm not there!" See? That's supposed to stop the baseball and he's supposed to be out of there. First it's, of course, "It's not there. It must stop." And then, "I'm not there." And that's the sequence of a certainty by impact. It's — the certainty which is derived by impact is, in a final analysis, the certainty that one is not there.

Now, you run this scale, and then the second dynamic, and then these two, very important: disgust and ridicule. Almost anybody backs off from these. They'll run betrayal by the hour; they will say, "My parents and my thetan have betrayed me" — anything like that. "My parents have betrayed me. Life betrayed me. Everybody betrayed, betrayed, betrayed, betrayed, betrayed." But, by golly, they never come around and tell you, "You know, everything I look at ridicules me." I've never heard anybody say that in social conversation. "The whole trouble with my life is that everyone ridiculed me." Hm-mm. That's the deadly stuff. What is ridicule? It's somebody grabbing hold of one of your anchor points, claiming it and holding it away from you.

And so we have — practically anybody in this room right here at the present moment, the first thing he would tell you as a thetan, is "I'm not there. My name is so and so, and I was born such and such a place, and . .." The devil he was. See? But he's playing straight through to the bitter end, "I'm not there; I'm not there; I'm not there. Here I am, see?" and he puts forward this body. See how cute this is?

If you want to turn on the emotion of ridicule automatically with an individual, is just give him the idea of somebody grabbing his mock-up and rushing off at a distance, and then holding it so that it can't come back in again. And he'll get this nyaaaaaah-urk.

Now, a body is composed 100 percent of other-determinism. A body has no self-determinism. It is shaped and molded: one, the criteria of aesthetic of the being who made it originally or designed it, as modified by the consideration or aesthetic of the thetan. But it is actually shaped and molded, even into its primary form, by impacts. And the body is other-determinism, but royally. It is being hit twenty-four hours a day by mest waves. It never turns back any of these waves. Real interesting, isn't it? And so it can only deteriorate, and you have the one-way cycle of the universe.

So he wants to be able to put ridicule — disgust and ridicule, for himself and for other things — in every tiny section of the environment.

You just get a pinpoint being hit from 360-degree sphere — all angles, twenty-four hours a day — by photons, cosmic rays, light waves, heat rays; here we go. Now, the body does radiate, to some slight degree, heat. But it's radiating something else. Heat is radiated at it far faster than it radiates at heat.

I've had a preclear get so angry doing this, that although he's been completely unemotional about everything else in processing . . . He's just going along and life has been — he's just dutiful, obedient, you know, do everything you ask with no emotional changes, a little bit of interest, sort of a sweet, sad smile on his face the whole time. All of a sudden start putting ridicule in something, and have the guy get madder and madder and — he's putting it in! And get madder and madder: "Why this stuff? Ruff-rrr-rrr-rrr."

Now, we have no real problem because of this — I don't want to give you the idea that a body is essentially a — very, very upsetting and very dangerous and something you mustn't have around. They're cute, and they do odd tricks and so forth, and they're interesting to keep along and make survive, and it makes a game.

One exercise I hadn't done with an individual, and — I don't know, I did this with him and all of a sudden he says in a rage, he says, "If that stuff ridicules me anymore I'll bust it into little pieces." To most people, its very "stationariness," its very "held-outness," is in itself a ridicule. Okay?

But when it gets down to a point of "I am a body. That's who I am. And I can't be anything else. And when I'm dead, I'm dead, and that is the end of me and it," you have the end result phenomena — phenomenon of a thing which cannot be effect.. . This is real interesting, but a thetan, in the final analysis, has to have something before he can receive an effect to it. He has to have something.

So we have these items. You can also put, if you want to, betrayal. But that kind of has a tendency to sort of collapse it in on somebody. You can add it in if you want to, and see how it acts.

He's got to put something there before he can get an effect. And a thetan is primarily cause. Oh, he can feel the effect and all that sort of thing — he can do all sorts of things. But he's primarily cause. And of course he joins something which is primarily effect, and so we have a communication terminal collapse which goes from cause to effect. A communication is essentially something that starts at cause and goes to effect. And so we've got the thetan as cause, going to a body which is effect. And somebody who is in his head too solidly, of course, has gotten the idea that he is the body, and he can only be an effect now. You see? It's very simple.

But the important one is the second dynamic. And when you get through with the rest of the emotional list, you just beat that second dynamic to death. And then, "second dynamic ridicule." It is a specialized emotion all of its own. Got that?

And it's very simple to unravel, in the final analysis of the thing. Well, how did he get this way? Well, he must have made himself this way. We all suspected that about ourselves, except we always are saying it was somebody else that did it. Well, it was somebody else helped it along. We did it — no question about that.

And that is the drill on which we will drill. Now, we've only got a couple of days to get this real good, see. Get this real good, so that anybody here can simply look across to a windowpane or something like that, and get its agony. You know? Real good, hot agony. And real good, hot pain.

For instance, we ever slammed anything into a stone wall, we had to elect to be on the seat of it first. So cause precedes effect. And man goes along saying less and less "I'm cause" and more and more "I'm an effect" until he finally practically disappears.

Now, you try to exteriorize somebody ... By the way, I didn't mention those, but pain, of course, is on that list. I think it's on the Chart of Attitudes, isn't it? Pain is at 1.8 on the Tone Scale, it should be on that. No, it isn't on the Chart of Attitudes. So add it in — pain. Pain, in all shapes and forms, such as aches and so forth: "Just make this microphone ache." You get the idea? "Now just make it ache a little bit more." And pain is condensations of lookingness.

Now, in order to have a game — and the highest echelon is a game — we have to have a balanced condition of 50 percent and 50 percent. An infantry force in a war is composed of 50 percent attack factors, and 50 percent defense factors. When it is not so balanced, roughly, it will be unable to hold those gains which it achieves, and if it's too defensive, will not be able to achieve gains to hold. And so the army will lose.

Now, you'll notice as you run these — later on, you'll notice that all these emotions have to do with motion. Very early, you may have heard a 1951 tape, fall '51, on motion and emotion, which gives the fact that the fellow in apathy — you come along, he can put his hand on something, you move his hand and he'll leave his hand where you moved it to.

