I’ve given you a Straightwire process.

As I understand, at the last lecture, some of the people didn’t know all there was to know about this at the end of the lecture. In fact, I was given to understand that two or three people were — well, to be blunt — confused as the devil. I So tonight I’m actually going to give you two talks. And the first one is the Straightwire and the second one is the standard process of 88.

What I am giving you here is used by the auditor on a preclear or is used by the preclear on himself.

Now, oddly enough, these two techniques form the backbone of 88, but they are essentially very, very simple. So if there were someone here tonight who knew absolutely nothing about Scientology or Dianetics, if he took — very carefully — cognizance of particularly this Straightwire technique, or the heavy processing technique, he could use them. He could walk right out of here and process somebody. Of course, he’d be in lots of trouble in a very short space of time, but this person would know that something has happened! (audience laughter)

If you will take the salient points on 88 Straightwire, and write them down and go over them and over them and over them and over them . . .

There’s always an advantage in knowing background. You can use this 88 Straightwire, and if you didn’t know anything about the whole track — neither you nor the preclear might know anything about- the whole track — you might not know this thing goes back a couple of hundred thousand years, and this preclear has had as many bodies as the local tmdertaker. You might not know that or appreciate it; you might say, “Well, this doesn’t exist.”

If you will go over these points and pick up every single incident that you can find wherein you’ve tried to control people on the level of aesthetics, where you have tried to control people in general, where you’ve tried to make people know, where you’ve tried — and this is very important — to make people stand still and stop moving; and when you’ve tried to make people start moving when they were standing still. If you’ll just go over these sensations — over them and over them and over them and over them — the first thing you know, you’ll get this effect: All of a sudden you’ll be standing back of yourself.

I mean, just after you’ve processed the preclear for about six hours on this Straightwire, preclear is getting fine, the world is looking very bright. They are not even vaguely confused about anything anymore, and they know just now, just exactly what’s wrong with them. And they’re going along — and all of a sudden they’re standing two feet in back of themselves. This would upset them. People don’t like to suddenly find out that they aren’t them. It upsets them very much.

Now, I won’t tell you how long it will take you, because that very definitely depends on how much you apply yourself to it and how honest you are in trying to find them.

After you’ve given this Straightwire for a short time, or sometimes a long time — ten, twelve hours — your preclear is all of a sudden going to get the funniest feeling, like he’s pushing up against something. And he’s going to say, aI’m stuck here. Funny sensation. Like — it’s like I’ve walked into a post!”

But you just get the concept of doing that. You don’t even have to find the incident. You get the concept and the concept will find the incident for you.

And if you didn’t know the background on whole track or if you were saying, “Well, we’re going to wait and see. And maybe after the University of Chicago has heard about this in the year 2562, why, and they’ve said it’s all right, why, we’ll accept whole track.”

You get the concept of controlling — of trying to make somebody follow the field of art. Just get the concept “I’m going to make somebody be an artist.” “How would I feel if I made somebody be an artist? Well, let’s see, how would I feel if I made somebody stick to his painting or stick to his writing or something of the sort? How would I feel? What would be the concept of making somebody do that?” And you think about it for a moment and you think about it and all of a sudden you say to yourself, “Yeah, Agnes. Huh! Yeah, I was in — I was in high school.” And these incidents will start to turn up.

“But meantime, we’ll just go along with what Hubbard says here because we realize that it’s some manifestation of the theta body — or just, you know, everybody’s an electronic field, and he’s just interpreted it kind of wrong.” There’s lots of grief waiting there for you, because, as I say, after a few hours of this stuff, your preclear is cognizant of the fact that there’s something different. He didn’t realize that this was what’s taking place.

You feel this concept; you get the concept. Now you can get the concept in reverse. You can get somebody trying to control your arts or criticize you artistically or turn aside things which you think are pretty — just try and get that, back and forth — this concept.

And you’re busy, not trying to pry him off of this life’s body — you keep saying, “Well, go on, now, go on. Let’s get that ‘hold’ feeling, get that ‘hold’ feeling, now. How old are you?”

Get the concept of actually putting out a force wave to make somebody know, to make somebody understand, to make somebody be. How would you feel if you started to make somebody be? You wanted somebody to be. Just what’s the concept of making somebody be? And you feel this concept. And the next thing you know — ptock! — somebody will turn up. Well, that’s Concept Running. You keep running that material in that fashion . . . All this, by the way, is going to be part of a book I’m writing at the moment, which will be out when I’m darn good and ready. (audience laughter)

And he’ll say, “I don’t know. I keep seeing — I keep seeing my eighth wife and — in this life and. . . But there’s a shadow standing in between us.”

But also, some of it will be the subject of articles in the new magazine Scientology, and this will also be in an early issue.

And you say, “Well, go on, process this life. (Now, what does he mean ‘a shadow in between us’?)”

There is your Straightwire technique.

And he’ll say, “You know, this guy that’s standing in between us isn’t a shadow anymore. He’s wearing a ruff! He — he’s — he’s wearing this big ruff!”Well, of course, by that time the preclear would be certain that he was crazy. What you’ve done, you’re processing him off one of the first bodies he got stuck on, in the year 1528. And he’s on to somebody with one of these Elizabethan collars or something. And that body is this distance from him. Because, you know, in overt acts — man has become more and more chary of overt acts. You can go down back along the line and you’ll find this weird manifestation.

Now, getting somebody to stand still, or getting somebody to move when they’re standing still, takes the locks off of the heavy process. So when you run this heavy process, alternate it with some Straightwire, because all of a sudden you’ll start to feel in this incident, “Oh, my God, I’m going to spin; I — I just know I am going to take off in the next couple of seconds.” You just tap yourself on the shoulder and say, “Steady down, old boy. Now, when did youmake somebody stand still?” “When did you try to make somebody turn around?” “When did you try to make somebody move who was standing still ?” “When did you try to control somebody to make them write a letter?” “When did you try to control somebody this way, that way, the other way?” “Now, when did you try to make somebody think something was beautiful?” and so on. All of a sudden you’ll come right on up with the type of incident which I’m going to give you now.

At first, when somebody did an overt act to somebody else, he bit him. That’s the first line of the overt act that you find, is teeth — urrh!

In other words, that’s a Straightwire and, actually, the bulk of this will be done by auditors. And when you’re running this heavy processing, it’s a good thing to have a check on a machine with an auditor once in a while. But you can run an awful lot of this stuff by yourself, if you really know what you’re doing.

You run somebody back down the genetic line, by the way, and he’ll get awfully surprised because you say, “Bite,” or you just tell somebody, “Start biting.”

This is the first heavy process which could be self-processed. And so far, there have been no casualties. (audience laughter)

Bite, bite. “My teeth are getting bigger!” Bite, bite. He’ll get real upset, because his teeth are getting about this big, see, great big choppers out here. Very early on the track when you bit, you bit! Somebody’s head flew off or something of the sort. That’s on the genetic line. All right.

Okay. Heavy processing of 88 is known as Black and White. This is the simplest thing that you ever did. It is handling more TNT and nitroglycerin per square inch than you’ll care to do for more than six or eight hours a day.

Now, the next thing, they were sort of hitting each other and striking and scratching. They’d sort of backed off of this biting. That was too close an overt act; they’d worn that one out completely — scratching, biting.

But you’ll find yourself once in a while starting to run this when you’re off by yourself or when you don’t want to run it. You’re trying to get some work done and you insist on processing, and you try to get some work done and you’ve got a headache and you insist on processing, and you’ve got to get this work done, but you keep on process . Well, when that sort of thing starts in, normally in the past, well, a fellow just kept on spinning and that was that.

Now the next thing you know, it’s all hitting. It’s clear out here at arm’s length.

Well, fortunately, all you’ve got to do when you get impatient about this thing is just run the Straightwire which I have given you.

Now they get a dagger, and that extends them a little bit further from the victim. See, they’re getting charier and charier of hurting another being. So they get this dagger and that extends them out a little bit further. And then they get a stone ax, something like that, and that puts them a nice ways out. And they smash a few dozen skulls with a stone ax and they decide that isn’t so good.

You say, “Ah, I don’t want to. . .” You keep running this white streak And the devil withl that white streak. Well, just the first thing that comes to your mind: “How about controlling somebody and make them do this and keeping somebody from doing that” and so on.

By that time they’ll start using a spear. That gets the fellow about twenty yards away from them. Then next thing you know, they start using slings; they don’t kill — like to kill people close up now. The person is better if he’s thirty, forty yards away. And they finally work on up to an atomic bomb. The person has to be at least eight or nine thousand miles away before a person feels comfortable about killing him.

All of a sudden, you’ll strike something that’s quite real to you — an incident. You’ll hit that one, you’ll hit another incident, you hit another incident, and the next thing you know, you’re in present time and the whole thing has clipped out — until the next moment when you see a white streak.

For instance, if Nagasaki were in New Mexico, none of us would contemplate dropping an atom bomb on it. But Nagasaki is seven or eight thousand miles away, so that’s all right.

Now, you understand that there’s a certain difficulty in processing a thetan with a splinter in the middle of the field. Here’s your field. And if you were a thetan, the best way to process this is put your MEST body down on the couch and go on over in the corner and run this stuff out, see?

That is what’s known as an extension of the overt act. It’s a complete cycle.

And if somebody comes in and you’re sitting — and your MEST body is sitting on the couch, and they say to the MEST body on the couch, “Dear, why don’t you come to dinner?” why, just remember that — to run some Straightwire a little bit and run out that complete shock, and reach over and take hold of the motor controls and send this thing in to dinner. And make polite conversation and go through the motions and so forth.

Little boys will go through this cycle in one lifetime. They’re perfectly willing to chew up, hit, bite, and so forth, other little children, but you’ll find pretty soon they’re out there to the level of where they’re using hoopsticks. They want to back up.

The easiest way to do it . . . And by the way, people hearing this for the first time probably think I’m completely mad. You know if I couldn’t show this to you in a couple of hours of auditing or if I couldn’t show this to you on an E-Meter or if it didn’t click with you very well, you know, I never would dare to come out with this stuff. As a matter of fact, I never came out with it until I was fairly sure that I could demonstrate it to people.

Actually, there’s a terrific back punch. There’s an energy wave flies out of human beings when they’re hit — a pain wave. It flies off of them. It’s counter-emotion, it’s counter- thought. You get these off of people. It’s uncomfortable. And it’s intense by the square, just like electricity is or radiation is. And so it gets less intense by the square as they get away. So if you can be two or three feet away from this fellow, why, that’s much better.

But this business about a past life or a fellow dying in the year 1720, well, that’s highly open to question for the good reason that it has locks on it. Every time the fellow read about somebody being killed in the revolution . . . He starts to run getting killed in the American

Did you ever put your arms around somebody who was crying and felt very bad? Well, you’ll be willing to do it a few times. Pretty soon, why, you’re much more prone to sort of pat them and have them sit down over here. All right. It works that way with a theta body, only it’s exactly. in reverse. The first time that you as a — your theta individual, that is to say, the energy level which is you. . . By the way, they’ve been talking about this for thousands of years. They’ve been calling it the human soul and they’ve been saying it went to hell, and they said it sinned and it finally wound up going to hell. Or, if it was very, very good, it went to heaven. Well, I can corroborate the first part of the statement: A theta body inevitably winds up going to hell, because this is hell. And they evidently spin on in from here.

RevoluS tion and this lock comes up that he read in a book, see? The book is an aesthetic, and it’ll really hang up these deaths. The more you read about them, the more aesthetic it is. How brave it was for this dear boy.to plant the standard again on Mount Sumter.

A theta body that has a MEST body probably does not keep it more than, at the outside, a hundred and fifty generations; I mean, that would be absolute tops. It’s usually probably more on the order of thirty or forty generations. And then what does it do? And then it becomes one of these entities you fight, evidently. All right.

And maybe you planted a standard sometime or other and the standard was quite pretty, but you didn’t think so at the time because you had your guts blown out with grapeshot at the time. And it made quite a somatic, which is — now gives you indigestion.

So, there — it does go out the bottom. The theta body, evidently, does not survive. But how does it do this? At first it has enough power and influence so it can take a MEST body. And this MEST body — rather stupid, moronic MEST body (a MEST body’s a vegetable) — and it can control one up there maybe two hundred yards away, maybe that far.

Well, you try to tell people about this, see? You try to tell people about this and they look at you and they know darn well they haven’t lived before; this MEST body hasn’t lived before. You see, they think of themselves as their MEST body, and they don’t think their own track has any validity.

You see a fellow walking down the street, and you’re a thetan, and you see this fellow walking down the street, and you say, “Jump!” And he’s two hundred yards away and he goes and he jumps. You say, “That’s amusing.” And you play with that for a while. And the next thing you know, you can only handle one a hundred yards away — they only jump when they’re a hundred yards away. Then one day, why, you find out that you can most easily handle them when they’re about seventy~five feet from you, and you can really have an effect on them. You’re not stuck on them by this time.

So they say, “I know this body wasn’t — this body was born in 1915, and they — it’s got a birth certificate. And so there!” So you don’t get anyplace with it, because you have to have the preconcept and it doesn’t prove itself out in the first place.

But one day — one day, you grab hold of one too many MEST bodies, and you’re sort of going down the line on charge, and this MEST body is about that far from you. Usually you grab hold of it from the back and usually connect up with the motor controls. It’s about this far. So the first bodies that you pick up are about that far.

So you’re up against a difficulty right away when you start running heavy processing with a theta body in the field, because the theta body magnifies the somatics. So here’s this theta body — pardon me, this MEST body in the theta field. Here’s the thing in here. Of course, your — the engrams that you’re running, you’re going to start to run these incidents out and if you just had a theta body to run them on, you could go ahead and blow them up as you come up the line. You come up the line, it’s very easy to run an incident without a MEST body around, because you look at the incident and you say, “Poof ! Bang!” and it’ll blow up — nice and violent! And then you run out the blowup, and that’s all there is to it.

Now, in this process of Straightwire, you will actually start finding this body out here. Why do you find this one instead of your present body? Well, that’s because this is basic. This one out here is basic. This is the first body you really got stuck on, but thoroughly.

You just put enough attention units at any facsimile that’s got vio fence in it and it’ll explode. You know death shock? You know, a person puts out an awful lot of energy at death. You’ve heard a lot about this. Well, if the fellow has any facsimiles sitting around here, he puts out this big death shock bzzzzzt! and of course, it’ll hit his facsimiles, and of course, everything goes into reaction on the facsimiles simultaneously and it’s just like an explosion. They go boom!

