The processes which we have been using are based upon communication. Whether or not you make and break contact with your eyes directly or with the wall, you are making and breaking communication.

Thank you.

There's a singular difference however, between making and breaking contact with your eyes which are alive, and a wall which is dead.

How are you?

The process known as Opening Procedure of 8 -C makes and breaks contacts with the wall. But the same process could be run on living forms, couldn't it?

The program today is kind of flat because I haven't got anything to tell you. (laughter)

Audience: Yes.

Now, in the matter of processes, actually, the oldest processes we have and the newest processes we have, actually, are on one channel. There's one common denominator to all of them. And that is two-way communication. Where two-way communication was missing, the process was unworkable. And thus we had the difference between a bad auditor and a good auditor. A good auditor was one who could maintain two-way communication with his preclear.

All right. Touch the person next to you.

Let's reminisce for a moment. Have you ever had an auditor sitting there, he looked perfectly smiling, perfectly cheerful, he obviously had lots of ARC and he ran this process on you and told you to do this, and you did this and, at that moment, 8,000 Christmas tree lights suddenly appeared out in front of you out here; or your mother suddenly showed up as having stood here for the last twelve years; or some other phenomenon of some kind showed up, immediately — bing.

Now, here and there, I suppose somebody is going to shudder and say wh000 — no. All right.

And you said to this auditor, "Say!"

Let go.

And the auditor said . . . (silence)

Now, come on now, don't touch yourself. Touch the person next to you. Good. Good. You touching somebody next to you?

And you said, "But right out in front of . . ."

Audience: Yes.

And the auditor said . . . (silence)

You know you're touching somebody next to you?

And you said, "But now the somatics are going all up and down my back!" And the auditor said . . . (silence)

Audience: Yes.

And you said, "I don't think I can stay in this engram anymore!" And the auditor said . . . (silence)

All right. Let go. Okay.

At which moment you felt more like sending for the wagon for yourself and a .45 for the auditor. (laughter)

Touch somebody next to you.

Now a very funny part of it is, is the processes which we have today, worked on a Scientologist, actually, sooner or later start to unwind all these moments when he was on the time track waiting for the auditor to say something — anything. They start to unwind, these instants, and the time track starts to straighten out as we supply the acknowledgments, the replies and originated communications which should have been there.

Done so?

And when a technique will straighten out auditing without much ado, we must be there somewhere — somewhere because Communication Processing on two-way communication, as the common denominator to all processes, demonstrates to us very adequately why individuals get stuck and fixated on things.

Audience: Yes.

Well, this might be a joke. It's true, however. They are fixated on anything simply because they are waiting for a reply. Or they're waiting for somebody to originate a communication. Or they are waiting for an acknowledgment. Or they are waiting to make sure that they're talking to something that's alive. And that is what your preclear is doing.

Well, good. Let go.

And when he sits there and you run Technique 97, Technique 64, technique this and technique that and the preclear simply sits there, we might say he was waiting for a change to occur. He is, but that isn't the full of it. You might say that he is waiting for some effect to take place. He is, but that isn't all of it. You might say that he had some idea that you were going to do it for him, and he has, but that isn't all of it. All he's doing is waiting. He's not waiting for an effect or anything else. He is simply waiting for one of these four parts of the communication formula to be fulfilled.

Audience: Okay.

And that's why, when preclears get in worse and worse condition, that they comm lag worse and worse. Their communication lag gets worse and worse. They are simply waiting longer and longer and longer. You follow me?

All right. Now, touch somebody next to you.

We have in, then — four parts of two curves. We have these two communication cycles which make two-way communication. One is originated by self and the other cycle is originated by others. Now oddly enough, there is a third cycle. It isn't three-way communication but it's three-cycle communication. You could actually wait for somebody else to talk to somebody else — two more curves out there, you see. See, you could originate, or somebody else could originate to you and then there could be an additional curve out there, you're waiting for somebody to originate a communication to somebody else, or that somebody else to originate a communication back. Now we've got four, haven't we?

Audience: Okay.

Now, you might be waiting for somebody else to wait for a communication or receive a communication from somebody else through somebody else, and we start to stack up these cycles around here until it would become a high number. So let's be satisfied with two-way communication.

Okay. Let go. All right.

Now, there are just four parts: origin, answer, acknowledgment, live form. Now, "live form" actually belongs in the second place but I've put it last because I've saved it up to tell this congress about it. It isn't in Dianetics 1955! It isn't in The Creation of Human Ability. I want to tell you about this vis-a-vis. And that is the problem of live form. It takes a lot of telling, actually.

Touch somebody next to you. Good.

Why does somebody get any relief at all on touching a wall? Well, one of the things he finds out — it isn't alive. That's one of the things he finds out. He gets relief from touching a wall. On communication, we also have the problem of terminals. We get flows, discharges and automaticities occurring because somebody puts up a couple of electrodes and we get a current between these two electrodes.

Let go. All right.