You can see that this imbalance of 50 percent is responsible, by the way, for many "who were they's?" to become past tense. The Greek finally got down to a point where he was about 85 percent holding force, you see, and about 15 percent attacking force. His phalanxes were very difficult to maneuver at last, because his people were getting weaker, and they were being more and more an effect.

And the fellow in grief has a tendency to just flop about it and kind of hold on.

The Maginot line was the death throe of France in 1940 — '39 and '40 — 100 percent defense. And they were surrendering... There we had a war which was an interesting, fast war in its early inception, because the Maginot lines — large sections of it and huge cities which it protected — were surrendering to a couple of Germans on a motorcycle. Just pang! The Germans come along, they had a motorcycle and a machine gun mounted on the sidecar and so forth, and they'd say, "Well, here we are. Surrender." And everybody would lay down their arms and run like hell.

And the fellow in fear, which is covert hostility — about same tiny gradient in there, they're very close together — you come along and you push his hand away, and he'll say, "Yeah well, that's very interesting." And when you've looked the other way, he'll put his hand back again — when you've looked the other way.

That was that blitzkrieg. It was fabulous. Fantastic. Nobody could possibly believe a blitzkrieg. But they were up against people who had been indoctrinated, first in World War I, that all they could do was hold a ditch. And they had then developed holding a ditch into the finest piece of nonsense anybody ever had, and after that they had no mobility. So having no mobility, of course, they were imbalanced.

And then you get the fellow in anger, and you come along and you start to move his hand . . . You can do this with a chair; dumping a fellow out of a chair is another test too. You just come up — it sounds very impolite and it doesn't make for good communication with a preclear, but it's a terrific assess­ment. Just walk in the room — just walk in the room and get the back of the chair and give it a push. What he does tells you he — where he's on the Tone Scale right now, and you just process him accordingly, and it saves you lots of time.

I want you to draw that parallel between the body and the person. The thetan has 100 percent attacking force. See, he's 100 percent attacking; he has nothing to defend whatsoever. And he goes from that down to 100 percent holding; no attack potential at all — just defend, defend, defend, defend, defend. Having a lot of vested interests for instance, may wind up — does not necessarily — but may wind up in merely defending and no longer attacking.

Anyway, anger: You start to grab the fellow's hand, and he looks at you meaningly and you don't move his hand! The harder you try to move his hand, the more it sticks.

There are the two extremes. And there you have an example of plus and minus randomity. It's too much — too much entirely self-randomity — that is, one can engage in too much random motion, when he has nothing to defend, and one can engage in too little for himself when he has everything to defend. And neither state is desirable.

Now, on resentment: You walk over and you start to move the fellow's hand and he flips his hand up toward you. And that's the first outgoing motion that you run into. That's at 2.0 on the Tone Scale.

And we get, then, a condition where the environment — other-determinism — for the person who can attack anything, is insufficiently random. He can attack anything with impunity. He can't be hurt, he can't do anything else but survive, and so he attacks the entire environment — he can if he wants — but it's no fight. How is it any fight? And so you have a condition where you have minus randomity on the part of the environment. And that goes down to, when a person is only defending, it gets plus randomity to the point where people start blowing their brains out merely because somebody misplaced a period on the ration card. See, super-super plus randomity — it gets down to that.

And next is, with the resentment, now we get up to boredom. And the fellow starts — you move his hand, and he'll say, "What do you want to do? Why?" He'll engage in a controversy about it. But his hand, in the meanwhile, was sort of idle around the place, so on. He'll turn it over and look at it and put it back and move it around. There's motion there, but it's a sort of an eddy, like a stream goes around a steep bend, it leaves an eddy in up against the point.

Now, your individual who is getting defensive, who is very static, who isn't moving very much and so on, has merely come down to the point where he's too much effect and there's too much motion going on around in his vicinity. And he has to be on a cause line — more cause, you see?

And now we get conservatism and we reach over and we say, "All right, now let's move your hand," or something of the sort, and he'll say, "Well, yes. Now what's the significance of — why — where do you want me to move my hand to?" and so forth. Well, if you touched him a little bit too rough, he'd be very dignified about it, but he'd push your hand back. In other words, we've got a mobility and we've got choice. In enthusiasm — the fellow's enthusiasm, we reach over and start to move his hand — "Yeah, well what do you want me to do with my hand, huh? You want it there? You want it there? Where do you want it?" He's doing it! You haven't got much to do with this.

All you have to do is build up his cause. And when you've built up his cause, why, he gets into better shape. So your techniques, actually, leveled on the lower echelons, are simply toward and directed toward building up causation on the part of the individual. You see that? All right.

That is motion and emotion. Now, you get this on beams. If you want to turn on the feeling of sadness as a thetan, put a beam against the wall, and then just slowly extend it. That's just — that's it. I mean — a writer, by the way, knowing this, or a cinematographer knowing this and so on, could actually kill America in its tracks to the motion on a screen. It's just the motion of people is exactly what's translated to the audience.

We have, then — for the first three steps, we have somebody who is still capable of causation. In other words, he can put some distance between himself and a body and still control it, because he has sufficient causation . . . He has sufficient — he's sufficiently causative (let me use a word very properly); he's sufficiently causative to be able to control things at a slight distance — short distance. And then we get — in those three steps, we have people who can do this. And in the remaining steps, we have people who have — who are insufficiently causative. But remember this: it's a ratio again — it's how much randomity surrounds these people.

You could just have this thetan put a beam up here and then just slowly draw away. Just slowly lengthen the beam. And he gets the emotion of sadness out of that.

See, they probably started out being terrifically causative, and they built themselves up enough randomity to have whipped a small army, and they finally wind up defending everything bitterly on every front. And they've still got lots of horsepower left, but they're in the bad situation of having all their randomity, other-randomity — they're under attack from everywhere. So they've lost their causativeness and they can no longer attack, handle, control a body at a distance. They've got to be right inside, holding on tight, and guiding it very, very carefully. Because they've really got to defend this body, you see? Because if they didn't defend this body, all these random motions in their vicinity would put them in bad shape.

Now, by other speeds of withdrawal and so forth — these speeds are all comparable in comparison with mest — we can get every other emotion on the band. It's just the speed with which he rushes up to it, the speed with which he draws back from it or the speed with which the beam vibrates. And we've got all of these emotions. Because we're in the field of feeling, and feeling is a condensed lookingness.