Of course, you understand earlier there were blanket incidents whereby you actually settled over a body and are holding on to it, but it’s just a single engram. I’m talking now about being a MEST body.

In blanketing, that’s very interesting, because you blanket somebody who dies and there they are — they die, and they start to explode. And then they pull themselves in and that blows up whatever facsimile’s in restimulation — explodes it, really. So you don’t like the explosion, so you come in on them, bang! like this to hold them, and that blows up the rest of their facsimiles. And it’s very uncomfortable and gives people anxiety stomachs, and they have to take magnesium tablets and things.

So here’s this body out here, arm’s length — way out here. Next generation — here, next generation — here, next, next generation, next generation, next generation, next generation, next generation. And this generation, you’ll find quite a few people around who have their body right about here. You’ll find them walking around and quite surprised when they go back on the track. aAll I can see is the back of my neck. I never can get in valencel”

That’s the source of an anxiety stomach, by the way. And if you don’t believe it, get somebody with an anxiety stomach and try to cure it any way you want to, until you say, “Get the idea of going over the top of somebody, settling down and they blow up.” All of a sudden, he’ll run the thing out.

“Well,” you say, “get in valence!” you know, kind of mean and so forth, and they can’t. Why? Because you’re actually running the thetan viewpoint. Wonderful. The guy is much saner than you thought. That’s where he’s supposed to be! All right.

So, you understand that you’ll get somatics in the MEST body by running these incidents [tapping on blackboard] this way. Nevertheless, it’s very desirable, because occasionally there’s something wrong with the MEST body — you want to hang on to a MEST body, you want a MEST body, it’s fashionable, there’s a fad on about it or something like that — you would run it.

But the most of the people which you will process, ten lives back, will actually be concave. You’ll get this funny somatic, and it’s a cave-in somatic. Their face feels caved in, their chest feels caved in. They feel just caved in all the way down. Their legs feel cupped and caved in. They’re lying right up against a MEST body, and they have the solid impression of that MEST body impressed into their body. Very solid.

And what do you run? Do you have to accept the premise of whole track? Do you have to accept the premise of a theta being? Do you have to accept any premise at all? No, you don’t. You don’t care anything about that; you don’t have to tell a preclear anything about that. All you do is run the white spots. This is fascinating, it’s fascinating. You don’t even have to know anything about the behavior of these things.

You run into this cave-in somatic right away. I mean, there’s no trouble running into this. This is the easiest thing in the world to run into.

An individual can shut his eyes and he can look around, and he can get an idea that there’s a certain area, there’s a little area of white. In some people it’s quite plain, some people it seems rather imaginary. And he gets this little area of white. Well, you just ask him zMou get that area white now? Okay. Now, what do you do to turn it whiter, to make it more white?”

But when you start processing with this 88 Straightwire, you’re going to start processing in this lifetime, and your individual is going to start picking out people out here in this lifetime. He’s going to start picking out people — well, there was somebody, and his mother used to stand here, see? And as he talks to his mother, he gets this funny feeling of sort of being caved in. He wonders what that is. Actually, the basic on it is a body standing here.

And he’ll say, “Well, I put my attention over here. Yeah, yeah, and it gets whiter. Well! “ “Now what do you do to make it whiter?”

Now, you don’t have to tell him. You don’t have to tell him what he’s running into. Let him spin. And he will! You start working him on the couch and the next thing you know, this is — he shouldn’t be doing this. It shouldn’t be this way.

Well, I sort of have to — let’s see, I pull in my back like that. Yeah, and it gets whiter. Yeah.”

And you let him run on and on and on, and pretty soon he’ll look at you rather worriedly. And he starts to say — well, sometimes he’ll say, “I think I’m hallucinating. This is all dub- in. I feel I must be going crazy or something.” There he’s getting too much randomity — unknown datum. Or he’ll say, “Can it be I’ve lived before?”

And it’s a big gag, see; he doesn’t know what’s going to happen to him. (audience laughter) You say, “Get — it’s going to get whiter now. Now what do you have to do to turn it real white?”

When he starts to worry about his sanity, or if he asks you if he’s ever lived before, is about the first time you have to impart any information to him. Let him find it out. Just let him walk into it with all four feet. Now, he’s going to; don’t worry about whether or not he’ll get there. Depends on how good you are and how long you process him.

“Well, I have to pull in my back and hunch my spine. Say, it gets white all over this side now. Gee — ouch!” There you go! You’re off to the races. He saw something turn just a little bit black for a minute and that was the somatic coming through.

But you can be just terrible with this technique. I mean, you could just be so bad that you only got one sentence of what I said tonight, and this fellow, if you process him enough hours, is going to wind up concave, stuck on the MEST body, saying, “I can’t get off of this thing. What am I trying to get off of ?”

Now you tell him, “Now look, you don’t want these somatics. The best way not to have these somatics is turn it all white, all around here. Where do you have to put your attention to get it all white?” And he says, “All right, you put your — I have to put ray atten tion . . . I don’t know, it’s funny.”

This girl — “I’m terribly obsessed about my husband because he keeps walking away from me. Every time I try to talk to him, he walks away from me!”

And this is true, by the way He puts his attention at a certain spot, the center of a certain area. He puts his attention in the center of it and if he can hold his attention in the — he tries to put his attention in it and his attention slides off, and he puts his attention here and it slides off here. He hasn’t found the center of it yet. All of a sudden, he says — there, he’s got his attention right there. He’s holding it just fine. And he says, “Yeah, it all turns white. Ow!” There he goes again.

“Well,” you say, “that shouldn’t upset you too much.” “Well, it does! “

Now you say, “Look, hold your attention in the center of it there. That’s right, get it all white.”

What’s she got in restim? She’s got an old body facsimile out here, and her husband will be standing there, and as she talks to him she wants him to stand still. So she uses this old facsimile. And the actual truth of the matter is, she’ll send out a wave and try to get a wave and clamp it on either side of his head, saying, “Stand still, George! Now stand still.” And he walks away! Well, this is the equivalent of death. Because that’s what happened: Finally this person, when this body died and he got all putrid and everything, they had to leave it. It left.

“Oh, it’s running fine now,” he says. “Yeah, I’ve got it all white. Gee, that’s — that’s better. That . . . Oww!”

If you’ve noticed, you can take any 1.5, you can put this 1.5 in complete apathy any time you want to, simply by: Stand there talking to him a moment, he’s talking to you and he gets a little interest; get a little interest going, he really knows he’s communicating, and without saying — no periods or commas — just as in midflight, why, you can smile at him and walk away from him. He’ll go nuts! About the time you go into communication with him, what are you doing?

Now you say, “What happened? Did the little spot turn black?” “Yeah,” he says, “it’s turned black all over on this side.”

[drawing on blackboard] Here’s the — as a theta — you get your shape here somewhat. Here, by the way, this would be where a human being would be sitting here, see? And here’s the other human being — here’s the other body.

Well, if you want to teach him a good lesson, let him put his atten tion over there in the black, because then he gets a hung-up somatic. All of a sudden his jaw gets crushed and stays that way. And he puts his attention on this black, and as long as his attention is on the black and he doesn’t turn the rest of it white, he’s got a chronic somatic.

This body sort of goes out and puts a blanket. It extends itself, yet it — the way it’d look from here is a concavity, whereby you have this lobe would be coming out here, and this lobe coming out here, see? This is a concavity.

These chronic somatics pass for toothache; they pass for arthritis; they pass for bad eyes; they pass for headaches, for migraines; they pass for rheumatism; they pass for anxiety stomachs. Oh, just anything that can happen to a MEST body is held in place with one of these darn facsimiles, with the person’s attention on the black.

The 1.5 is stuck — and put that for a definition of a 1.5 — he’s simply stuck in an old hold- on-to-the-body engram, that’s all. And any time you want to drive him way low on the Tone Scale, just fish around until he looks comfortable. Just move back and forth a little bit closer to him, a little bit further away from him. All of a sudden he’ll look comfortable and kind of smile. That’s where he’s stuck. See, he isn’t mobile anymore. And he’s very comfortable; he’s got you right in the bracket.

And I’ll tell you why the person’s attention goes into the black here. . m a mmute.

Now get him communicating. (If you get him communicating very much, by the way, he actually will start to control you and hold you. You can feel a sort of rigidity start coming over yourself.) Get him to commu nicating, and just when he’s really communicating well, step away. Phwwt He’s died on you. It’s wrong. All right. Now you get this evolution, then, of this theta body. First, you touched them occasionally, long way away — you didn’t even have to come close to them. You’ve touched them a little closer, little closer, little closer, little closer.

But you say, “All right. Now you say your jaw hurts you? Well, where do you have to put your attention to turn everything white again?”

I’m pretty good these days, by the way; I can get down the length of a soda fountain. “Stop talking to that guy. Come here.” Swwt! — there’s the clerk. It’s very handy, very handy. Cat, for instance: A cat runs in the house and runs into the living room — ptock! — out.

And he’s very nervous about it. He says, “If I put my attention over there, it’ll hit me!” And you say, “Well, don’t worry about that. Put your attention over there.”

All you have to do — that’s really all you have to do, is just think, “Well, motor controls, ambulate.” It’s very simple.

“Well,” he says, “you know, nothing like this has ever happened to me before!” “Well, that’s all right. Put your attention over there.”

Now, you get this back slowly, this mobility, because, after all, when you’ve been hung on a body a couple of thousand years — various bodies — you get in the habit. And there’s various reasons why this is. All right.

“Well, it’ll hit me. It’s — I’m scared! I’m scared.”

The body that you’re going to find as basic on the chain is going to be out here. There’s going to be a facsimile, probably in restimulation, out here. And every time this person has talked to a human being in any lifetime, he’s put this one back in restimulation. So there’s always that shadow. And in a lot of cases, that’s his occlusion — that’s his occlusion.

All fear is, is simply a flow, a dispersal of energy. That’s all. And whenever a person gets a large dispersal of energy that’s going on, he’s feeling — very often feels the emotion of fear. The emotion of fear and dispersal of energy are one and the same thing, because the dispersal of energy makes him feel like he wants to run away. And it — everybody knows that when you run away you’re afraid. And that is the emotion of fear, is the dispersal of energy.

Because in that facsimile he was depending on that body to see, feel, hear, think. He thought the body was doing it. So, as far as he’s concerned, he didn’t exist; he couldn’t see, he couldn’t feel, he couldn’t hear. Actually, he was the only one that could. He was just routing it through the body.

So it’ll be quite common for your preclear or you, if you’re processing yourself, to suddenly feel afraid. Well, all you have to do is remember that that fear is not a fear of anything at all. None of these things are going to collapse and blow you up. Oh yes, occasionally you get a little shock — pow! — like blowing up a light bulb in your face or something like that. Sometimes it’s quite sharp. It’s actually an electrical shock; you’ve just fed too much juice to this facsimile.

So, as the person lives longer, he gets stacked up until finally he is just wrapped around this body tight, stuck on it completely; he feels like a board hanging on to himself. There isn’t a person here who has a live back — I know that. You can take a person’s back and find out what — the relative sensitivity between the back, for instance, and the chest. Take a pin, scratch them on the chest and register how much they jump. Take the same pin, scratch them on the back, you’ll find out that it’s somewhat anesthesed. A lot of people have a completely anesthesed back, and a lot of preclears, in running, have never had a somatic in their back area. Never had a somatic in this whole area and across the back and down. Why? They got it blanketed by their thetan. There is where they are! There is where they are — they’re on their back, they’re not this body.

Occasionally after you’ve run this for a little while, you start to go to sleep at night, you’ll be lying down there very comfortable and everything else, and all of a sudden — pow! And you say, “I wonder what that was.”

What process would you use, just calmly and in a very orderly fashion, without stirring up your preclear or challenging his credulity, how would you just sort of move him off of this whole thing? It’s very simple Straight wire — exceedingly simple.

Well, all during the session that you were running yourself, there was an area over here, another facsimile that you weren’t running at all, and it was just getting charged up beautifully. And you wouldn’t pay any attention to it; you were avoiding it. You didn’t tell yourself or tell an auditor that there was a black spot there all the time you were processing yourself. And when you relaxed, you had run across it enough so that it actually dispersed. Minor shock — you’d get it maybe off of a small flashlight battery or something; it isn’t anything at all. But it’s a shock.

Now, you understand that the thetan is actually putting an output of energy into the body. The body does a little bit of backflow, usually on an emotional line.

So you can expect one of those once in a while. And a person becomes afraid. They become afraid that this thing, if they ran it, it’ll kill them. They know that if they put their attention out there ten feet to that spot, that at that moment they’ll die. And they’ll put their attention out there very gingerly. (pause) Pow! Nothing happens — “Ow!” Just about that fast, because what they’ve done is get their attention up there, and they’ve — second they put their attention on the center of any of these dispersal points, it’ll start to radiate.

A MEST body is incapable of high-level thought. The highest wave that it puts out is somewhere in the vicinity of about .01 centimeters. It’s a very, very long, heavy wave.

I’ll tell you why all this takes place in a moment. But you get this dispersal, you get this flow, and the only thing you do in this whole process from beginning to end is ask the person “What do you have to do to turn it white?”

When you say somebody is very — an emotional sort of a person, you don’t like this idea of an emotional person — you mean they have this heavy-wave thing, and they’re depending too much on the MEST body. The MEST body will emote at that level, but it doesn’t think. It’s a stimulus response mechanism. There isn’t a mest body in existence higher than 4.0 on the Tone Scale. And that’s why there was so much concentration on 4.0; following the genetic line, considering the MEST body really was something, wasn’t a stalk of celery.

The person will say, “It’s getting blue over on this side.” “What do you have to do to turn it back white?”

You got the idea that a MEST body was something terrific because you saw MEST bodies going around and doing things. Why were they doing things? It was because they had a theta body directing them. You take that theta body off, and they’ll walk around like a flock of aborigines in Aus tralia — go down on the beach and eat overripe whale, and then sit around and complain because they have stomachaches, and be utterly incapable of connecting it up with having eaten overripe whale. That’s very high-level thought.

They’ll say, “I don’t know. Crane in my neck a little bit,” or so on, or “I’ve got to put my attention in a little deeper out here.” And it’ll just run. And these incidents will just run and run and run and run and run, hour in and hour out.

A dog — dog’s pretty smart. Dog is real smart. “When the master comes home, I wag my tail. If I bark real loud, they tell me to shut up. When they say, ‘Shut up,’ they want me to stop barking, and the best thing to do is to bark.” I mean, that’s about how bright a MEST body is. It isn’t bright.