An individual gets a lot of these terminals in his bank, one discharges to another, discharges to another, discharges to another and he gets an electronic relay system. And that, developed to the full, is the human brain: an electronic relay system. The reactive mind, for instance, is nothing but an electronic relay system consisting of a number of these terminals. All right.

Touch somebody next to you. Okay.

The individual's attention is fixed on these terminals. We can, to some degree, get him to put his attention on the wall. We put him — attention on the wall and we say, "Look. There's a more solid terminal called present time that you can discharge against" and this makes him much happier. But that is actually a very simple statement. It's a true statement. But there's a little bit more to it. How did the wall get there in the first place? Well, it got there in the first place because somebody wanted a game. And it stayed there because it didn't answer.

Let go. All right.

Now, the question of live form comes in here and furnishes, actually, one of the more fabulous processes. We see this communication curve goes: origin to somebody there, to answer, and back — acknowledge. It goes in that cycle. We walk up to somebody, we say, "How are you?" He's there, you see.

Touch somebody next to you. Good.

And he says, "I'm fine." And you acknowledge the fact, one way or another, you know, by a nod or just looking at him, that you have received this communication. Well, actually, there's a preliminary communication that involves live form and that is getting the attention of something so that you can communicate with it.

Let go. All right.

Now, before any communication can take place between two ships, somebody has to stand up there and wag a couple of flags or blink a light very rapidly or do something in order to attract the other ship's attention. Eventually the other ship will go blink-blink and then you're in communication. You'll send a message back and forth.

Touch somebody next to you. Good.

Well, there's a sort of a little preliminary on communication and that is to have the attention of And the formula of communication itself includes attention, intention and very, very juniorly, interest. Two people not interested in each other can still communicate, and mostly do. So that we have — we have communication taking place between two terminals. All right. If the communication is to take place between two terminals then attention must be procured between these two terminals. And that is not quite a communication but it is very, very necessary to communication.

Let go. All right.

And I ask you to think, now, of someone that you have known, was impossible for you to attract the attention of. Can you think of anyone that you used to have an awful hard time attracting the attention of? Can you think of anyone like that? (pause) I'll give you a little example of this: Now have that person turn around and look at you and say, "Yes?" (pause) Get the idea? All right.

Touch somebody next to you.

Now, whether you thought of anyone or not, I want you to have a little spot out in front of your face look at you now and say, "Yes?" (pause) Go ahead. Okay.

Shock. But one of the more convincing things is to feel somebody else's pulse. So let's feel the pulse of somebody next to you.

Now, let's have that little spot say, "Yes" some more in that sort of a tone of voice, you know. "Yes?" You know, "Yes? What do you want?" (pause) You get that very easily? Can you have that? All right.

It's right inside the wrist, right there. Did you find it? Hm? Find it? Is that person alive?

I'm not processing you. I just want you to see what I'm talking about. That's what's known as "live form." You want a live form out there to communicate with. All right.

Audience: Yes!

Let's have it say "Yes" a few more times. "Yes?" You know, just like you'd said, "Hey, you!" and it said, "Yes? What do you want?" (pause)

Well, all right. Let go.

Have it say that a lot of times. Fine. Let's have it say it a lot of times. "Yes?" (pause) Okay.

Now, there's a little stranger and a little more intimate test than that, which is to have somebody breathe on your hand. So put your hand alongside the person next to you, and have them breathe a little bit on your hand.

Is that very easy to do now?

Now make sure you get your hand breathed on.

Audience: Yeah.

Is that person alive?

Yeah? That real easy to do? Have you thought of anybody who didn't do this? Have you thought of somebody who didn't do this? Have you known somebody that didn't? Impossible to attract the attention of. Okay.

Audience: Yes!

Let's find the floor.

Well. Well. All right, touch the person next to you. Okay.

Let's find the chair.

Let go. Good.

Let's find the right wall.

Let's touch the person next to you. Fine.

The left wall.

Let go.

The front of the room.

Now, is that person alive?

End of session. All right.

Audience: Yes.

Now, we see this little trick here? That is live form. There is no substitute whatsoever for something live to talk to. There is no substitute for it. The idea of attracting the attention of something is paramount and primary above communication.

Are these people getting more real?

Let's look back at the Factors. We've had no reason whatsoever to change the Factors. The Factors are still there and they still ride pretty well as they are. We could add a couple of things to the Factors but it really isn't necessary. And we find that, to create an effect is the primary intention. All right.

Audience: Yes.

We get that as a primary intention. How are you going to create an effect on something that won't pay you any attention, if that something doesn't have very much mass that you can mess up? If you can't touch somebody or push somebody or shake somebody to attract their attention, then you're going to have an interesting time of it, indeed. You will begin to believe that they're not quite there, or they're not quite alive, or that they're not alive and they're not there — live form.

Now, are they? Huh?

Waiting for something live to show up is what we're doing. You see, it's very easy to go into communication with something that's alive but if some-thing isn't quite alive or something of that sort, then it's not going to reply or signify that it is there so that you can go into communication with it.