Actually, anyplace that you're processing anybody, your individual is too little causative. His amount of causativeness involved is too small. What's optimum? Well, optimum is somewhere around 20.0 on the Tone Scale. That's almost on a basis of 50 percent holding, 50 percent attacking. Here's where you have an individual who can spend half of his time in causative action and half of his time in defensive action. He has to have something before he is interested.

So, now you have this drill down? Real easy drill. Real easy. And remember "Old Man Gradient Scale" as we do this. Let's not make it too tough on somebody. And let's keep it building. Now it's your contest to find out: how high can it go? And you're going to be very surprised; you're going to take what you normally consider to be a human emotion, and this flabby, almost emotionless piece of machinery known as the body — the amount of emotion which can be taken out of a body even in a high state of ecstasy, so-called, is so flat as to be almost indistinguishable from complete flatness. And it's just how close can you get to zero, really, compared to how much . .. Now, you know how much emotion can be turned on by a body. And as a thetan, early on the track, you were obviously quite surprised by the amount of emotion which would suddenly generate from a body being blanketed.

Now, how does a person get into this sort of thing in the first place? How does he ever start drifting down below 40.0, below 20.0 and so forth? Well, he starts drifting down below 40.0 merely because 40.0 is a condition where he is enormously random and there is no randomity, as far as he's concerned, exterior to him. He can do anything.

By the way, the first ded on the track is a blanketing. And it is against, usually, the kind of body which the preclear has. And if the preclear is mixed up in his sexual relationships, it's against the other kind of body — the other sex. You see, he — the thetan first blanketed a male, you'll generally find he's a male thereafter. And if he first blanketed a female, he's generally female thereafter. And where he's got his sexual relations mixed up, he is in this life a male, but the first blanketing, female — so on. So he envies, very much envies, the opposite sex. You, by the way, find that turning up more often than you'd think in preclears.

And you finally get a condition where — a wrestler who could whip every wrestler in the world, recklessly tying one hand behind his back and whipping people with one hand; and if he still whips them with one hand, he ties two hands behind his back and fights them with his teeth. He's got to have action, he's got to have motion. It isn't necessarily true that a thetan has to have action or motion as represented in this universe. Nor does he have to have an identity. But it is motion and it is fun.

As we run various emotions, we find out that they turn on much, much hotter than we thought these emotions could run.

You'll find out that when a thetan peels down to a point where he knows he is just a concept, he is — and he has not yet attained any huge certainty for himself, but he knows this now — that certainty he has attained in that he isn't a piece of energy, he isn't a thing, he has an identity.

Now, there's one more that we will — might as well run into this category, but run it in there last, please run it in there last — is light and electrical energy. Put light and electrical energy into mest objects and bodies.

And if he encounters this fairly low on the Tone Scale, there's only one thing really to do for him, and that's have him start mocking up ridges, and have him start mocking up anchor points, and pulling things in on himself, and building up piles of energy and masses of ridges and so forth. All of a sudden he's happy and cheerful; yeah, he's got something to do now. Boy, is he bogged down, see — relatively speaking, compared to what he is. Now, any being that can simply be where he wants to be, anyplace in the universe, it's just — phooey! See? I mean he — it's just nothing to do.

Now, let me give you a little word of warning and a little word about the ping meter. I'll have to demonstrate this ping meter to you someday, but I haven't got the — all I've got right now is the Mathison model, and the Hubbard-Mathison model is coming right up. I got ahold of this ping meter, and Volney got himself a very nice piece of equipment there. The only trouble is, went over it with the first class, and we were puzzling around about what was happening to it, and gee-whiz, this is very remarkable — very remarkable.

And probably the first concept he gets that makes him go a little bit off, is not the concept of "interested in something." The first concept he gets is undoubtedly — has to do with aesthetics. First, there is an aesthetic thought — just the thought is sufficiently aesthetic. And that degenerates down to an aesthetic object. And then that generates down to a contest amongst objects and individuals as to what is and what is not aesthetic, and this consideration carries solidly through to the end of track. But after a while, they don't even think they're thinking about aesthetics — they have to have reason. They've gone into effort and so on. Now, that's the highest thoughts on this.

But — it's supposed to detect pain — it's the machine that cries for you. Put this little probe on some hurtful point in the body and the machine goes "Waaaaah."And you take it off, put it on some point that isn't in pain, and the machine says nothing. Interesting, isn't it? Only trouble is, it's detecting the only points in the body where the thetan is in communication, and pain is obviously the highest communication he can get on the body. And so if you turned around to take that piece of pain away, that would spoil a commu­nication point.

Well, boredom was the traitorous emotion. Somewhere up along the line there, he hit the emotion of boredom, and he became deathly afraid of boredom. And he thought that if he were to be completely certain and to know everything, he would be tremendously bored. And he's got these two things confused. He thinks that knowing everything and being able to do anything would, of necessity, bring about an emotional condition we know as boredom, and he's terrified of it. And there's the first fear.

But after you've massaged him or processed him over a certain area . . . For instance, a person took his prefrontal nerve up here and just cleaned it all up real good, see — took off all the screens and bric-a-brac and junk and just cleaned it up real fine so his forehead was in beautiful electronic condition, see. And put the ping meter on it — and felt wonderful, you see — he put the ping meter on, it goes, "Wah, wah, wah, wah, wah, wah, wah." According to the ping meter, he was in agony.

And below that, he is afraid of being afraid. That's all he can be afraid of. But above that he is afraid of being bored. He's desperate. You start to take away from a thetan — even when the thetan is pretty badly bogged down and the body has psychosomatics and he can't generate any interest in anything else, and you start to take something away from him, he'll say — oh, the thought will suddenly strike him, "Oooh, if I — if I — if I lost that, I might not have enough random action." He'll say, "I'd be bored." And he gets a terror; he gets sick.

And, another pc there — I cleaned up the Assumption on him and all of a sudden got his face live. Whole face got real good and live and he felt good.

Now, a little test of this is to put a couple of people — mock — you have him mock up a couple of people, both of them being bored, in front of him. Don't do it just because I told you to, because people sometimes become deathly ill on this. Another thing is, is he got into contest with mest space — space. He got into contest with space, and space won. Because space was something, and he was nothing. And so the space told him he had to be something, and he has locked horns, you might say, with space and space has won. So he — the thetan believes completely that he is nothing.