Keep them white. If you want to stop them from running, let your attention flop over into the black — avoid the white — and they’ll stop right there. Now, you put a person on an E- Meter, you can tell whether or not they’re in the white or have flashed over into the black. The second that an area starts to turn black in their vicinity, the E-Meter will stick — just rrruhh! And you say, “There’s a black area, isn’t there?”

So you saw all these MEST bodies walking around. You said, “Oh, my! That’s really the thing to be. Aren’t they bright and aren’t they aesthetic and aren’t they nice-looking and aren’t they this and that?” and so forth. You were watching thetans run them, but you probably, at the time you thought that, had come down the Tone Scale to a point where you couldn’t see thetans anymore.

And they say, “How’d you know?”

So your Straightwire, with regard to this, is a very simple Straightwire. It depends on the Chart of Attitudes. And you understand that a MEST body has been absorbing an enormous amount of physical impact in terms of voices, in terms of effort, in terms of emotion. It’s been getting a lot of impact, but the theta body wasn’t getting much coming in.

You say, “Well, all right. Where do you have to put your attention now to turn that area white?”

When people talked to this thetan, they were talking to somebody who was a foot behind the target. The nerve system of a MEST body was absorbing most of the shock waves. The thetan is standing there, in other words, century in and century out, putting out — outflow, outflow, outflow. What happens if an individual does nothing but put out, and never takes anything back?

And they’ll say, “Hm, yeah.” Your E-Meter starts going [marking on blackboard] right on up the scale; starts riding right on up the scale, right on up the scale.

The theta body has a number of implants. Any operation, for instance, is an implant. A theta body can be made unconscious, it can be made hypnotized, it can have the effect of being drugged, it can do anything which you think MEST bodies are doing. And as a result, then, this theta body goes downhill, because the only thing it’s ever taken in, really, as a backfire, was pain and a small amount of observation, but all of its effort was outflow.

All of a sudden it comes . . . You’ve had to tune it back all the time; all of a sudden it sticks.

If you run a preclear who has a job which does nothing but push out, all you’ve got to do to make him well is just make him run that pushing out! If you took a fireman and this guy handled the nozzle on a hose, and all he did with the nozzle on the hose was just stand there and hold it — water is going away from him all the time, nothing ever comes back — it will gradually run out every engram he has which has an outflow, and then after that start bucking all the inflows. And eventually he will hang up on the track. You see how that is? He keeps doing these overt acts, you might say. It’s all overt, no motivators. There’s nothing coming in, and he’ll go down Tone Scale.

And you say, aNow what? What turned black now?t

If you start to run an incident out of people, and you insist on running nothing but the overt act and never run a motivator anywhere on the track, this fellow is going to hang up. And if you’re real tough as an auditor and you say, “Go on, run another overt act.” And “Go on, run another one and run another one and run another one” — more output, more output — this fellow is getting rich! It’s harder and it’s: harder and it’s harder. Everything starts going black on him. All of his perceptics turn off. Everything turns off, and he keeps putting out and putting out. And the more he puts out over that period of where he should have run the motivator, the more occluded he gets, the more jammed his track becomes, the more time jams up and everything else. Simple, huh?

“Oh, this — this whole side — black!” “Well, where do you put your atten .”

What’s a theta body do? It puts out. It starts putting out into these MEST bodies, and it starts putting out, and it puts out, and it puts out and it puts out and it never gets anything back! And as a consequence, your theta body goes from well aware that you were standing around a MEST body monitoring it — just as well aware of the fact you’d sit down to a soda fountain counter. And you’d look down the counter down here and you’d say, aI’m going to make that girl walk up here and serve me my scrambled eggs.” And you go bngh, bong, zing, bong. “Scrambled eggs,” you say. She goes off and fixes you your scrambled eggs and brings them back. Wonderful device for getting waiters. All right. You were as well aware of the fact that you monitored your body as you would be of doing that! But you keep putting out, putting out, putting out, putting out, and the only thing you ever get back is pain. Just these big, solid pain waves. Sudden shocks, sudden interruptions — bang! bang! — but none of the smooth flow. None of the higher, upper-echelon flows ever come back to you, really.

“Well, I’ve got to put my attention out here to keep this one run ning. But when I put my attention out here to keep this one running, this one turns black!”

No high-level flows ever come back from a MEST body. MEST body, the highest it goes is about .01 centimeters. And a theta body output is quite nor mally point fifteen zeros five centimeters [.0000000000000005]. And its aes thetic level is point twenty-six zeros two [.000000000000000000000000002]. That’s an incredible figure: [marking on blackboard] point twenty-six of these things, centimeters. That’s just a little tiny wave. Nothing can manufacture it in this whole universe but a thetan. All right.

“Well, why don’t you put your attention here and here?” “Oh. All right.”

And what’s this MEST body down here? This MEST body — zero one. Any fellow in any electronic shop could make a 0.1 wave.

“Look, one of these sides is running reverse to the other one!” he’ll say. “There’s one running this way, and this one’s running this way! And how do I put my atten .”

Radar during the war achieved a 0.5 wave without any trouble what soever. You can almost see this wave.

You say, “Don’t worry about it. Get your attention out to the center of the unit here and the center of it here, and they’ll both run.” Ptock

So what’s this theta body get back? [marking on blackboard] He puts out waves like this. Any waves like that ever come back to him? Never. So what’s the first thing he loses? He loses his aesthetics: he loses his ability to paint, his ability to imagine, his ability to make things beautiful, his ability to want things beautiful. That’s the first thing he loses.

“Yeah, so they do.” They’ll both run.

Now, as he comes down scale, he loses his ability to be rational, his ability to be analytical.

Or if he finds it absolutely impossible to run this side too, what the dickens — run half of the engram. Just run this side. Turn this side white and keep this side turned white. Of course, you get some lovely somatics right about here, out here. This shouldn’t happen to a dog! But it’s easier for him to do it, why, let him try; put their attention out here.

Analytical thought is a very wide band. You could say point four zeros or six zeros or eight zeros, some numeral — one. Now, pretty soon it isn’t able to put out an analytical wave. Why?

Now, if they got this one run out for a while, then let them run this one for a while. And this one will turn on and this will turn black. I’ll show you why that is, too.

Here’s this confounded MEST body down here at zero one. Thetans are no longer talking to him with an analytical wave; it’s no longer an inter change of thought just for thought. Somebody thinks and speaks, and it’s a sound wave and it’s a very gross wave. And it hits that MEST body and it retranslates back as sound — a sound wave. Oh, sound waves are incredibly big. Even the electronic restimulation of a sound wave on the human nervous system is incredibly large. So he wipes out his ability to be sane. [marking on blackboard] It’s coming right on down the line here — further and further down the line. And, well, by the time he gets here, he’s got amnesia as far as being a MEST body is concerned.

All right. Your E-Meter will keep on dispersing, dispersing; a rise, rise, rise, rise, rise, and then stick again. And then all of a sudden it’ll go flick, troop! flick, mmmp! and you say, “You got the somatic, didn’t you?”

You could actually take a preclear and butcher him on the subject of an overt act. You could make him run outgoing flows, outgoing flows, outgoing flows, outgoing flows. And the next thing you know, he’s all bogging down and he’s getting very unhappy. And you say, “You can’t get around that. Run some more outgoing flows.” And he’ll finally get completely occluded. He’ll lose his memory on the subject of anything that’s outgoing. If you really wanted to ruin him, that’s what would happen.

And they say, “How’d you know?” The E-Meter registers exactly what’s happening. You can read every somatic; you can read every time the area went black. You know exactly what your preclear is doing. And mark this well A stuck needle is simply a person who isn’t looking into any of the white of the engrams in which he’s immediately associated.

So what happens to the MEST body? The MEST body will pour back a wave like that. What happens to the theta body? It comes clear on down the Tone Scale, and finally it gets into that bracket. And that’s 4.0 on the Tone Scale, and that passes for a very, very high-level sanity today. Here’s your average, way down there.

Female voice: What — what was it?

Now, why is this the theta body never gets back what it puts out? It has gotten into an unnatural and unbalanced situation — unnatural, unbalanced. How do you rehabilitate it? Run the facsimiles of all this tremendous output. You’ve got to run out the output.

He isn’t looking into any of the white of engrams in which he’s surrounded.

This body, this thetan, has been overstrained by output. The dickens with running counter- emotion, it doesn’t matter much — if you run this. This is very high-level stuff. You wouldn’t even think of it as an aberration.

These facsimiles — he’s surrounded with facsimiles all the time. There’s some facsimiles in present time all the time, or he wouldn’t be on a MEST body. He’s always got one there and if his needle is stuck, it means he’s also occluded. And you want to unstick that needle, just ask him, “What do you do to turn the field around you white?”

To date, till a very short time ago, we were processing the MEST body. That was Dianetics: the processing of a MEST body. Your dividing line — slash — the processing of a theta body. You’re not processing the MEST body now, and there’s no sense in processing one, because the person you’re trying to process is not the MEST body, it’s the theta body. And so you’ve seen people as you process their MEST body get happy very slowly — you want to get them upscale fast.

And he said, “Oh, I couldn’t. It’s just all black!” “Well, come on, is there any white anywhere?” “No! “

People are terribly interested in their artistic ability. What’s happened to it? How do they get it back? Here we go, way up here [tapping on blackboard] at the top. That’s their artistic ability.

“Nowhere ?”

What MEST body, what MEST universe wave, could ever duplicate that wave to give them an inflowing wave of that length? They can’t. It’s way down here. This is looking at a MEST universe picture, listening to the words or piano music. It’s coming in on this bracket down in here. Now, it will retranslate — once in a great while, you’ve seen a great actor step on a stage and suddenly just electrify a whole audience. And they say — there have been a few actors in the past; they still talk about them — some early Shakespearean actors of a hundred years ago and so on, they talk about these people.

“Well, the back of my right leg.”

There are very few modern actors who have any part of this. I know of a couple offhand, that really — the audience gets interested. They’re not talking lines. They just sort of — Sarah Bernhardt was one of them, by the way. Sarah Bernhardt could walk on the stage and make a gesture with her hand, and everybody in the audience would — hh-hhh! — sigh. The old girl was so far up the line that she could still put out on this wave direct. She could still hit that audience right there in the middle of the theta being. And so people like to go see a great actor. But, oh, they’re scarce. They’re starved for that wave, utterly starved for it! They’ll even go see B Hollywood pictures, they’ll even look at television, in the hopes that sooner or later somebody is going to put that wave out.

“All right. What do you do to turn it white?” “Well, it’s already white.”

Actually, that wave alone could heal. If you gave an individual that wave alone in sufficient quantity, he’d become well. Unfortunately, it cannot be done by hanging a picture up on the wall or playing a concerto. But it could be done by the pianist sitting. . . Did you ever listen to records of various pianists? It’s a very funny thing that you can listen to a record by Paderewskil° and a record of somebody else and a record by somebody else and a record by somebody else, and you say, “Yep, they got their hands on the keyboard. I can tell.”

“Well, put your attention on it.” “Yeah.”

And then somebody who is a great critic says to you, “But you can see that what is really beautiful here is the counterpoint, the way he hits that twiddle-twiddle-twiddle.” And you know that’s wrong; you know that isn’t why.

“Well, what do you have to do to turn the whole leg white?” “Well, just put my attention back a little bit.”

But go to see Paderewski — that was something else. The guy would sit down on the piano stool, and the whole audience would just go stiff and listen. The funny part of it is, they weren’t even listening to the music come out of that piano z They were listening to the music come out of here. And he could hold a whole audience — very peculiar, very interesting. That’s your great artiste.

“Well, what do you have to do to turn both legs white?”

That’s why live theater — live theater has it over Hollywood and TV tremendously, because even a little bit of live theater, even your little theater down here, still has, occasionally, maybe for three seconds during the play, somebody will put that one out, and it’s worth waiting for.

“Well, just back further. It keeps sliding off back there. Oh, no — well, I put my attention on a point just under me and everything turns white all the way around me.” All of a sudden your needle moves on up. He’s no longer a stuck needle and he’s no longer occluded. This is occlusion.

All right. You’ve been processing people down here [tapping on blackboard]. To a MEST body, this is aberrative. To a theta body, it’s also aberrative as input; but you could process that from here on out and you would never get a person out through the top. You could push them out through the bottom, but that’s not desirable at this time. We’re not processing any politicians. (audience laughter)

Now, once in a while he finds it utterly impossible. He says, “I can’t turn anything white. I just can’t do anything.”

So, what do we find here? We find that we’ve got only one chart at this time which embraces from 16.0 up, and you’re only interested, at the lowest, at 8.0 on the Tone Scale. You’re interested, perhaps, in enthusiasm, maybe. Process enthusiasm on somebody sometime, but it’s not . . . Low. You really want to process somebody, process exhilaration as the lowest level you’re going to hit on the emotion. Terribly aberrative to a thetan — very low scale, exhilaration. Very low scale.

You don’t have to worry about telling him, “It’s an overt act, it’s a motivator.” You don’t have to worry about that, because he’ll find out after a while that he’s been sitting there all this time and he’s been pulling this all in to a center, here. He’s been pulling everything into a center. And as long as he keeps his attention on that center and pulls in, everything turns white. And all of a sudden he does that and it’s black. He’s run an incoming wave too long.

And you go up from there and what do you start finding up here? You find “I know,” “I am,” and the gradients on them from about 8.0 up. And you get the feeling of somebody trying to get you to know, and the feeling of you trying to get somebody else to know. And you don’t get the emotion involved with it at all. You get just the feeling of trying to get somebody else to know; the feeling of trying to get somebody else to be really cause; the feeling of trying to get somebody else to be. The feeling of very highlevel start, stop and change of other human beings — very high level. Trying to get them to know, trying to get them to be exhilarated, trying to get them to be knowledgeable, trying to get them to reach for the moon, trying to get them to be cause. Trying to talk somebody into “Well, why don’t you tell him what you want and set things to rights in the family, and so forth? Why don’t you do this?” and so on.

You say, “What do you have to do to turn it all white again?”

You’re trying to get them to be cause. The words don’t matter, because you’re processing just that little tiny erg of power left that the thetan had that he could really do that to, from brain to brain, mind to mind. Just doing a skip distanced here. Whatever he’s saying — no, it doesn’t matter — matter what he’s saying. Doesn’t matter, really, what his emotion is either. But you’re trying to get this.

He’ll study (you don’t even have to give him a hint) — he’ll study and he’ll study and all of a sudden he’ll say, just like he’s thought it up, brand-new idea, “I push out.” And he’ll start pushing out in all directions.

Now, oddly enough, up in this bracket there’s a whole Tone Scale. There’s a whole Tone Scale up here. There’s apathy clear up there in the high 30s. There’s an apathy which makes these waves sort of timeless and so on. Very high-level emotions. There’s dispersals up there; there’s a very high-level fear. You don’t feel it the same way.

“No, if I put out to the front here. . . And something out there turns white. Yeah!” And he turns this thing white out — “It’s a person, ha-ha! Yeah. You know, I don’t feel good.”

So how do you run this? You just take the Chart of Attitudes and you take anything from exhilaration up, and you get the individual trying to get people to know, trying to get people to be, trying to get people this, trying to get people that — output, output, output, output — and all of a sudden he says, “I’m stuck. Right here, I’m stuck.” And you say, “Well, go on, try to get somebody to know.”

“Well, go on. Turn that person whiter. How do you make it whiter?”

He says, “This thing is getting worse.” “Well, go on, try to get them to know.”

“You know, I’m doing something to that person. I don’t know what I’m doing, but I’m doing something to that person.”

Don’t ask him anything stupid like “What are you trying to say to this person?” because he isn’t saying anything to this person; he’s putting an output wave into the motor controls of some old body, is really what he’s doing. You don’t have to tell him what he’s doing. He’s stuck. You just get him to run this stuff and he’ll stick, just like that. And there he’ll be. You get him to run it a little bit further, and he says, “I now feel I’m out here. Now I’m out here.” You’re running him clear back down the Tone Scale.

“Yeah?”

Male voice: Okay.

“Ow!”

That’s your time track.

You’ve got your overt act. And [marking on blackboard] you can run dispersal, dispersal, dispersal on an overt act. But he’ll find this out for himself. He’ll find out sooner or later. He runs all this to white around him, he’s got to run some white now out there. He’s got to run some thing happening to somebody else.

So your thetan — all of a sudden the fellow will get this concavity; he’s got this body at last. His visio is liable to go off, and he’ll say, “I’m blind.” Yeah, he’s blind, as a thetan. As a thetan he’s blind.

You don’t have to tell him what incident he’s in; you don’t have to check it on an E-Meter or anything of the sort. Sooner or later he’s going to want to check it on the E-Meter, because he’s going to say, “You know what I just saw? I just saw - hu-hu-hu-hu-hu-hu-hu-hu - a fellow in a hood, and he’s standing there and I’m between two red-hot posts! That never happened to me in this life! When did it happen to me?” He’s going to be very upset.

Boy, are you in terrible shape! You’re blind, deaf! You talk about “I wish my perceptics could come on.” You want to get the MEST waves out of facsimiles, and get this eidetic recall? Nonsense.

And if you kept saying, “Well now, look, it’s just a hallucination,” or “This is birth,” he’ll spin. He’ll spin but quick.

There is a method of seeing by radar — a thetan can. Your preclear will get this to flickering on as you run this Straightwire; he’ll get this flick ering. He’ll all of a sudden say, “I’m outside the house. No, I’m not. That was a funny sensation: I was standing out here looking at the hill.”

The only thing to do with him is, is to tell him, “Well, you don’t have to accept anything. Look at it on an E-Meter if you want to. When did this happen?” And you check it up on an E-Meter: It happened about six thousand years ago and it’s a between-lives incident. Yeah. He won’t spin then. He’ll be very puzzled.

And you say, “Well, go on running it.” And he’ll say, “Well, that worried me.” “Well, just go on, run it some more.”

But if you had tried to foist it off on him on the basis “Now look, you’re just an electronic field and you’re running aberrations in through this field and it’s a curvature of light as it goes through the Einstein theory because the left-hand side of the occipital often generates . .

And he’ll say, “Him, there I am again, I’m in the living room. No, I don’t like to run this stuff. I’m all over the place.”

.” He’s going to go really loop on you; because the whole substance of a heavy force wave, such as being thrown at him, is [tapping on blackboard] acan’t trust,” acan’t believe,” invalidated 100 percent,” “I am not,” “I know not.” And if onto all of this pile of heavy force waves you add the fact of fit is not what it really is,” bang! — you could really knock him.

Actually, what he’s doing — he’s bypassing walls with his sight and everything else. The darnedest things are happening to him, and he’ll start to get worried. When this starts to happen to him there in present time, he’ll think that there’s something aberrative about it. He’ll start fighting it as an aberration. It’s not an aberration, that’s natural.

This is why when you invalidate a past life on an individual, he’ll get awfully spinny. And sometimes a person who has wide-open perceptics can run a past death or something of the sort and go out and tell somebody about it and they say, “Oh, I didn’t sa — zzzht,” and all of a sudden, boom! he shuts off and he won’t have any perceptions after that. What you’ve done is thrown him back into an electronic incident. And that’s what we’re running.

All right. So how do you process somebody by Straightwire? You take the top of the Tone Scale, and you get him to making people know, making people be, exhilarating people, exciting people, if you want to get low scale on it. And just take it right straight across: make somebody be cause, making somebody be brave, making somebody this way, that way and so on.

Now, we’re looking for the basic — what’s the most basic thing that you can run? Well, it would be things that happened to the theta being. We want incidents which, when run, will clear up the hundreds of thousands, the billions of pain engrams that are on a case. And the search has been to locate the incidents which are most capable of running off what we have commonly been running as locks.

Oddly enough, there is a low-scale wave that you can process, and that is very easily summed up: making people stand still when they want to move and making them move when they want to stand still, and changing their direction. Because you’ll find out that after a while when the thetan got kind of foggy and old and crippled and defunct and so forth, every once in a while one of these darn MEST bodies would take off and get angry.

Now, maybe there are as many as fifty of these electronic incidents on a case. Maybe sixty, seventy-five. But what’s that mean? It means a maximum, all the way up to a Cleared Theta Clear, of fifty, sixty, seventy-five, a hundred incidents total. Well now, any case had on it two or three hundred engrams in one lifetime. And you start multiplying that by lifetimes, you’ve really got yourself a hatfull of incidents, and it took a lot of time to run.

Actually, there were other, less powerful thetans present, evidently. That’s your entity. It’s a thetan that’s really gone out the bottom, evidently. And they’re still hanging on. And you don’t interchange much with their minds. They’re other personalities and they’re caved in. About all they can do is, like any aberree, hold on to some old, painful facsimile and say, aI’m still here. I’m still here. I’m still here.” The preclear goes around and he has this awful pain right across there, and he can’t get rid of it. And you process everything under the sun, moon or starve trying to process this pain out.

But the beautiful part about these electronic incidents is they start out slow.

Well, why can one of these old thetans get that far out of control? Well, it observes somebody in the environment handling you, and it says, “Huh! That’s the way he can be controlled.” And it’ll go on into a stupid cycle of doing what this other person has done to you. When you start running out what Papa has done and what Mama has done and what somebody else has done to the preclear you probably are running it out of entities who are using it on the preclear.

Boy, some — you want to know what apathy is, you ought to run some of this stuff. What’s apathy? (thump) MEST universe And it’ll run darn near as heavy as trying to stand up here and erase a board.

The fellow can’t get rid of a thought, one of these entities are hanging on to this thought for him.

Female voice: Yeah?

How do you get him up to a point where entities don’t bother him and where a MEST body doesn’t bother him? Well, it’s on “something you’ve been avoiding.” And this is a whole Straightwire process in itself — “something you’ve been avoiding.”

Yeah. And fortunately it will run out.

What do you suppose you’re trying to do to a MEST body? You’re trying to control it. And you get to the point, finally, where you can’t control it, then you say control is no good. Actually, if you were really in good shape, you could probably control the thoughts and actions of everybody in this corner of the galaxy. No reason to negate against it. You wouldn’t even have to do it; you wouldn’t be fixed on doing it. That’s one of these big, silly ultimates, something that’s never achieved. Maybe not . . .

Female voice: How long?

Anyway. . . Control. What are you trying to do to a body? So any time you have tried to control, any time your preclear has tried to control another human being, any time they have tried to control a MEST body — whether it’s a dog or a cat, but particularly human beings — or human beings have tried to control their body, is aberrative. And has cut down, each time it has failed, the ability of the thetan to control and assert himself

Oh, yes, it’ll run.

What is this thing called internal awareness that pcs get if they run on Handbook for Preclears for a while? What is that thing? It is just getting control of all the epicenters in the body. If you can get the individual in control of every part of his body, he’s a well individual. You know that. A lot of you have seen this happen to pcs. All of a sudden, they’re suddenly in control of all their motor controls, and they’re just as happy as clams. They think life’s wonderful. After that, they have what they call internal awareness, external awareness, to the rear march, something of the sort. They’d say they’re in wonderful shape — they’re only completely psychotic on a thetan level.

Female voice: How long will that one be?

All right, there’s awareness. Now, actually, how do you get a person up to this? You only run one thing to get him up there, just one thing. You just run that control: people trying to control his body, him trying to con trol other people’s body, him trying to control — and here we get down to the real hub — his trying to control his own body. And, of course, this is something that goes on all the time, so you have thousands and thousands and thousands of incidents.

Well, it all depends on how apathetic you got in the incident.

What’s the important one? Given this, [tapping on blackboard] what’s the important one? That one, of course. And why is that one so important? It happens to be a problem in energy — why it’s important. It’s a problem in energy. It’s just as mechanical as you pour gasoline in a car and it runs.

Female voice: Oh, that’s just — surprises.

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

One case, I ran out, evidently, all the apathy there was on the whole track. Because apathy, you see, is timeless; it’s — just goes on forever. And I kept running apathy on this case, and this case just wouldn’t tell me anything more about it, because it was too apathetic about it. I’d get them out of session, you know, and they’d be bright and cheerful. And every time I put them back into session again — bong! And we rust ran al know not.”

Theta is a zero wavelength or an infinity wavelength. Boy, that old theta-MEST theory — God bless it — it really paid off, really paid off. Zero wave. Zero wave. That is theta. It’s a static.

The way I got them there in the first place was run: “Run the sen sation of knowing not,” “Run the sensation of not being.” And the next thing you know, there they were in apathy, and it was just like trying to erase this stage. And they ran for twenty-five hours on nothing but apathy, and it was like running so much glue. It was like trying to go for a boat ride in glue. Just couldn’t make it.

How in the name of common sense would you ever get a static into action? How would you ever get a static interested in motion? The basic that you are is a static! How would you ever get it into motion? How would you ever get it to hold on to effort? How would you ever get it to hold on to a pain facsimile? How, mechanically, did you ever come by any facsimiles in the first place? You don’t need them. How?

But you know, after twenty-five hours, evidently all the apathy there was on the case was connected to all the apathy there was on the case; it was evidently jammed on the track. And I didn’t find any more apathy. I haven’t been able to find any more apathy on that case; it’s all gone.

You’d have to get the wave that is closest to zero, that is a wave. Just like the virus is not a cell and it’s not matter, it’s halfway between. So what do you do? You take the finest, thinnest wave possible — is the only thing that’ll stand and hold on to and hook up with zero wavelength. And that wavelength’s length is one over infinity, and that is the highest level of aesthetics. So what is aberrative? How do we get the whole facsimile bank to just drop off, boom! with all of its emotion, heavy emotion, with all of its effort? How do we just do an effort-ectomy? How do we get off all the effort and counter-effort off the case, all of the emotion and counter-emotion offthe case, just snip? How do we do it?

We run now, occasionally, the concept of not knowing and the concept of being invalidated, but it’s not apathy. Now, apathy is just “chug.” So it’s pretty heavy, pretty heavy type of incident.

Male voice: At zero?

What’s it take to aberrate a theta being?

That’s it, control on this level — aesthetic control. My gosh, you ought to see a preclear take off when you start doing Straightwire on this: [marking on blackboard] a fellow trying to conceive himself to be good-looking, a fellow trying to conceive that he is not good-looking and arguing against being not good-looking, a fellow thinking that somebody else’s MEST body is not pretty, a fellow being envious of somebody else’s MEST body because it’s pretty, a fellow trying to hold on to a pretty girl. And all you have to process is just that little fleeting thought, just that instant, “Gosh, she’s pretty,” and the whole love affair, after that, goes crunch! out the window. You can jettison the whole works. All the time when he shot her and she threw him in the garbage can and the time when he got knocked downstairs, and the flatirons got — were flying in the air. This is all effort.

Well, it takes awful heavy force — terrific kilowattage — and it takes electronics. It takes electricity, electronics. And it’s wonderful that you can take any preclear and you’ll find one of two conditions existing (1) they cannot find, or even begin to find, anything white. But the second you start directing their attention and say, “Now, can’t you find just a little something white around there?”

How in the name of common sense do you get theta or thetans to go on in this universe at all? [marking on blackboard] There. And that’s the only reason they keep on going.

“Hhh, no,” they say, “no, no, I can’t.”

And this may seem a very extreme statement to you, but it’s a very true statement: You have no facsimile and there is no facsimile in any preclear which he isn’t holding on to because of an aesthetic attachment or an aesthetic use. And if you can find that aesthetic use, the facsimile will incident-ectify. It will go ptock! There’s no reason to hold on to it.

And you say, “Well, now just try it a little bit.” “No!”

How do you keep people going on in life at all? You give them shows, you entertain them. They keep on going down the track just hoping that there’ll be something pretty show up.

Well, that case has too many locks on it. But what are the locks on? The locks are on agreeing and trying to disagree with force waves. And the locks on trying to agree . . . What is agreement?

Do you want to really tear a little kid to pieces? You want to take a little kid and just cut him all up and feed him to a hamburger grinder and then stamp on what’s left of their teeth? They walk up to you, and they say — with something, some old piece of dried mud or maybe something even worse — and they put it in your hand and they say, “Pretty.”

Here’s this theta being and here’s incoming waves, [tapping on blackboard] they’re heading this way, heading this way. All right, here’s this person. This person, you’d say, quite commonly would be an apathetic person. All right, all these waves, they’re coming right through this person; he’s agreeing, he’s agreeing, he’s agreeing, he’s agreeing, he’s agreemg.

You say, “Go away with that old nasty thing! Beat it.” Good. You’ve made a human being out of him right there in that moment. You could take that kid out and tie him on the back end of the car and drive down the street at twenty miles an hour, and you wouldn’t do the kid as much damage. Because that’s just pain, that’s just effort; that’s nothing. You hit him on an aesthetic wave!