So you see what the machine detects is — actually, what it detects is points of communication. It's where is the thetan in communication on the body, where is the communication good on the body? And it's just designed for people too low-toned to react the right way. And the button was backwards, and the machine ought to be registering where you hit anesthesia. Wherever you hit anesthesia, the machine ought to cry and say, "You're dead." See? It should just say that, right out loud — "Dead. Dead. Dead." And really, it's a death meter, not a pain meter. As long as it's a pain meter, it's a life meter. So it's turned all around and it's got a switch on it now that's anesthesia, and you just turn the switch the other way and it'll register on pain. Also, he's putting the second meter on it. This thing is strictly terrific.

But the trick that has been pulled on him — that he's pulled on himself — is: he doesn't have the right to be nothing. So, another thing that'll unlock a case every once in a while . . . Did you ever run across some girl that says, "My parents trained me and I went to school and I did this, and they had so many hopes for me; and everybody was so nice to me and they expected me to be a great pianist, and (sighing) I can't." And you search in vain for the Freudian symbols and so forth — just some clue to this person's character, some hidden significance, something of the sort — to account for this feeling of ennui and inertia and horror about life.

But it did this — it did this: the first meter which has ever demonstrated the fact — the first electronic equipment that ever demonstrated the fact that one human being can influence another human being emotionally. Because you put the ping meter on a dead spot on somebody's body and just leave it there, it won't ping. And you, as the operator, all of a sudden snap a beam through from the center of awareness of the individual to the ping meter — at the exact instant you snap the beam through, the machine goes "Waaaaah." And you put it all around on the body, and you just look at the body fixedly thetawise, see, keep snapping these beams through.

Well, she's already stated it. I mean, there isn't any hidden significance to it, beyond the fact that they expected her to be something — to be a thing, you see. And she tried and tried and tried, and she couldn't be a thing.

In other words, it is registering, incontrovertibly — I mean you could go over this and beat it to pieces, physics and everything else, and you'd still have to come up with the conclusion that one human being is monitoring another human being's electrical contacts. That gets real interesting, isn't it?

There isn't any thetan — this is the one impossibility, evidently, is there isn't a thetan that's ever been created or has ever created himself or just with a small puff, came into being — there isn't one of them who can be anything. You see, he really can't be a piece of energy. Why? Because he's causative — he generates energy. And every time he tries to be a piece of energy, he then has to be awfully quiet; because if he suddenly — suddenly huffs and puffs, he'll blow his house in — right away.

I said several times on the congress tapes, there is no actual interchange. I understand that is misunderstood a couple of times. A couple of people have spoken to me about it. For God's sakes, please get this straight. There's no actual wall here either, but it's good and solid and it sure registers on meters made out of the same stuff. But remember, a meter's made out of the same stuff.

You get the worst V (resistive V level case, occluded and so forth) that you ever ran into, you get the very worst one and you start breathing a little bit — have him generate some energy — and he will find all kinds of emotions and reasons and everything why he mustn't generate any energy. Because he, you see, is being a thing, and that thing will be destroyed if he actually generates any causation. And there's his anatomy, you might say, right there. But he, being an effect, is convinced that he is the thing which has had the effect upon it. In other words, he is a thing which can be an effect.

Now, here we have done the incredible thing of getting a meter made out of just nothing more than this stuff, you know, which registers the fact that two life units can influence each other. Well, I throw that in on this processing — don't start using members of the class on this target. Don't necessarily refrain from it, but look out the window and pick up passersby. Because you actually can turn on various emotions in individuals with the greatest of ease. The greatest of ease.

He isn't any such thing. That happens to be impossible.

In regard to that, I quite often and usually refrain from doing this. It'd be the easiest thing in the world for anybody, with a little drill, to simply take a crowd or an audience or something like that, and just fill them full of enthusiasm, you know? Just go fsshhew! The best ways to do it is just to throw back a handful of anchor points against the back wall, get it exactly the right location, make it your own space, wipe out all other anchor points there, see, and just drop enthusiasm, crush! This would be a magnetic personality.

You get somebody who is getting electronics — electronics is keying in, keying in, keying in and he's got facsimiles flying all over the place. In other words, these energy pictures are slapping him all over — it's energy starvation. The energy starvation, however, on the part of a thetan is — he must be something. See, that's the — that's what makes energy starvation. He has to be something — he can't relax. He has no right to be nothing. And that sounds backwards, but that's what's — what's wrong with an energy starvation case. Anybody that's having trouble with energy starvation, you can even use as crude a technique as match-terminaling in brackets "the right to be nothing." And all of a sudden, "Gee, you know, I don't — I don't have to be anything. Gosh! I — I could be a — I could be a bum. I could be — I could walk down the street, I got a perfect right to lie down in the gutter and starve to death. I — I can go around the back doors and beg. I can wear rags. I can be impolite to people. It doesn't matter what I do, because I have a perfect right to be nothing."

So I am very sorry that we're taking up a first stage — our first instant of play here — that thing which is actually practically the total of personal magnetism. We solve more of these doggone things en route, that we all of a sudden remember that there was something called- — at one time or other talked about, called "personal magnetism." But nobody could contact it very easily, so everybody kind of abandoned it. And the best way to contact it, they used to say in the old days, was you sat with your feet soles pressed together and your — the outside of your thighs flat against the floor and your head held in a certain position and your ears wiggling at a slow beat, and if you sat that way for eighteen or twenty years you would then be able to control your emotions. You sure can! But it's not advisable.

Very often a case relaxes, just on that. Because that is an essential truth. And when he realizes it, of course, it is a piece of the greatest certainty there is.

And there were all kinds of systems. There's various systems, such as you take a certain pill and it does it. And there's other systems where if you get your handwriting analyzed, you will then be able to improve sufficiently so that you have personal magnetism of some sort or another.

And it — far from being terribly upset and discouraged and immediately afterwards becoming a bum, why, he immediately brightens up, and starts to comb his hair and clean his fingernails. Takes a little pride in things and so forth. But he's operating on a latitude.

This is the entire fight of the society: to be acceptable to one another. And yet the way to clear somebody — you could clear somebody just by running huge crowds agreeing with huge crowds agreeing with huge crowds themselves. It's interesting, isn't it? I mean if you just sat down and kept putting this up and putting this up and putting this up, putting this up, the person would get out of a slavish, propitiative agreement and come on up into an antagonistic agreement, and he'd actually run the whole Tone Scale in Mock-up Processing. Real slow method of doing it. Real slow.