He doesn’t agree at all, actually. Somebody walks up to him and says something to him, he agrees, he agrees, he agrees, he agrees. Well, it’s just all incoming waves — incoming, incoming. And you just take this person, and you run them on 88 Straightwire as I gave you before. Or you just give them the sensation — if you want to run into Black and White straight — just give them the sensation of “trying to keep from agreeing,” “trying to agree,” “finding it impossible to agree.” Then the waves are kind of all confused. And what they do is run the concept of confusion. So you get that concept, confusion: the waves coming in too random; they can’t agree. They would if they could, but they can’t! And then getting the waves coming through, the waves coming through, and they’ll get this very — a sensation of agreeing, because their waves are being channeled by other waves. And then “Get the sensation of trying to hold these waves off.”

How does the American university destroy human beings? It’s with a — “Oh, you want to be a writer, do you? Well, your period is in the wrong place and your paragraph is in the wrong place. And you just used this word and so forth. And do you realize that in this story . . . Yes, I realize the mood is very interesting, but you’ve misspelled the word. Hah! Tsk! We’ve got you now! Now, what you must learn how to take is criticism!”

And, my God, people will turn off of this case just by the ton: people, people, people, people, people, people. People talking to them, people doing this, people doing that, people doing . . . All of a sudden these people start to show up. And they say, “You know, that’s the most peculiar thing, but here’s a tricycle I owned and here’s this incident and that incident.” And all of a sudden they’ve got a whole track full of incidents. They didn’t have them before. And the way you get that is just run this agreement.

Well, when you look at control, remember that the most subtle way of controlling anybody is criticism on an aesthetic level. And if you want tofind where the individual spun in this life, look back along the track to where he handed out some criticism on an aesthetic level. And there will be fifty other reasons, apparently, in that area. You’ll have spotted the area as the most aberrative area which you have on the track for that preclear. And there were several knockdown-drag-out fights, and his dogs left him, and all sorts of things happened to him. And you just keep processing this and processing it and processing it and it doesn’t go away. Until you find out all of a sudden one day he gave — tried to control somebody with an aesthetic criticism, usually very savage aesthetic criticism.

But the funny part happens — is after they’ve run this for a short time, they can find white. And if you keep them at it, they can run it. But remember that that person was pretty bad off, so make sure you run the other Straightwire type: Trying to hold people,” “trying to control people,” Trying to make things beautiful for people,” Trying . . .” Bom, bom.

Somebody was trying to write or paint or write poetry or do something aesthetic, and he came down on them with a crunch — or he realized he had. A little bit later on, you’ll find out that he feels very bad because somebody or other can’t paint around him or something. Oh, and he’ll just be beating his brains out.

And so, this Black and White is actually — what they are, are a string of incidents where the theta body is implanted with electronic waves, that’s all. They just throw the most interesting assortment of waves of various kinds.

Aesthetics. Now, isn’t that a funny thing? You know, the first thing a fellow gets when you start processing this is personal pride. And what are you trying to get back for a preclear? You’re trying to get back personal pride.

Now, the essence of this is this: An electronic wave is visible to a thetan, very visible — an electronic wave. So what you’re doing, you can explain it very simply this way: When they’re putting their attention and turning everything white, they’re looking at the aberrative material. But when they flick their attention over into the black — of course, their attention goes into the black easily, because they’re trying to escape that electronic flow. So what do they do? They take their attention off of it and stick it over here someplace. They’re trying to lay aside this engram. It hangs them up to do this.

And there’s only one real reason he’s got to hang on to a MEST body: Sometimes MEST bodies are pretty; that’s the only reason he’s got.

Their attention goes very easily into the black. It is very easy to avoid this and look at the black, because that’s relaxing. There’ll be some somatics along with it that manifest themselves as arthritis or something of the sort, but it’s much easier to keep on looking at the black.

You know, there is an aesthetic of living; there is an actual aesthetic of living. A person can — not necessarily take up with the arts — a person can make the whole life an art. He can live a life that paints a picture. His life — he’s actually trying to do that.

Furthermore, there’s a mechanical thing: If they don’t put their attention exactly where it has to be put in the dispersals of the white, their attention flicks off and flies into the black. Why? Because they’ve hit an electronic burst. And when you turn things white, you are looking, then, at an electronic implant 100 percent — it’s all white. And when it starts to turn black or gray around the edges and their attention goes off into the black, they are simply letting their attention slide out of the incident and come up here to a comfortable point. And, of course, the second they do that, the incident doesn’t run anymore.

And when he’s a little kid, he goes around and he pretends this and he pretends that, and he tries to get this situation and that concept and so forth. What’s he trying to do? He’s trying to live an aesthetic. And it has nothing whatsoever to do with reality! Aesthetics never have anything to do with reality; they couldn’t have anything to do with reality — because I’m going to tell you what reality is now. You put that down in your notebook.

In order to get the incident cleaned up, you’ve got to let it run out. The incidents run out practically automatically as long as the pc forces his attention into the center of the dispersals where. . . And all you had to do was ask him “Where do you put your attention in order to make this thing run?” And he’ll fish around and fish around and finally he’ll find it.

In other words, we get this top-Tone Scale output: getting bodies to know, to be, so forth — top-Tone Scale output, then efforts to control. And if you get the top-Tone Scale output on the subject of arts, you’re really there — getting somebody to know about art.

And it’s very simple — you don’t have to think much about implo sions or explosions or dispersing waves or things collapsing on you or anything else. You don’t have to do that, because you’re going to be able to find some point where it’ll turn everything white, and just hold your attention on that.

I ran a fellow going to an art gallery one time; I ran it out of him. I often wondered why the thing was aberrative. I used to sit around once in a while for months afterward and wonder why this made such a change in the fellow, and I couldn’t account for it.

Now, remember, when you run that — that’s Black and White — remember that this little wave of aesthetics is the only thing that can tie it up to theta, is that first one-over-infinity aesthetic wave.

Fellow came in and he sat down on the couch, and he seemed to be in bad shape. And I got him to talking and I tried to get him interested in something. He was quite neurotic. And he talked for about two hours. And I said, “Well, we’ll pick something interesting to talk about,” just to get him into communication. And he told me all about taking this friend of his to the art gallery. And he was quite hectic about it. He was very hectic about it. And he told me about it, and he kept telling me about it, he kept telling about it, and all of a sudden he wasn’t interested, and he got up and his skin was rosy and shiny and he was cheerful, he was happy and he left.

As a consequence, every one of these electronic incidents will run out on heavy waves and run out on this waves and that waves. And all of a sudden, the pc will find a type of wave which he won’t really think is an important wave at all. It will give him a pleasant sensation. And the somatic and the sensation of that wave hitting makes him feel like porcelain — it’s white porcelain. It makes him feel very frail and very packed and so on. That’s an aesthetic wave which has been fed into the electronic incident, and it’s the only thing which holds the incident in suspension.

He called me up about two or three weeks later and sent me over, I think, a crate of peaches or something of the sort, and oh, he was happy. I never could figure that one out. That was about 1946, something like that — way back.

So you can find this very tiny wave, and he feels very fragile, he feels breakable, almost. It feels very heavy; he can’t distinguish that it’s a wave. It’s just a high-level, hard sensation, sort of. It’s all white and so on, all of a sudden. That runs out and the incident goes by the boards because it hasn’t got anything else to hold on with.

Well, boy, I know why now. Very simple. All the time he was at the art gallery, he was trying to get his friend to know about art. He was trying to show his friend that he was in his control, because he knew more about art than his friend did. So he kept telling his friend and his friend didn’t know anything about art, but he knew about art and he wanted his friend to know about art. And of course it just spun him in. That was all he had to do, and of course he spun in. After that he was neurotic. I hit the one lock in his case that processed not the mest body but the thetan.

The only way they could catch a thetan was to lure him with aesthetics. And the only way they could get him to hold on to an incident was pour it in with one of these waves — high level. As a consequence, that high, high wave is very important.

A thetan is powerful enough to make the MEST body perfectly healthy. So why worry about the MEST body? They’re cheap anyway. China is full of them. Japan — lots of them. Slave markets over in Arabia, I understand.

But that’s all automatic; you really don’t even have to know that. If you just tell the pc to put his at . “Where do you put your attention to turn it all white?”

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

And he says, “Well, I have to put — well, it’s a funny thing, but I have to put my attention down there and up there.” “Well, do it.”

Control on an aesthetic line, thwarted aesthetics, thwarted aesthetic ambitions, trying to live a beautiful life, people convincing you that you weren’t (but you mostly convincing them they weren’t), a critical thought about the “unbeauty” of something.

“Okay,” he says. “You know, there’s a black spot in my middle,” he says. “Well, go on, give it your attention out a little bit further there. Can you?”

It’s a very funny thing, but, you see, even the unbeautiful, even the ugly, has an aesthetic value if you’re very well balanced about it. You know, there’s really nothing more aesthetic than a battlefield completely strewn with corpses and the maimed and dying. Actually, it’s terribly aesthetic.

“Oh, yes. Well, the black spot is gone now. Owww!” And he’ll hit the somatic on the line.

If you take a man’s whole career in war, and you process out every time the grandeur and horror of it assumed an aesthetic pitch — he thought, “Boy, I’ll have to tell the folks at home about this. Lookit there, over a thousand men lying out there getting bloated in the sun.” The fury, the sound, action, motion, color, and the horrible urgency of it and the terrible danger of it actually could sum up to an aesthetic. And you process out that feeling of it being an aesthetic, and all of the action and the pai and the starvation and everything else of the thing just falls away — pshew! The only thing that can hold anything to theta is an aesthetic wave! The only reason that you are alive today is because you have a hope that something will turn up that’s aesthetic, interesting, pretty, entertaining and so on. You will hold that hope solidly and you’ll go through anything to obtain it. The original implants on the track are way up on that level, not on a heavy level.

Now, it doesn’t matter what somatic a person has, what chronic somatic a person is sporting, it is that incident, and that incident is ready to run simply by asking him to find “Where do you put your attention to make this thing white?” I don’t care if they’re wearing glasses, have epiglootics, or even have medical terminology! (audience laughter) It’s going to run out if they just put their attention on the white.

Now here’s reality. [marking on blackboard] Here’s your static, here’s a very fine wave, aesthetic wave. Here’s a heavier wave. Now we’re getting down here to an analytical-thought wave. Now we’re getting down here to an emotional wave. Now here’s effort. How can this heavy effort append itself to the zero-ness of theta? Only by holding on by graduated, smaller and smaller intervals.

Female voice: The center of the white? You said center of the . . . Where do you have to look to turn it all white? I didn’t say the center. Female voice: You didn’t?

So actually, if you wanted to process something, you’d process out all the times the fellow was rational. Terribly aberrative. All the times he was rational, every time he was making good sense. And of course, you’re cutting this right at this level here. And if you processed out that, your emotion and the effort would fall away.

Second female voice: The whole environment white, too?

But if you really want to get it off and get rid of this whole series of incidents, process that little tiny aesthetic wave. Because it’s tiny doesn’t mean it’s strong. You understand that its output and force has no bearing upon its wavelength. An aesthetic can be a terrifically powerful wave.

Get it as white as you can. Sometimes you can only get it white out to there. That’s too bad, because it’s very somaticky. But, if you can only get it white out to there, you can only get it white out to there. That’s all right.

You can tell a story — tell a story about a fellow who took a slave as a model. And he made this slave hold up this terrific block of stone for days and days and weeks and weeks while he painted a picture of him (over in Europe somewhere). And he painted this picture, and the slave got in worse shape and worse shape and worse shape and all of a sudden ruptured himself and died. And the slave was quite popular. There was a riot. The slave was an athlete. There was a riot. People were swarming out around the street, and they were just going to tear this painter to ribbons. He’d killed this slave. And the painter just walked out to the door holding on to this picture and just held the picture up and let the crowd see it. And they all said, Gee!” and went home. They were going to hang him two seconds before that. That’s a fact.

Second female voice: No, I did get it white. I didn’t know that I had to put them all into such white.

You can handle people with effort if you want to. “You go to sleep at your post, I’m going to shoot you.” “You drive down this street, I’m going to put you in jail! That’s what we’re going to do to you.” You can handle people this way. You can also handle people by being reasonable. You can also handle people by being emotional. “You brute, you struck me!” It will handle them. They handle very nicely. But, boy, they really handle up here. [tapping on blackboard]

Well, you can put the white clear out to here?

So what’s your process level, then? Process level, as high as you can get it. So we take top- Tone Scale “I know,” “I am,” “cause,” so forth, and we process an individual trying to know or be, make somebody else know, be; make his body know and be on the subject of arts, aesthetics, beauty. And you’ll just cut off all the rest of the facsimiles, bang! And the next thing you know, the fellow is walking clear out here, and he says, “What’s this shadow in front of me?” That shadow is him.

Second female voice: Yeah, I can!

Now, here’s your scale of agreement. I told you once upon a time I didn’t know why reality was agreement, but it seemed to be. You read in Science of Survival, you’ll find out reality is agreement. It is, that’s all. And it depends on affinity and communication, but we all agree that it’s real, so it’s real. And that’s about as close as we get to reality, and that’s about that.

You can?

Well, it’s worse than that. Here is the zero of aesthetics. Now we start to get [marking on blackboard] illusion, imaginary, aesthetic, creativeness. All of this sort of thing comes down along this scale here: creativeness, less and less creativeness, less and less creativeness, more and more MEST universe wave, more and more force coming in here, more and more force, more and more force, more and more force, more and more force.

Second female voice: When I — when I want to.

We’re down here at about 8.0 on the Tone Scale now, and what do we have? We have force so heavy, waves so heavy, that an individual starts to fight them; he’ll start fighting and turning back before it reaches him, any incoming wave. Any heavy wave that he sees coming in toward him, he just instinctively guides it back; he’ll fight that wave.

When you want to?

You get down here a little bit more at 4.0, he’s gotten the concept that if he puts out an outgoing wave — “rrroww!” — that no waves can come in and hit him. That’s enthusiasm.

Second female voice: I didn’t know!

Now, we get down here on a hold basis, and you’ve got your conservatism. The fellow is holding this wave here.

Well, go ahead, just do it. Of course, one corner of it will turn kind of blue, and then you have to turn that white and . . .

He gets down here to 2.0 on the Tone Scale and you’re into your effort band, and he’s got the idea “I’ll get those waves away from here. Rrr, err — I’ll get them away. Hhhh! Hhrr!” And you get down here, 1.5 on the Tone Scale, and he’s saying, “tImmm, I’ll stop this motion. I’ll stop it. I’ll stop it. I’ll stop it. I’ll stop it.”

Second female voice: Yeah dark — dark blue, dark blue.

You get down below this and you really get agreement. From 1.0 down the fellow is starting to agree.

Uh-huh, and — well, then you turn it all white again. That’s all there is to it; Black and White running. Just turn it white and keep it that way. And just hold it that way with — by being apathetic, by relaxing, by returning the waves, by pulling them in on you, by anything you have to do — keep it running white.

Now, the horrible part of it is, is from 1.0 down he’s agreeing with the physical universe. The physical universe takes that level of agreement because it’s in apathy What is it but apathy? It’s big chunks of apathy floating around and going around other pieces of apathy. The only way you’d get anything as consistent and timeless as a piece of matter is to really have a deep apathy. Isn’t that true? All right.

Female voice: What about the emotions that come up when you run?

So you come down Tone Scale, you get way down here and what do you get? You get a fellow being agreeable. The second an individual starts to agree, he’s done! The second you looked out and you said, “It’s a nice universe . . . Ain’t it a beautiful morning!” you said. Skktt! You cut your own throat. You were below 2.0 when you did that. Isn’t it a beautiful day! Yes, I think this is a pretty country. Yes, I think that piece of MEST is lovely.” You’re applying a value up here way down here on the Tone Scale, and it’s complete perversion!

The what?

And if you’ve ever known a loop, this loop is going around all the time saying to you, “How pretty it is. Come on out and look at the sunset, how pretty it is. Isn’t the ocean pretty? I think -* well, this is pretty, that’s pretty, and you bet . . .” He’s going out of his mind to tell you — he’s agree, agree, agree, agree, agree — he’s scared stiff. He’s afraid! He’s holding a status quo. He’s holding this status quo that’s saying to him, “If I agree with all of it, if I say this is beauty, if I say this is aesthetics, if I say this is pretty — these coarse, MEST universe waves - if I say all this is, if I keep agreeing, I’m safe!” That’s what he’s doing: “I’m safe.”

Female voice: The emotions that come up when you run?

There’s a horrible level just below this: It’s the chaos of upper apathy, when the waves are so random that you can’t agree with them. And the individual will say, “Yes, I’ll agree if I could just find out which way they’re going!” And you know . . . Now, that’s really MEST universe.

They run off.

So we’re really into ARC on the MEST universe level way down here. So a whole Straightwire process comes out of this — whole Straightwire: “When did you agree with somebody?” Very aberrative. “When did you agree? Anything you agreed on in the MEST universe.”

Female voice: Oh, you don’t do . . .

But let’s really doctor it up and hit at the center of it, and let’s find, now, a really aberrative situation. This is a beautifully aberrative situation, is “When did you agree the MEST universe was pretty?” Just spot them out and the individual will start on up the Tone Scale like a little soldier. “When did you agree the MEST universe was pretty?”

Turn it white. I don’t care whether it’s an aesthetic. And, by the way, there’s a lot of sexual excitement comes off on this thing, because they used sexual. Sexual is a fairly high wave. It’s up here around — oh, I don’t know. A MEST body can feel it. It’s probably — I don’t know — 2.5, 3.0. Maybe sexual waves go up to as high as 5.0 on the Tone Scale. I don’t know. I never measured one. I’ll have to put one on an oscilloscope sometime.

You’re taking him right on up the line. Because that is immediately next door of “When did you get this weird, stupid, idiotic idea that a MEST body was pretty? Where did you get that one?”

But it’s in almost every one of these incidents. They’re just going up in bands, as the electronic impulse goes up and down band, it’ll cross nearly every one of these emotions, but it’s still just a light wave. That’s all.

Because the second you pick up that one on the track, the individual is right back at the beginning of the horrible concatenation which wound him up as a human being. You’ve got basic on it, when he has agreed that a MEST body was beautiful and desirable and worth having. He was probably sitting down one day swapping facsimiles with Joe and they saw this girl walk down the road, and they didn’t have anything else to say at the moment and he says, “You know, Joe,” (facsimiles, of course, just interchange) “I think that girl’s pretty.”

And that’s going to be the hardest thing, is trying to explain to people it doesn’t matter what the wave is, just turn it white.

Joe says, “I don’t.”

And they’ll say, “Yes, but!” “Well, what about it?”

“Well, I do.” Well, that was the beginning of his downfall. With men, cherchez la femme, and with women, cherchez l’homme.

“Well, but I have a pain in the back of my . . .” You say, “Turn the whole field around you white.” “Well, I know, but I’ve got a somatic there.” “Well, turn it all white.”

What I’m telling you sounds very silly, perhaps, but I’ve given you a process now which simply adds up to this. This is a Straightwire process, and it codifies in this fashion: When did you try to control the beautiful or make somebody know or be beautiful?” or When did you feel critical about things not being beautiful?” When did you agree that the MEST universe was beautiful?” When did you criticize it for not being beautiful?” What’s the desire to have the MEST universe beautiful?” Actually, it can’t be; that’s silly.

That’s just the answer to everything.

You could dream up a universe out here which would be pretty. This is where they come off when they say the artist — art is only the concept of one individual. Well, it goes way up above that level. What would really be beauty would be something you’d mocked up, and it would be beautiful to you; that’s about all.

Now, what do you have to do to turn it white?

Now, how did individuals start controlling other individuals? How did thetans start controlling thetans? They got them interested! And they got — had to get them interested, of course, way up on this level.

Well, sometimes the fellow has to pull in with his head and push out with his chest. And sometimes there are little whirlamagoodgits that seem to want to run this way, and in order to run all of those whirlama goodgits you have to put your attention into a ring around you there. Well, if you have to do that, that’s fine. If you have to eat peanuts, hire elephants or anything else — it doesn’t matter what you have to do to turn it white — turn it white, and that’s all there is to it. And then keep it turned white for the duration of the session. At the end of the session, why, let it go black again. Run a few locks of making people stand still, trying to control people, trying to make people move when you want them to move, and so on and so on, get a person up in present time, aware of their environment and so forth.

So you get a picture of these thetans sitting around being no motion, everything going along just beautifully — completely timeless, cheerful, hardly even imagining anything once in a while, but once in a while imagining something, enjoying life, no need to work, to eat or anything. You get the idea of this fast-talking supersalesman that comes around and says — with this little tiny, fine wave, about one over infinity, and punches.

Of course, you can just let their attention go over into the black — flop! — and walk off, and you have actually left them in no worse shape than when you first ran into them. By feeding them some Straightwire, you’re just sort of gilding the lily. You’re leaving them just like they were. You can just let their — just relax. Say, “Okay. You don’t have to put your attention on the white anymore; that’s the end of the session.” They’re in no worse shape than they were in at the beginning of the session, but they might be aware of the fact that there is something wrong with them!

The fellow looks at it come in, and punches it. This thetan looks at it come in and it’s . . . He’s done for right there. Because from there, he will start changing motion on this high-level wave. He’ll then begin to change motion on an analytical wave — he will have sane thoughts, he’ll have rational thoughts, he’ll begin to think analytically. Next thing you know, he’s down here along this level of exhilarated — he feels exhilarated, he feels enthusi astic. Next thing you know, he feels other levels of emotion. And the next thing, he agrees with the physical universe — bang!

Now, you understand that by running Black and White on an individual, you can run it and run it and run it, and they won’t get the sensation of being a theta being. They’ll kind of wonder “What in common sensed. . . Why is it that every time I run this, I get the feeling of my body disappearing?” Something like that. Or “Every time I run this, I can’t understand why it is, but there’s an iron post going straight up inside of me, and I know that no iron post could possibly exist inside of me. What is this?”

He gets hooked onto a body long before this; he gets hooked onto a body with enthusiasm — about 4.0 on the Tone Scale. He, by that time, has become blotted out as an individual.

Well, you can tell them or not. If it’s worrying them too much, why, tell them, “Well, all right. It’s an iron post.”

Now, you know that you can get these things by concepts. You can just get the guy — the preclear to feel the concept: “Feel the concept of making somebody know it’s pretty; just feel that concept.” Or “Feel the concept of wanting to control some girl because she’s pretty.”

Sometimes you run into a happy little dream, like somebody has had his genetic entity — the genetic line — the MEST body has been electrocuted or something back down the track; got executed at Sing Singll or something of this sort. (Oh, people pick up the damnedest bodies.) Anyway, you get — one of these electronic incidents will fasten over onto this genetic incident, or a person that’s been a lineman or something in a past life and gotten a terrific shock, or even in this life, as a little baby, stuck his finger into a wall socket. And one of these electric incidents comes into — electronic incident comes into full play.

Oh, the fellow will say, “I never did that.” “Get the concept.”

Well, you can monkey with that lock all you want to; nothing’s going to happen. I can guarantee nothing’s going to happen because there’s just — it’s just sitting on too much, because all the incidents there are back on the track that really count are electronics.

And he will, and a whole string of incidents will turn out of this. But it’s “Get the concept.” You don’t get a specific incident; get the concept of that sort of a situation taking place. This is Concept Running, and that’s what you use this on.

Now, you don’t have to take my word for it that they’re electronics or anything else; I just tell you a handy, happy little technique You just turn everything white, and all of your somatics — all of your chronic somatics — run out, disappear and leave you healthy and happy.

Now, there is a full set of reactions. First, you know on an overt act, every once in a while you’ll find the preclear feeling — first he feels the emotion of no-sympathy. Now, mark that down as an important thing, because it’s a blackout, it’s an occlusion.

Female voice: How long at a time should you do it? A few hours at a time?

Can you feel how it feels not to feel any sympathy for something? Well, just try it. It’s just. . . aI’m not going to feel sympathy for its is actually the phrase that goes with the concept. fit doesn’t matter what I am doing here, I’m not going to feel sympathy about it.t He’s bound and determined not to be sympathetic, and that’s the emotion of no-sympathy. And it’s just blacking the thing out. It’s denying himself knowledge of what he’s doing.

Well, be sure and take B1 if you’re going to do it a few hours at a time — be sure and take B1. You might even take some Stuart’s protein hydrolysate, something like this. But don’t run this too long, because the reason you have to take proteins and B1 is, is as a theta being you can stand anything, but you’re running stuff in which the MEST body is. And you’re starting to generate heat and energy from this MEST body, and the somatics and so on, so you have to feed the MEST body something to keep it moting. And that’s why you get an assist, and why an assist does some good.

You’ve seen mothers do this. Little Junior rushes in, gets the floor all muddy, she picks up a broom, she hits him alongside of the head, it knocks him sideways, he skids under the sink, he knocks over the garbage can. She didn’t mean to hit him that hard. “Well, I’m not going to feel any sym pathy for you. Get up and leave!” See? She has to grit her teeth to do that. She says, “No sympathy, no sympathy,” finds herself sliding off — “Gee, that was a horrible thing to do to Junior. I won’t feel any sympathy for him. He deserved it. It served him right; I’m not going to feel any sympathy.”

Sometimes you can make a guy run and run and run, and his MEST body after a while gets tired and starts to feed back the sensation of tiredness into the theta field, and when this happens, he feels pretty spinny.

If you can get the preclear to find that concept, that is next door to just going all over, super- saccharine, oh-my-God level of sympathy. It’s right next door to it, because the fellow feels that downscale emotion, sympathy, is going to come on. And he’s blocking it and he’s stopping it, and he’s saying, “No, no! No, no! No, no! No.” And then all of a sudden, like the little boy who took his finger out of the dike, all the dikes give way. And he’ll say, “Oh, poor Junior.”

Female voice: Three hours at a time, would you say? Three hours at a time?

Now, the second he says, “Oh, poor Junior” . . . It’s first no-sympathy: “I’m not going to feel any sympathy. I don’t care what I’m doing. I can do anything I want to do. I don’t have to do this,” and so on. Next scale down from that is sympathy. Next scale down from that is “I’ll do anything if it will make . . .” Next one down from that is “I will be you!” Life continuum. And the thetan does a life continuum on MEST bodies.

Oh, not longer than ten hours a day.

And you get that gradient scale of emotion, and you just start processing that gradient scale of emotion with an individual, and he’ll wind up as his own theta being. You could probably do this for a thousand hours, and you’d probably have a guy Clear. Because he’d pick up in rotation each and every case, one after the other, where this had happened. Just get him to feel this emotion of not wanting to feel any sympathy, determination not to feel sympathy. Get that, and he’ll run that, and he’ll run it, and he’ll run it and he’ll run it, and he’ll run the concept and he’ll run the concept. All of a sudden he is saying, aOh, it was a pretty bad thing to do.”

Female voice: No way! (audience laughter)

And you say, “What?”

You want to get something else done. No, it doesn’t matter how long you run it. It just doesn’t matter. You . . .

He says, “Well, it was a little girl I knocked down in the ravine.” And you say, “When?”

Female voice: Is there a limit on too little, or would an hour be enough or what?

“(Sigh)!“

Sure.

He’ll tell you about it. After that, why, he carried her books home, and he would have done anything.

Female voice: Oh.

And you’ll find out this is the cycle of the theta being toward its MEST bodies. At first, “I’m not going to feel any sympathy for these MEST bodies.” Next, “Poor things.” Next is “Well, I’ll help them out.” Next, “I’ll do anything to make this MEST body bright and beautiful, because I’m going to make life beautiful for this MEST body. That’s the way I’m going to repay and repent.” And more of it and more of it. And all of a sudden the.theta being doesn’t even know he’s a theta being; he thinks he’s a MEST body. He does a life continuum from that point on.

Second female voice: Well, can you . . .

And that is the transfer and that is the sequence whereby a transfer takes place.

For instance, you get this idea that you can just sit there and turn it all white, and if you do it for ten minutes, that ten minutes isn’t long enough, because you’ll just get it nicely white . . .

And it always has this concept in it: “I’m going to make things beau tiful for this being.” And that’s where the theta being breaks his own neck, and he drops off to zero! He begins to believe, then, that he is so low, so mean, so nothing, that the 07lly thing he could do, the only way he could be identified, is by having a label out here, a MEST body.

Male voice: Yes.

He feels so degraded and so low that he’s only good for just one thing: running this body around. He’s got to take care of it. And out of that cycle, you’ll find every human personality there is. It’s out of that cycle; it’s in that cycle someplace.

. . . and then you’ll just get it to run, and then all of a sudden you drop it. And you’ll leave yourself there in a dispersal which you’ve picked up, kicked up, got nice and running, and then you flicked your attention out You’re going to have a nice somatic.

Like “To hell with this body; I don’t want anything to do with it! I’m going to wreck it if I get a chance.” Down to, “Well, I’ll have to give it something once in a while.” You’ll see workmen out occasionally, and they’ll be working in the roaring sun without a coat on or a hat on, and you’ll find them going through eight or nine motions where one would suffice, and they’re just running themselves ragged. They’re going to say, “I’ll get even with this thing — arrr-rowrr-rrr.” Just dramatizing it. They’ll kill themselves if they get a chance.