I one time talked a fellow out of suicide when I was a kid, very interestingly. Talked him out of suicide simply by explaining to him that "Look, the death penalty — the death penalty is meted out to people who have done the extreme crime in the society. And it is the extreme penalty — they no longer torture people. And so that if you did the worst thing that you could do against law or society — you did the worst thing you could do — why, the worst they could do to you was give you the death penalty. Isn't that so?"

That's much faster than anything we envisioned in Book One but it's too doggone slow, but it's a last resort. But that just gives you some sort of — because he has to be in agreement in order to have time, in order to have communication.

And the fellow says, "Yep."

But the first thing he's got to have is anchor points. And the best anchor points to get back for you, right now, are the anchor points which comprise ... When I say an anchor point, now, I mean any kind of a point, any kind of a particle, any kind of an electron or anything which anybody believes is an actual point. There is nothing more real than a real anchor point. It's tremendously real. It exists as much as anything will ever exist, and that exists as much as anything does exist, because it exists and it is a havingness type of existence. Let's not go off on the basis of "all is illusion," and we're just kidding ourselves that we see it. This is the reverse english, the inversion on the truth of the matter.

So I said, "Well, what do you want to give yourself the death penalty for, without having earned it?"

The fact of the matter is, is you're pretty doggone good — you can see it. We can make, out of a complete illusion, a complete reality. And that is the greatest gift a thetan has.

And he thought that over. So he parked it on the time track. He had "committed suicide" in reserve. At any time now in the future he could, of course, complete the act; it didn't matter, you see? But he had self-determinism and a width of action for the future. He became very law-abiding. You see, it didn't matter anymore; whereas he'd had slight criminal tendencies before that time. He's been perfectly relaxed about the thing. He went on for years, and became quite successful as a radio entertainer. You might know his name.

So we're trying to rehabilitate, then, the ability to take over, control, handle and alter the emotion and condition of any particle in the mest universe or any space in the mest universe. And remember that this is most handily worked, not segregated against the corners and points of the room or anything like that, but whole objects and whole spaces.

Anyway, this man, you see, had achieved a higher margin of causation. You see, he was more causative. And these are just tricks, just tricks by which you all of a sudden make a thetan realize, one way or the other, that he is cause.

Take the street now, and from end to end (this you wouldn't start out with), from end to end on the street down there — a street full of cars and so forth, and three blocks long, this street is, that your preclear can see — now fill it completely from end to end with ecstasy. Pssshhhew! (snap) And you, as in the auditor, looking — if he was real good, would be able to look over there, and the taxi driver would start to get a sort of a noble look in his eye. That's right.

And a process falls short when it produces the thought and the conviction that the individual is an effect. And it wins when it raises his conviction about his being cause. What's a good process? What's a bad process? Well, there you are.

So, let's find out now with the easiest one we've got — this is still probably one of the most effective techniques we have. I mean, it's right up there on effectiveness because a person can audit himself, you see. I mean, he doesn't have to depend on somebody else to do it. He's trying to take out of the hands of things doing it for him, and take it on back to himself.

You could be very obtuse about it and talk about randomity and automaticity and so forth. But these are — that's bric-a-brac compared to this other: certainty.

This is following and obeying this rule: that in order to remedy an auto­maticity, it is only necessary to make the preclear do it himself often enough to regain entirely his control over his ability to do so.

Now, what's certainty? Causation. Now, here's a low-level certainty: A swordsman takes a rapier and is able, while he is standing some feet from the target, to pick up his right foot and drop the rapier immediately into a pinpoint bull's-eye. That is certainty. That is competence. In essence, that is the measurement of the efforts and locations and distances necessary to make two points coincide at a certain instant in time. And that is really a low-level certainty. That is certainty in terms of motion.

We take anything that's running automatically, we take the fellow with purple spots in front of his eyes, and we say, "Put five more spots there." Now, widely get him to a point where he's the one putting the purple spots there — which is the truth. He is the one putting the purple spots there. That he can, by — merely by making a postulate, "There are now purple spots in front of my eyes," pang! — he's seeing purple spots. He hasn't got himself hypnotized. I mean, that's his native ability.

Now, there is above all this certainty in terms of motion and certainty of geographical location — you see, he has to know where something is before he can perform such an act — is the certainty of "whereness." And above that certainty of whereness, is the certainty of just being certain. Certain of being certain. Are you certain of being certain? And if there's any fast process under the sun, it is just simply the process of being certain that you're certain. I mean, if you could just all of a sudden adjust a setscrew or something in the left radar lobe of the thetan and he would then immediately become certain that he was certain, why, he would do all right.

What he wants to get out of is just because he says there are purple spots, they don't have to appear. He can say, "There are now purple spots in front of my eyes, but I don't see them." Okay, so he doesn't see them. "Now I see them." So he sees them. "Now they don't exist." So they're not there. See, this is real active.

So, things like prefrontal lobotomies, electric shock, automobile accidents and so forth, are tolerated in the society. Why? He at least gets the low-level — the lowest level certainty there is, of course, is the certainty of impact: He at least gets awfully certain all of a sudden that he's not there, see — which tells him he's not.

Now, how do you mock up something somebody else can see? Well, believe me, that's way up the line. That's way far in advance of anything we're trying to do right now. So let's not worry about these odds and ends. Let's just simply look at mest, and even with mest eyes, and get the stuff to emote.

Now, if you have an occluded case, you can run this technique with some success on the case. It's quite interesting. "Now look into that blackness," you tell him, "and find four points where you are not." And of course, there's an infinite number of points in that blackness where he isn't. "I'm not there. I'm not there. I'm not there and I'm not there and . . . Gee, you know, I'm not there! What do you know! I'm not there."

When you've got that, a lot of your preclears who will otherwise be a little bit rough as a case (and that is, they'd take some smooth handling by somebody who knew what he was doing, so forth), you find out they learn how to do this, they say, "Body, body? There's lots of emotion, I don't have to have a body for emotion."