Or, if you insist on running this stuff around people who are going to distract your attention You’re busy running this, and you’re concen trated on all of this and Junior suddenly throws his skates down the stairs. The doorbell rings . . . I mean, eight or ten times a day. It’s upset ting, because it takes your attention off important things. Now, you want to run this as an attention fixation and unfixation. Now, all this is, is a fixation — fixing the attention. Once upon a time your intention [attention] got entirely too fixed, or it got entirely too dispersed. And you can run a series of locks off of a case of people suddenly attracting your attention, noises suddenly attracting your attention, or noises or people suddenly dispersing your attention — just fixing attention, dispersing attention, fixing attention, dispersing attention.

A little bit later in life, you’ll find them being very propitiative: “Well, I have to take care of myself, you know. I don’t dare eat too much greasy food; it gets my stomach.” “Well, I’d better not drink any more beer; it’s bad for my sinus trouble.” Deny, deny, deny. “Got to take care of myself I guess I’d better go to the doctor, I don’t feel well anymore.” Down scale.

Now, you start going through this exercise of “How does it feel to fix your attention?” “How does it feel to fix your attention?” “How does it feel to fix your attention?” and boom! you’ll be right in the middle of an electronic incident.

Run that thing in reverse, and you’ll bail out the thetan, and it’s ter ribly easy to do. 88 Straightwire, there’s nothing easier.

This is simplicity itself. An auditor can sit and monitor an E-Meter (or just run the preclear without one, which isn’t too satisfactory) and he can get more darn processing done.

It’s nothing to it. There isn’t a person in this room right now who can’t get the concept “I’m going to make things beautiful for this body.” Try and get that concept. “Going to make things beautiful for this body” — whether it’s another person or this body or — yeah, just get the concept. “Going to make things beautiful, going to make things pretty.” A variant of it is “I’m going to make things romantic for him.” You get this concept, you’re on your way. You can get that.

But, you — sooner or later the auditor and the preclear are going to get curious about “Isn’t there some way we can speed this up?” or “What is this?” or “What should we expect next?” or “Why is it that every time we try to run into this, one side is black and the other side is white?” “What are these funny little honeycomb compartments that come into the theta being every time? How do you run those?” “What’s this thing in the preclear’s mouth?”

There isn’t a person here who can’t get the concept “I refuse to feel any sympathy That’s a high-level emotion, and it’s also a complete occlusion.

Well, the funny part of it is, is these are all pattern incidents.

Now, if all you could remember out of all of this is just the efforts to control beauty, if that’s all you could remember, you could take a preclear and go process him on efforts to control beauty, on and on and on and on and on and on and on and on. And all of a sudden he would be saying, There’s this shadow standing out here in front of me. What is it?”

In What to Audit revised — and anybody who bought one, by the way, will get a few pages that bring it up-to-date — in What to Audit revised, is a full account of your pattern incidents on the track. These are patterned these incidents are. They’re very standard.

And you’d say, “Well, don’t pay any attention to that. Just go on and process it some more.” He’d say, “Well, I get the funny i , it’s got a cuff on it!”

You can get this preclear running this incident and you can say, “Oh, yeah.” You’ll get to a point where “Oh, yeah, that’s about fifteen hundred years ago. That’s a between-lives about fifteen hundred years ago,” you say to yourself. And all of a sudden, you know what’s coming next. The next thing that comes in is there’s three disks intersect — whoosh! whoosh! And if he doesn’t put his attention just right on these things, boy, is he going to get confused. And the MEST body’s in the road and usually it feels like the MEST body is being torn to pieces by these disks, and so on. And you know that right after he ran this nice big lumpy feeling, that those disks come in. He’ll just be sitting there waiting for the disks.

You say, “It’s probably some movie you saw.” “No, it is not! It is not. It’s some guy.”

And he’ll say all of a sudden, “Something is tearing my head off.”

Sometimes they’ll go into a boil-off and they’ll see some of their former bodies. And the bodies will be walking away from them, of course, in motion, and they’ll be tagging along behind. It’s somewhat like riding a monocycle or a unicycle behind a human being. It’s very balanced. You have to work these feet, “Yeah. Now I’ll wink his eye. Now I’ll make him sneer.” Find it very amusing.

And you say, “Where do you put your attention to turn it all white again ?”

When you get down to the first time a person started to control a body, how awfully affected they felt about it; they felt like they were running a puppet. That’s the way it should feel — they’re running this puppet. But you notice how this society tries to sink human beings deeper in the mire?

“Oh, I don’t know. I don’t know. I don’t know.” Well, sometimes he could fish around for quite a while and you say, “Well, look out in front of you. Do you see any disks?”

“He’s very superficial.”

“Yeah! How’d you know they were there?”

That’s what he’s supposed to be!

Well, you can really spook him — you say, “Well, I was one of the crew that did this.” (audience laughter) And you’d probably be telling the truth. Anyway. . .

“Oh, he doesn’t take things seriously!”

Now, you understand that this incident — this type of incident — is not dependent upon any explanation or anything else; it’s just very, very, very good processing. Black and White — keep it white. The funny part of it is, is the locks which come off of it wind up with complete aware ness of being a thetan.

“She’s affected; all those gestures are very self-conscious.” Well, they ought to be!

But just running these incidents — these white incidents — you could run them for a long, long time without becoming aware of how thor oughly much a thetan you are, in them. Because you’ve got your MEST body in the road, and it keeps hurting while you’re running these things variously, and it keeps dragging your attention back to the MEST body.

“Very affected, very affected. Look at the way she holds her hand; she’s just conscious of what she’s doing every minute of the time. She doesn’t act natural.”

And another thing happens is, you can run them, but you — sooner or later you’ll become aware that this must be the situation: You’ve got the terrible locks on top of it of having a lot of bodies to which you’ve been stuck. And the way to get off of those late bodies is to run this Straightwire. As you run this Straightwire, you’ll find out these earlier incidents are opening up more and more and more. It’s easier to run them. They run faster, they run faster, they run much faster. And you should actually sit down after a while and plot out your track. Then you’ll know what was basic.

Of course, you want people who act natural, because, gee, are they easy to control. The thetan doesn’t even know he’s there, he’s completely blotto, he’s moved into a permanent transfer inside the body. He will take orders like an automaton and he will act like a second body. And if you’re in a position whereby you can control your body without too much worry, then you can control his body too. And if you can extend this out to twenty men, you’d make a good sergeant. Of course, every additional body which you control is that much more in the soup.

There’s a couple of incidents that-are before MEST universe that are ring tailed snorters. If you’ve gotten up to the point where you have choice on this sort of thing (you don’t have to run too long before you have choice of what incident to run, or you’re aware of the fact you’re running separate incidents), you ought to run these early ones because they’re — the others are locks on them, and you’ll run out just that much faster.

Now, it all breaks down at the final end of the thing, is that there’s one thing to be learned out of all this: is there’s just no sense in having MEST bodies. It’s really an aberration that’s a wonderful aberration. Except this: You would be amazed — you’ll look back on the whole track (and you’ll have to take my word for it at the moment; you’ll run into them sooner or later), you will find in some areas — instead of human beings, you’ll find animated dolls. And out of a preclear — once in a while, he’ll get this feeling, he says, “Well, all of my life I’ve had this feeling like this motor is running in my stomach. I get all charged up and this motor keeps run ning — going whir-whir-whir-whir. I get to thinking, you know, and this motor keeps turning over inside my mind.” There is — old expression: awheels in his head,” Ma cog’s loose.”

There’s one called — very early on the track — called the Capper. And it’s sort of a hat. And it has a lot of other complications. Well, one of the things this Capper has, it’s tight around here and it’s very glowing, and it shoots out rays. And there’s something that goes bzzz-zzz - zzzzzzt! around, around, around and round and round and around and around here. And a - hoops, these rings move up and down, up and down. And it tells you, oh, how much fun it is to have facsimiles, and so on. It says, “You volunteered. And here you go, and you’re supposed to report in at Post 862, and this is the way you are.”

An animated doll! How easy it is to electronically manipulate the con trols on a doll. It’s like somebody carrying a sign around. This somebody isn’t visible, so he keeps carrying this little sign around, says, “John Doe, John Doe, John Doe, John Doe, John Doe.” Instead of that, he carries a doll. In the higher level in the ruling class in many other locales are dolls — just dolls, that’s all. Very lightweight dolls, motor-driven.

There’s another one back there on the track, early, where they make you into an oval, a globe, sort of an ellipsoid. And then they shoot the ellipsoid full of all sorts of compartments. And boy, a guy starts running this, and he’s running it just beautifully as an ellipsoid. And then all of a sudden, he’s a whole stack of boxes, and they’re all black and he doesn’t know where to put his attention to turn it all white. And some of the boxes are vibrating this way, and some of them are this way, and some of them are this way, and some of them are this way and nrrrrrrrrrrwr! “What do I do now?”

Every once in a while you’ll get somebody who has a motor running in him. “And I keep hearing this motor.” And you start processing the motor and he’ll say, “You know, it’s a funny thing but there’s a doll here; it’s got a blue uniform on.” “Huh. Looks like a full-size doll.” He’ll look very con fused about it. “And there are other dolls around here, too.”

And you — he doesn’t have to know what he’s running, but you should know — this is very early track. Because what they do with him then, they shoot him off about eighteen million or sixty billion miles away and sit him down to cool. And he knows that he’s an ellipsoid shape.

A theta body can have this horrible thing happen to it: it can come up against a radioactive piece of material, or a highly magnetized post, and it can’t get away. Because every time it throws out an electronic flow that should move it off of this metal, it simply recharges the metal and holds itself on. That is a theta trap.

And you noticed I’m drawing this shape as an ellipsoid. That’s because nearly every time you get into it, you will think of yourself as an ellipsoid. Actually, the shape of your theta being is not ellipsoid; that’s tailor-made.

Theta traps, by the way, seldom have any electricity in them. The guy charges it up himself. He’s walking along and he passes by this magnet, and the magnet holds on to him. So he says, “Get away.” And of course, every time he shoots a charge of electricity at the magnet to back himself off, he fastens on by magnetizing it more and more. So he does it to him self — 100 percent. So there’s a liability.

Male voice: Doesn’t have any shape.

By the way, a thetan has an awful time trying to write. It’s much easier to have a doll and have a doll punch a typewriter or work a televisor. You’d be surprised how much trouble it is to take hold of a doll’s wrist and make it sign a check or something.

Yeah, that’s the big joke.

Well now, a MEST body is very attractive. All you have to do to a MEST body is just enter into these motor controls and give it ideas and training patterns and train it and train it and train it, till it’s got all these training patterns, and then you just punch the button and it writes a check. It’s very fine.

Now, also, you’ll think of it being inside of you and outside of you and a lot of things. So you really should know where this stuff is on the track.

But one day you think you as the theta body are the MEST body and that you are writing the check. And the difference between a doll and a MEST body is the MEST body has also got theta in it. And it can kick back a heavy wave and it can also be taught to know, so that you have a light wave going in and a heavy wave coming back, and that’s very aberrative and you’ll eventually get stuck on one.

Now, there’s one called the Iron Maiden. A lovely incident, lovely incident. You know, the Iron Maiden back in old medieval times, they opened this thing up — it was a standing-up gadget — and they put the guy in there, and it was full of spikes. And they opened these two halves together, and they put the fellow in there and then they closed the doors. Ha! Big joke!

They seem to be very attractive; they’re very malleable, arms move and — where a doll is very stiff, not graceful. Why, MEST bodies have good joints, their eyes wiggle in their heads, they see, they have some memory, and they’re pretty good. They make good identification. They’re prettier; you can do things with them. They have a sexual connotation that’s sometimes pleasant. But, boy, are they dangerous!

Well, actually, that Iron Maiden in medieval times was a dramatization on an incident which had been dreamed up anywheres about two or three thousand years before, and became quite prominent about three thousand years ago — about 1000, 2000 B.C. And the boys were really using it at that time, and that is the incident of all incidents. That’s a lovely incident, because you don’t know you’ve got it. And because it doesn’t matter much where you put your attention on it, some part of it insists on staying black.

Now, I can tell you they’re dangerous right now; you won’t really believe me very much. Wait till you process it for a little while, and start all of a sudden coming up into a realization of “My God, I’m here and I don’t even know I’m me!”

And that’s because all of your attention units are trying to reach out, this whole shell is a retractor shell, and your attention units are being pulled out toward it, but they don’t want to reach it. So you keep pulling your attention units back and it keeps pulling your attention out. It pulls you out to it, but you won’t go out to it; you keep curving back. So you never get the sensation of touching it and you’ve got it all the time.

Every once in a while, a preclear will go around saying, “You know, there’s something psychotic about me or around me or something. I can’t figure out what it is.” Well, that’s where it is. It’s just — all of a sudden you’ll hit that line, and you’ll feel this concavity and you’ll see this — “Where am I? Who am I?” It’s just as though you’re awaking from an hypnotic trance, and you consider this normal. The way you sit there and not know where you’re sitting, not know what you are. That’s normal. You get along all right that way. And it’s not frightening to you. You’ve been going along this way for years. Until all of a sudden you get upscale just a little bit and you just take a look at it and you say, “Meek! No!” The story about Sleeping Beauty was no idle fairy tale.

And you know why a pc never gets any somatics in his legs to amount to anything — or if he does, only on one side. It’s this Iron Maiden. He’s got these sensations. You can right this moment get the sensation of your attention units going out toward a sort of a shell and then coming back in. And you just start tracking that, tracking that. Boy, will it make your legs tired! It feels like you got boots on.

All right, let’s take a break and I’ll tell you about Black and White, the way to run this stuff heavy.

Now, the tricky one on this is, is what — something I want to get to is the whole subject of all these electronic incidents.

Their essence was confusion, on this basis: “If we get this guy con fused enough, anything we tell him he’ll accept. Therefore, we can control him and he will obey.”

That’s the theory. That is the theory on which hypnotists run today. Charcot’s work, all the way up the line, has essentially stressed “Get the subject confused. Confuse him. Tire his senses, confuse him. And then he will accept anything you give him.” The only trouble is, it only works about 5 or 10 percent of the time!

That whole theory is a flop! The whole theory is a flop!

The theory of implanting electronic incidents simply knocked people down Tone Scale; it didn’t make them controllable! Glorious! I mean, all of this work invested and it didn’t work. Why?

Here’s your individual here. [marking on blackboard] Now, let me show you something about one of these incidents. Here is this Iron Maiden again. There’s various compartments in here on the Iron Maiden. I won’t bother to draw this incident particularly, but this side of it is run ning vertically — all the flow is this way. But this side of it is running horizontally — all the flow is this way — at the same time.

Now, various levers — currents — were thrown in the thing so that this one then would reverse and run horizontally, and this would run vertically. And then if you got the person over here sideways [marking on blackboard] — well, it’s very interesting, the back would run vertically while the front went this way, and then the back would run this way and the front would run this way. And a guy tries to run this out and keep this thing all white, and he doesn’t know where to put what. It’s wonderful.

There’s something very amusing about it, is if you just run out one half of it, you can turn around and run out the other half, if you can’t get them both at the same time. But most preclears will eventually master running both sides of them, running opposite directions at the same time and even reversing. And keep it all white and the incident just runs out like hot butter. Nothing to it.

But here was the essence, the philosophy behind this incident: It said, “This individual will now be so confused, because one half of him [marking on blackboard] is running this way, and the other half of him run this way. Therefore, incoming motion is most likely to hit this side, and motion here; so therefore, when we tell him anything, he’ll be thoroughly confused and he will do what we say.”

Oh, no, he didn’t! He just went into a state of not-knowingness, and when you told him something he didn’t know, he went into a state of indecision. He didn’t know whether to agree with you or disagree with you, so sometimes he agreed with you and sometimes he disagreed with you. And if you want to make an individual completely unreliable, utterly inconstant and unpredictable, just give him one of these incidents. [tapping on blackboard] And there are several incidents on the track that do this. They halve the person up and make one flow run — in other words, they won’t let the person mesh. He can’t be a unit; therefore, he cannot obey! They wanted somebody very obedient and they thought this was the way to do it. Well, if they wanted somebody very obedient, all they had to do was run it all the way this way or run it all the way this way, and that person thereafter would have been obedient. But they didn’t do that; they ran them this way and this way, and it — this person then became confused.

So you say, “All right, Joe, there’s a fire burning- down in the next block. Go down and put it out.” You say, “Your wife and child are down there.”

And he’s liable to stand there and look at you, say, “Well, go to the devil. Put it out yourself.” There’s no reason about it. It was just — happened at that moment that this side was in restimulation, and he decided to disagree. Nobody would answer up to reason now all of a sudden, so they finally sent them down to Earth.

Anyway, the whole theory was to get the person relatively confused, and then into that confusion pound obedience. Well, we could show them a few tricks. We could show them a few tricks. We could show them how to really do it now. And instead, we’ll show everybody how to run them out as fast as they’re run in. There’s no trick to running them out.

This whole technique of Black and White at first simply requires the knowledge that you can put your attention somewhere where it will be steady, and the whole field around you will turn white. If you cannot find any white spots around you or anything like that, get.incoming waves of agreeing with them and incoming waves with which you’re disagreeing; and incoming waves with which you’re agreeing and incoming waves with which you’re disagreeing — back and forth, back and forth. And you’ll work the pc up the Tone Scale — you come up the Tone Scale to where he can do this — and then run those other locks as Straightwire on controls.

Female voice: Can you use it on a low-toned person?

That agreement-disagreement thing?

Female voice: Or the Black and White?

Hm, yes. Keep an eye on him. There are easier things you can do for him — a very low-toned person — easier things you can do.

Of course, he might be in the middle of just so much black at the moment that his tone is low and he is low, and then you start running a little bit of electronic incident on him, his tone goes right on up — that might happen. A positive statement couldn’t be made on it.

Now, here, then, you don’t care anything about this beyond wanting to know how to keep the field white. After a while it would be a good thing to plot the track; get the track well plotted so that you make sure to run out earliest incidents that you can reach. That’s about all there is to know about it. Simplest gimmick in the world.

What’s it take to aberrate a thetan? It takes a pretty heavy flow.

There is one thing you ought to know about it. Of course, as a person starts to run this, he comes up. . . It’s all right when he’s in apathy, he won’t object. You could kick him off the couch, throw him on the floor, throw him out in front of automobiles — he wouldn’t kick.

But the second he starts to come up out of apathy, you’re in trouble. That’s why psychiatrists only put people in apathy, then they don’t get in trouble.

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

So your people start coming up and they get up the Tone Scale just that much and they’ll say, “I can’t believe it.” That is the level of “can’t believe it,” you see? It’s on the Chart of Attitudes. They can’t believe it. They don’t trust it, it couldn’t be happening to them, it must be some thing else, so on, and they’ll go on through this whole dramatization. I don’t care how many preclears you’ve got on the couch, they’ll go through this dramatization, until they all of a sudden — it clicks with them, finally, “This is invalidation. This strong wave hitting me is invalidating me and this causes this whole sensation of counter-thought and thought of disbelief,” and so forth. Because after they run it for a few minutes, it gets lighter and they come up Tone Scale on it, and all of a sudden they just feel kind of strange about it and they’ll go on running it. That sensation doesn’t bother them anymore.

They hit the next incident . . . By the time they finish this, an incident has come all the way up into the perceptic range — they can see it and feel it and everything — it’s way up Tone Scale. They go into the next incident, they’ll hit it in apathy or down low someplace, and they keep running it and running it. All of a sudden, bang! “I can’t believe it. It couldn’t have happened to me.” All of a sudden they say, “You know, this sounds familiar.” And then they’d run out some more.

Now, in self-processing, you have to know that that manifestation is going to occur. At first you’re going to be very happy, you’re going to be very happy to run this. You’re going to say, “Well, yeah, there it is. Oh, I sure feel apathetic about it, but that’s all right. It’s running all right; I feel very apathetic and it’s all right. It’s running.” All of a sudden you’ll say, “It couldn’t have happened to me. Uh-uh. I don’t believe a thing.” Well, just remember that there is that little bridge that you’ll have to cross on the way up, and you just sit there and get the concept of not believing anything.

If you want to really turn one of these things on strong, just get the concept of not knowing and not believing, and just sit there and hold that concept for a short time, and you’ll really get your head knocked off with electronic incidents in an awful hurry.

Okay? That is the technique Black and White. It can be used on self-processing, it had better be audited, but it can be audited and selfprocessed both. And a person who is very, very steady on his own steering wheel could probably process himself right straight through on it all the way.

This is the fastest processing I know. Actually, it’s — goes like greased lightning. If you have to take eighty, a hundred, two hundred hours to run out all the electronic incidents there are on the track, well, you’ve run all the incidents there are to run. And people used to look forward very happily to the fact they’d probably have to run fifteen hundred hours to Clear. Well, don’t sigh over the fact that you may have to run a couple hundred now.

But there it is, the process; this process has been tested, it’s had the stuffings knocked out of it. Okay, I hope that you can use this data; I hope you will use it in your auditing. There is a specification now, on MEST Clear: certain of these inci dents to be run. There are about three kinds of incidents that really have to be off the track before a person has any ability to fly around or feel sane.

Female voice: When you speak of “plotting the track,” do you mean that you approach the particular incident and then knowing that’s the incident you’re after, start running the Black and White on it?

Oh, you just run a person — when you plot the track, you just ask them “What’s the next incident?” You got an incident — an electronic incident — ready to be run and there’s a bop on the thing, and you say, “When did it happen? How many years ago?”

And you finally say, “Is it seven thousand?” It doesn’t bop.

“Is it more than seven thousand, a little. . . [gap] . . . five hundred?” you get a bop. “Is it seventy-six hundred?” You get a real deep drop.

“And what kind of an incident is it? What sort of thing?”

He says, “Well, I have a feeling like it’s like this, and so forth.” And you say, “Oh, yes, that’s a Halver.” Okay.

Female voice: Oh, you have to find out some of these?

Oh, if you want to. You can plot the whole track. I mean, I’d hate to go around not knowing who I was or what had happened to me.

Female voice: Oh.

I mean, I have an aversion to it. Some people don’t; some people like to live one life and be a MEST body. Okay.

When I say — you just should know how many incidents there are on the track. And as a matter of fact, a person very easily, before he’s run very many of these things, will put together his whole history. He’ll say, all of a sudden, “See, my name is — it sounds like Jake, but it isn’t Jake. Geege? It isn’t Jesus. Uh — George? No, that’s wrong.” All of a sudden, if you got him on an E-Meter, the E-Meter will tremble at each one of these, and he’ll get his name right. And all of a sudden, zing! He’s got his name. His name is Jerrel. Okay, Jerrel. He feels kind of familiar about that. And where did you come from? and how old is he? and where was he before this? and so on.

One of the reasons you should check these on an E-Meter is every once in a while you can start running a second facsimile. That is to say, you run a borrowed bank. There’s “borrowings.” You borrowed facsimiles back on the track someplace, and you can run somebody else’s facsimiles once in a while. You don’t want to do that. It doesn’t do you any good.

So you just check it on the E-Meter: “Is this a second facsimile?” and the thing will dive. And “Is this your own?” No. It won’t bop. You really know. You know, all the time all you’re doing is playing a big game with yourself that you don’t know. And the other big game you’re playing with yourself is “I’ve got to have facsimiles.”

Theoretically, you should be able to reach back of your left ear, bring out the whole chain of facsimiles, throw them over in the corner with a loud bang, be perfectly Clear, and go on your way rejoicing.

Male voice: Ron, you have to know that you don’t know and remember that you can’t remember. Is that right?

Yeah, that’s right. You have to know that you don’t know. With this much force hitting a fellow, there is a mechanical aspect to this where he thinks these facsimiles are very important, and where he thinks he thinks with his facsimiles, which is another big joke.

A MEST body thinks with its facsimiles, but a thetan doesn’t. A thetan thinks with thought, and a thetan knows. A thetan thinks by pervasion, not with facsimiles.

What you’re trying to do is get the thetan off the body and cleaned up so it won’t happen to him again. That’s all. And so if it does happen to him again, all he has to do is sit down in a quiet corner on Mount Kaaf or someplace and run it out.

Female voice: Can you start off by running the incidents without knowing them and then . . .

You don’t have to know anything to run these incidents.

Female voice: They will work without knowing them.

Yeah, you don’t have to know any of them. Pretty soon, you’ll get a — rather a thirst to know them, I’m just warning you against this.

You’ll say, “That’s very interesting, I keep getting rny head blown off by this particular somatic. Where the hell is it on the track?”

Female voice: Oh.

And you look it up and you find out that it’s . . .

You see, people haven’t been on this track very long. There was an error on that. These second facsimiles make a person’s track look seventy or eighty trillion years long, and it isn’t. An old, old, old thetan would be about two hundred thousand years — that would be awfully old. A lot of people have only been around for about fifty thousand, some have been around thirty-five thousand, some have been around twenty thousand, some have been around seven or eight thousand — and already they’re in horrible condition. Give them another five hundred years and they won’t be. Give them another two hundred years, give some preclears another two years, and they’ll be done. And some are done right now.

Male voice: Do you run into any new ones?

Incidents? Male voice: No.

Second male voice: People, thetans.

Oh, yeah, every once in a while. Very amusing.

Sometimes, by the way, you’ll find this kind of a situation appertaining. You’ll find somebody who’s walking around perfectly comfortable, but you’ll find another thetan trying to — hung up and trying to monitor him. And boy, is he confused, is he schizzy. He’ll have this distinct idea that there’s somebody who’s trying to interfere with his life; he just gets that feeling every once in a while. Well boy, there sure is!

Yes?

Female voice: Ron, if you ask whether they are borrowed facsimiles, and you do get a bop, is there something to handle?

When you get a bop?

Female voice: Yeah, if you ask whether they are borrowed . . .

Oh, yeah, if the thing just doesn’t blow right that moment, which it should, why, ask the fellow when he picked it up. And then just start counting off the years he picked it up, and you’ll finally locate an inci dent known as a “borrowing,” and that’s described in What to Audit.

Okay, there’s nothing much to this. I hope that it has been of ben efit; I’ve talked an awfully long time. Gee, it’s late. And I have, however, given you, actually, the backbone of Technique 88, and this is the first time it has been handed out. And if some of you think you’re coming in awfully late and that this material is terribly advanced, there’s nobody more surprised around here than some old-time auditors. What we’ve done here is, all of a sudden I’ve sort of sneaked up on this one a little bit, and these techniques have been under test, under test, under test because I couldn’t believe it was this easy.

A fellow sat — a very good friend of mine — sat in my living room one night while I was running somebody, and he said, “Well, I have seen you audit before; I’ve seen you kick up an awful lot more fuss in your auditing.” But all I was doing was sitting there — pc had his hands on the cans — all I was doing was just sitting there saying, “All right. Mm-hm. Where do you have to put your attention to turn it white? Turned black, didn’t it?” Needle stopped, see? “Turned black, didn’t it? Well, where do you have to put your attention to turn it white?” All of a sudden, jerk, jerk — the needle goes. “Nice somatic, wasn’t it?”

“Yeah! Yeah! Nice somatic.” And “Where do you turn it white now?”

That’s all I was doing. I was sitting there — I wasn’t paying any attention to the pc. I was just sitting there in a relaxed state of mind watching the needle of an E-Meter; the E-Meter was telling me everything the pc was doing. The incident was running, running, running.

The chronic somatics of this pc were running for the first time in hundreds of hours of auditing. I believe that to be the case, that this pc had been audited at least two hundred hours on older techniques, and only occasionally had clipped one of these somatics. But what was I running? I was running the somatics! Oh, very smart, too. Oh, very clever of me to locate exactly where those somatics were and exactly how to run them.

“Where do you put your attention to turn it all white?” And all of a sudden all their chronic somatics start to run. And the horrible pains that turn on and . . . People love this; there’s some kind of a masochistic feeling about all this. Some poor preclear has been in processing for just hours and hours, and they never had a somatic. And they start running this Black and White, and boy, it’s nothing but solid ouch from one end of the session to the other.

Well, it’s lots of fun, and I don’t want it to stretch your incredulity, but I hope all of you get into a state of not-knowing, so that you come on up the scale into a state of knowing. And I hope you all find out where you are.

And we’re getting together a theta club here before it’s too late. We want an Anti-Trap Committee and a Better Working Hours Committee and a Consulting Committee, and actually a small police force to arrest thetans who go around interfering with the bodies of other thetans who belong to the club. (audience laughter) Body Security Committee and so forth.

Male voice: You want humans?

Yeah, we want to get this thing pretty well organized and so forth, because we don’t want to get it out of control again. Because one thetan could probably do more to wreck this world than we would care to have happen to it right now. Because we’re using it for a laboratory, and you know how it is. Okay?

I want to thank you very, very much for your kind attention. I’ve given you an awful long lecture here tonight; I hope you’ve got something out of it.

Good night.