Now, if you think about it for a moment, one doesn't do this well with MEST eyes, because mest eyes aren't too adequate as locaters. But nevertheless, you get a person who is real — real, real poor, real bad off, and you start to say, "What room?" and he all of a sudden has to look at the room, and he finds some real object in the room, what he's actually saying is, "Look, there is a wall, and I am not in it." You see, "I'm not in the barrier" is the game — "I'm not there." And this is the — in the final analysis, is the whole drill: "I'm not there. I'm not there. I'm not there. I'm not there. I'm not there." So on, so on, so on, so-and-so. Real simple.

There's one other factor that you can put into things. Put the feeling of beauty and the feeling of ugliness into them. Sometimes this registers with a preclear far better than some other emotions.

Now, that of course gets him out of impacts. It also has a tendency to occasionally flip an impact through — swish, crunch — and he gets a lovely somatic. But the person who can't see as a thetan prefers somatics, because they tell him again where something is. He has a certainty that he has a somatic, and the somatic is that geographical direction from him. When he's real bad off he thinks he is the somatic. But even that is better than being nothing.

If anybody is starved for anything in this MEST universe, it's beauty. You can take the toughest, roughest boxer, the meanest, orneriest clown, the most debased thief, and beauty registers on him one way or the other. But it's very odd that when a person is very disgraced and very degraded, the one thing which instantly puts him to just sweeping shame, and just sweeps him back down the sewer in a hurry, is to be confronted suddenly with something beautiful. So there's a great deal to aesthetics which we mustn't neglect.

Anything's better than nothing according to his . . . He has become so terrified of being nothing — because he might be bored, because he has no right to be nothing — that he just overbalances the whole problem.

I wrote about it in 8-80, and you have the book — old 8-80 — "beauty and ugliness." Now, although we were running it there with dichotomies, it has actually never slackened off on its importance.

Now, the reason he doesn't remember past lives is again on this same vein: he doesn't because he's had to be convincing. And this is the other thing which everybody's demanded of everybody else — that they be convinced. "Convincing" is just a reason why. It starts originally as an impact and winds up as a logic. So we've got a reason why — a reason why of this, and a reason why of that and so forth.

You can ask some preclear and make him break right down and cry, "Where are you not being beautiful at this moment?" Well, this is the first thing we're going to do. We're going to handle feelingness, so on. As far as SOP 8 is concerned, this is your fastest, smoothest approach on SOP 8-C because it'll hit anywhere up and down the range of case with which you're trying to operate here. It won't hit all the cases you will run into in the society; not until you've patched them up somewhat and done this and that with them.

And if you want to beat to death any piece of logic — I don't care if it is in the field of physics, I don't care where it lies, or if it applies to railroad bridges or anything else — it has an essential frailty: there is an unreasonable assumption at the beginning or the end of any chain of logic, completely unreasonable assumption. And you can take any piece of engineering, any piece of chemistry, and just run it back to the completely unreasonable assumption, and the fellow says, "Oh well, you're going too far!"

I've seen people shriek when you ask them to do this. You say, "Make that feel a little resentful."

You say, "Well, just a minute," you say, "the science of physics is a science and so on, and it starts from this and that." And you just run it back one step further than they started it.

"What? Make that feel any way at all? It can't feel."

And of course they say, "That's unfair."

Well, that's really the truth of the matter, but you press it a little bit. You say, "Oh, well, go on and make it — make it — make it think a thought."

Why is it unfair? Well, it exposes the fact that it is simply a chain of assumptions. And what it is, is a chain of the agreements which we have come to realize — realize is reality. And that chain of agreements as it goes back, of course, is very beautifully laid out.

"It doesn't think!"

Physics is the study of barriers. If they — if anybody had ever classified it as the study of barriers, it would be about eighteen times as workable as it is right now. The study of barriers.

"Well, make it. . ."

You take weights and balances and so forth — well, what sort of a barrier is required to, and what sort of a mass is required to? In other words, what do you have to dream up to dream up something else so that you could dream up something?

"Well, it doesn't do anything. And nobody can do anything to it. And you should know that. What are you trying to do with me?" And have them get up and try to walk out! Real upset! And your bottom-rung cases get into that kind of condition.

The test of this is, is people who go into physics and science — all due respect to people present — people who go into it, keep going into this "There's got to be something; there must be something; there must be something and it must be reasonable."

We will take up — as soon as you've handled emotion adequately, we will take up with regard to that, thinkingness and lookingness with regard to that. And on some of the cases that have hung fire we find out that it's — they're so convinced that something should be able to look but mustn't look, and they're all hung up on viewpoints. mest has viewpoints, so you have to be able to hang up viewpoints pretty good before you're very able. Okay?

Now, actually, a thetan is totally capable of doing this mock-up. I mean, thetans are good at it and bad at it, but they're totally capable of doing the most fabulous mock-ups in terms of agreements. And boy, can they prove things! And so we get this concatenation of logic which finally winds up as a very concrete science. But why is it concrete? It's because it's the science of barriers. It's, how do we agree to make agreements which will convince us at last that there are limitations and barriers, so we can have a game.

Now what questions do you have to ask about all this?

Now, as we go down in physics and we get down to the electron — they're being very careful these days not to look too hard, because of course there isn't any electron there. Have to be real careful of that one! They get down to the biggest something they have ever encountered and find nothing, you see. And a physicist is — if he's really convinced that physics is physics and that is all there is and so forth, he gets convinced that he's an effect of this stuff, and that it's real, and he knows he's nothing. And then he gets down and he starts looking for the basic somethingness, and he's indulging in a search for something. And it's always a search for something, rather than a search for nothing. And he gets down to the base of it, and he's up against that conclusion — he's got to conclude somehow or other.

Male voice: Is that related to the ability of personalizing? You see a little dog and you practically make him talk.

Sir James Jean for instance, he "sciencifies" all of his life — lovely word, terrifically descriptive of such a guy. He "sciencifies" all his life and when he gets down to the final notch, he says, "Well, think I'm screwed up anyway — all must have happened on the explosion of an atom."

Yeah.

"Hey, where'd you get the atom?" you can say immediately. Only he never quite answered that question. He never dared wipe out that possibility that there was one atom. He'd reduced the whole universe to one atom. Well, where'd he get the atom? Where that come from? And you're immediately at the unreasonable assumption — even of Sir James Jeans.

Male voice: I mean, you put into him . . .

All right. Oh, most scientists just toss in the sponge, buy thick glasses, try not to perceive anything real, and say, "Well, in the final analysis, the prime mover unmoved — God — started it all." They get to this point. They run through complete atheism finally back to an inverted eighth dynamic and lie there over their test tubes cowering slightly at having tampered with God's material. And there sits God right in the middle of the test tube — themselves!

The thetan does that. That's the best thing he does. A little kid does this all the time. A happy tribe, happy natives, across the world do this all the time. Everything is superpersonalized. But then they, by the way, they build it into an automaticity.

Oh, a thetan can do wonderful and marvelous things. What he survives that he himself does to himself is far more remarkable than what he survives that is merely done to him from some outside source. How he can survive what he does to himself — I'm very puzzled. I am. I've seen fellows going in for hypnotism and going in for this and going in for that; and then I pop them out of their heads, finally get them out, you see, and they don't like this. So they immediately start mocking up more machinery and more complication, and they're all bogged down about three days later.

Male voice: Yes. It always answers.

That's why somebody took a license and said, "Well, now a fellow has to make up his mind to be Clear and then he's Clear. And if he'll just make up his mind to be Clear, then he'll be Clear, and that's all he can do. But at first he has to make up his mind to be Clear. And that's what's Clear."

Yeah, so ... Any other?

Gave a talk on that one time — the first hour I said all you had to do was make up your mind to be Clear and you could be Clear, and there was no reason why you couldn't do this. And then spent the second hour of the lecture — which nobody has ever played since — and it's stating the innumerable reasons why one just simply can't make up his mind to be Clear and be Clear. Nobody ever listened to the second tape. (audience laughter)

Second male voice: Ron, like sec, running the emotions on the second dynamic there, just how far shall we go? Like sexual emotions and things like that?

Now, it hasn't very much to do with it. You'll find a person coming up the line sooner or later, if you process him, he'll make up his mind, "Yeah, why not!" He kind of looks around carefully and cautiously and he says, "There's enough randomity around. Yeah, I can sacrifice a little bit of randomity, little bit of identity. I'll be cleared — providing it isn't too unlimited." And then he says to somebody, "Now the trouble with clearing is it's an absolute term. And you've made an absolute term out of it."

Hm.

Of course, anytime you try to move anything even vaguely resembling an absolute in on a thetan, you are moving nothing in upon nothing, and you've really got a bad time of it. All right.

Second male voice: The gamut of maybe puppy love or things like that?

Just giving you some basic essentials here as we go over this. Giving you some sort of an idea of the character of the beast and the direct target of processing. And that target is to increase the causation of the thetan. Not necessarily decrease the effect — we can just neglect that. If we really want to, we can just neglect it utterly, and our boy will be in good shape. But if we neglect his being causative and specialize over here in effect, we might as well just neglect the boy, because we'll bury him. You see that?

Oh, sure. Sure. There's quite a wide band there. I just leave it to your imagination. I point out to you that there's a nostalgia comes into the second dynamic, too. And there's a high — sort of a high whine ecstasy that sounds like an airplane in a power dive. And there's a tremendous gamut of these emotions there.

So let's take the first three steps and see that they're somewhat causative, and then they start concentrating on geographical locations and making space and so forth, and the last four are trying to get him out of being an effect. And the whole kit and caboodle is designated in one direction, is to give him some certainty. And the whole thing is characterized by the fact that in Scientology, we have various kinds of barriers. And as these barriers arrive, knowingness becomes lookingness, becomes feelingness, becomes effort, becomes thinkingness, becomes lookingness, becomes feelingness.

You understand that these characteristic emotions, as they go down scale — you go from 40.0 down to 0.0, why, and -8.0, you've got your emotions going over and over and over. And most everybody is to some slight degree in the effort band, or below the effort band and in the thinking band. So it's of great importance.

You get the DEI cycle as we go down this Tone Scale? See? Desire, Enforce, Inhibit. Desire, Enforce, Inhibit. Desire, Enforce, Inhibit. Each one: stage, stage, stage, stage, stage — we got the cycles of action there. Your basic cycle of action is in terms of perception and motion. And of course, perception is communication, because we have a transfer of particles. So we were right there on: Feeling is condensed looking. Effort is condensed feeling. Thinking is condensed effort. So far we go — we've got thinkingness now, but it's not very serious until thinkingness starts to get down here below 4.0. And boy at 4.0, you start in on the basis of looking with mest eyes, feeling with mest emotions — and here we go, see. Now we get thinking, and of course that's a circuit.

Now, if somebody hangs up and he's having a real hard time in this class, just make him make the things think a thought, and you'll get along better. And put something else into them — effort. "Now put some effort into that microphone," see? "Now put laziness into it. Now put some effort into it." That's real low band.

"Well, I get along all right," the preclear says, "but — except I hear my mother's voice all the time cautioning me, you know, about it."

Male voice: How about putting the minus Tone Scale into things? Hiding.

And you say, "About what?"

Well, all that emotion down that line is wooden — pretty wooden. I'd rather get a stronger emotion on the upper band. But that's a good suggestion. Good suggestion. Anybody can stretch that out that wants to. There's that old minus scale there. "Put a protective feeling in this table." And of course, there's one danger in that — that's what this stuff is: barriers to protect; to protect and to protect other things.

"Well, just about things, you know. I say something and then this other little circuit tunes in and somebody says, 'Heh-heh-heh-heh-heh,' and repeats it."

You can put minus scale in there and you can put the whole band from top to bottom if you want to — including effort, including thinkingness and so forth. But specialize in the Tone Scale as it goes from 0.0 on up the line, the second dynamic and ridicule. That pays off, very heavy. And disgust, which is about the same as ridicule.

So we get down that far, we're too deep into an effect. And you're trying to move a preclear — not at the top — to top at knowingness: you won't ever audit him up there. You won't audit him from 20.0 up. He'll be gone by the time you succeed that. He — one day, without probably even shaking you by the hand, he'll all of a sudden not be present. You'll call up his wife and — something of the sort, and you find out that — well, there's — he went on a trip and so forth.

Only you'll find out that if you start running much disgust, you'll find out the fellow is starting to be an effect slightly. This is a double-terminal process. This really belongs — if you want to know where it belongs in SOP 8, it belongs at V, really. Because it's a double-terminal proposition. It solves a person from discharging against emotions and being an effect of them.

I mean, everybody comes around and says, "Show us a Clear."

But you're not trying to process him so as to run out a bunch of emotions, so he will discharge against these things. You're trying to make him do it independently so he doesn't discharge. And you're trying to give back to him the control without running a single thing out, and without any anything in the bank. You don't want to even worry about it. If he starts worrying about being an effect of it, well, you just overlook it and keep pushing to make him a cause on it.

I say, "Well I've got one in a cage, right here. He consented to be in a cage and . . ." (audience laughter) Oh yeah?

You find many people, they say, "Well, I know how that stuff feels."

There's two classes of this. On a lower harmonic — I don't want to give the idea all your Theta Clears will shove off, they won't. But on a lower harmonic, he's so anxious to get out of the body, and so frightened of being an effect, that he does — to be British — he does a bunk. He just scrams.

And you say, "How does it feel?"

You say, this perfectly sweet girl; she's generally — generally — or boy, and generally they're a little bit nagging about life, a little bit plaintive about life, but you hardly ever suspect. And all of a sudden you say to them, "Be three feet back of your head" — there they go past Arcturus! And you'll sit there, pleading with them for a half an hour, "Move your hand. Come back enough to move your hand."

And they say, "Well, it feels disgust."

"The hell with it. I don't want anything to do with that body. It's a body. Somebody gave me a chance to leave and I'm gone!"

"It does?" you say.

One preclear in particular, that — his auditor said, "Think of your child. Think of your child. Get your . . . You know, how will your baby get along if you don't come back?"

"Yeah. Sort of a disgust for itself and a dirtiness, yes."

The body just — plop, see. Completely inert. Just completely deserted.

Oh boy, climb the nearest fence, boys, here we go!

"Think — think of your husband. Think of your mother. Your father. Your obligation to the society." For half an hour, see, he goes on talking to this inanimate body that's just plopped, like it was stuffed with rags or something.

Okay. Any other questions about this?

And finally, at the last, the auditor got a tremendous inspiration and he said, "Well, think of your poor auditor!"

Male voice: Yes, after you spoke about putting the second dynamic emotions into things, and spoke about disgust and ridicule, you mentioned, Ron, something about light and electrical objects.

And the person straightened up and said, "All right." (audience laughter)

No, light and electricity.

That's doing a bunk. Nobody's done a bunk on us over here. But that doesn't mean it won't happen. Swish! Two light-years past Arcturus, and still going!

Male voice: Light and electricity.

Another thing is, they very often — and this has happened over here, they — very often you say, "Be two feet back of your head."

Yeah.

They say, "All right." And then, splash! and they stick on the ceiling or something, and they get involved in the light fixtures, and they don't know which is right side up and which is upside down. And every time they start to move back toward the body or in any direction and so forth, the room will invert again. And their gravity — they've done an inversion on gravity, and up is down and so on, and they're having an awful time. That's real bad state of confusion — everything is inverted.

Male voice: Putting it into . . .

Those are the only things you're liable to run into that might be perplexing early in the course. If you run into anything like that, why, just give me a ring. I'm always available, and I can audit somebody back. Put the telephone up to their ears. I've done that often enough.

Well, I'll give you an example. Put some light in that wall.

Well anyway, the next thing I want to give you here in a hurry is the immediate drill which I want you to take up today. We're going to break the class into two units, just to speed cases in general. But we're going to do, not Group Auditing on this assignment, we're going to do individualized auditing — team auditing. And we're going to do this drill. And we're going to do it until everybody in the Second Unit is perfect at it — and I mean perfect! And it may take us a couple of days, maybe three days, but let's get real perfect at this.

Male voice: Oh good. Thanks.

Put the whole Tone Scale as represented in the Handbook for Preclears — you know that chart in there? It has, over on the margin, it's got several extra emotions. Put the whole Tone Scale and feel it back from any and every mest object you could possibly contact and connect with. And hang out the window and throw it into — make, put that — emotions, various emotions, into people, and each time get it to a point where you can feel them back; until you're absolutely certain the emotion is in that person, and that you do feel it back. And so that one can put the second dynamic sensation into mest objects and people, and feel it back with such liberality as to leave no slightest doubt in his mind that it is really — there's lots of it and it's not scarce, and he doesn't have to hang on to a body until the end of time just because of it.

Well, do it.

And that will speed up Theta Clearing like bullets out of a gun. That's right, because that's a lot of the reason people are being very careful of the body. And it's a lot of reason why people have bogged down, because of that doggone second dynamic sensation. It's a condensation of lookingness which inhibits people from perceiving.

Male voice: Yeah.

I'm not knocking it apart, you understand. But I'm just saying the idea of trying to get this — trying to get it out of a body is, boy, that is — that's really a complicated problem for somebody. I mean, that was the silliest idea anybody ever had. The body has — it's fairly condensed, and lots of it. And the first time a thetan hit a body, pam! You see, that's the basic on blanketing. And an individual has to be very — you as an auditor have to be careful of that one, to make sure that the person is making it into these objects.

Got some light in it?

And how do you do it? You do it on just gradient scales. That's all. You just put a little bit of these various basic emotions, which are very easy for the preclear: center line — little bit of resentment — you know, take it easy. Little bit of resentment, little tiny bit of boredom, so on, until you're real — build it up. And then get the extreme emotions finally, like enthusiasm, apathy, terror and so on. Boy, what it does for a case to all of a sudden be able to look at a MEST object and it's radiating terror — but I mean radiating terror!

Male voice: Yeah.

Of course, the final analysis of this is, you go down — you get real good at this, as good as you're going to have to get in the next two or three days. You get as good at this — I don't care whether you do it interior or exterior. If you can do it while exteriorized, wonderful; if you have — aren't exteriorized yet, well, do it anyway, because it won't mess up the bank. You can get to a point where you will suddenly look at somebody that's walking down the street and you say, "Terror," and feel it back.

Now put some electricity in it.

(Recording ends abruptly)

Male voice: Yeah.

Okay. Put some light in it now.

Male voice: Yeah.

Put some electricity in it.

Male voice: Yeah.

All electricity is, is light with effort in it. You get the idea?

Male voice: Yeah. Thanks very much.

Did it kind of flare up for you?

Male voice: Yes.

Good. Good. If you get real hot at this, you can short-circuit out E-Meters.

Okay. (You have to provide your own, though.) (audience laughter)

All right. That's the end of this lecture.