Well, they themselves might be getting more real because you're touching them. Let's see if this isn't the case. All right.

Now, you can go over, if you'd like, and punch holes in the wall, and some-body is liable to get an effect from this, but if you went out someplace to some old abandoned temple nobody cared about and you punched a bunch of holes in the wall, it might momentarily give you a little satisfaction, until you suddenly realized that — nobody there to watch it, nobody there to feel it. You were just punching some holes in a wall — so what?

Touch the person next to you. All right.

State of mind artillery gets into after a while: They never see the enemy and they just keep firing. I've talked to some artillerymen who have really raised havoc with barrages and so on, and these people were totally convinced that they hadn't done anything to anybody. You never saw such a conviction in your life. I mean — "Well, you just keep throwing it over there, you know, and you just keep throwing it over, that's the job. The actual thing we're doing is making a noise, as far as I can understand it," you know — this sort of a frame of mind. The enemy isn't alive. They don't see him. They don't get any response.

Let go. All right.

Now, we have two live forms. And one of them addresses the other one to cause an effect upon it. And then this one who had an effect caused upon him, turns around and causes an effect upon this first one. And you have a game going, and that's the basic anatomy of a game. That's the basic intention of a game: to create an effect, then backwards, create an effect; then the other way, create an effect; then the other way, create an effect.

Touch the person next to you. Good.

Now, when you get a scarcity of effects, you have very many interesting mental conditions occur. But it's based on scarcity of live forms — scarcity of living beings, scarcity of living things. So, we have somebody come up and he says, "Oh, terrible, terrible, emergency, emergency, disaster, disaster, crisis, crisis." What's he trying to do? There's no crisis. There's no emergency. He rushes in and he tells you, "All of Scandinovia has just gone into revolt," and you find out that somebody issued a bulletin that said he didn't like the mustache of the existing king.

Let go. All right.

This person has become frantic about, "Yes . . . ?" you see. No live form turns around to him and says, "Yes? What do you want? What are you going to say?" or "Yes, I'm listening." You see? And every time he's tried to create an effect, this live form has simply said . . . (silence)

Touch the person next to you. Fine.

And then he went ahead and created the effect but he didn't have the live form's attention. If he didn't have its attention, of course, he couldn't create an effect at all. So out of this, we actually get an evolution of a communication lag. And of course, when we get a communication lag, we get a reality lag, an agreement lag, we get an affinity lag. All out of what? Waiting for somebody to say they're there so that you can get on with the game.

Let go. All right.

So that we have these games which are composed of a known terminal and a hidden terminal: known terminal, hidden terminal. Such a game is cops and robbers. And the cop eventually becomes utterly frantic because there are very few criminals around waiting to say, "Yes? We're listening." But the cop knows that he has to discharge against something, somebody, some terminal, and he can't go and find this criminal, you know.

Touch the person next to you. Okay.

And a robbery is committed and the next thing you know, why, the police are scattered all over the place trying to find a robber and he doesn't show up. He doesn't walk in the police station and say, "Yes?" You'd be surprised, the police would probably dramatize and go almost psychotic if robbers and so forth, started to make a practice of walking into police stations saying, "Yes? I'm listening. What did you want to say? What do you want to know? Yes, I'm in communication."

Let go.

So we get this hidden terminal. We get the known terminal and the hidden terminal. Every time you lose something you may feel a little bit frantic. You feel a little bit frantic; you say, "Where is that? Where is that? Where is that? Where is that?" And one of your reactions is, "I'll just get dozens of those things," you know, "I'll get dozens of them and put them on the shelf. I can't find those combs. I'll go down and buy a whole display card full of combs and I'll put those up there and then — then, that will work."

Are you starting to find somebody alive around here?

When an individual gets into this frame of mind, and if he loses too many combs and he is unable to get display cards full of them, or even after he does get display cards full of them the kids keep eating up the card and so forth, even if he does all this, why his next move, of course, is to leave his hair uncombed. He doesn't even look for a comb. He knows there's no comb there. Every time he thinks of combing his hair he thinks he'll have a cigarette. See, he can't have a comb, so he can have a cigarette.

Audience: Yes!

And then the government comes along, puts a sufficient tax on cigarettes so he can't even have a cigarette to quiet your nerves. Only way a cigarette would possibly quiet anybody's nerves is simply by being there. You know, it's a handy object which can be a nice substituted object and you'll always make nothing out of it, too. And so as a result, you'll get this hidden-terminal affair. All right.

Well, what do you know! What do you know!

The police go out — what do they eventually do? The police go out, they're looking for the burglar, they're looking for the criminal, they're looking for criminals, burglars. Who did it? Those terminals are not available. They're not standing there saying, "Yes?" So the police, to keep from going utterly psychotic, start questioning somebody, and they usually wind up questioning any honest citizen they can lay their hands on.

Now, let's, if possible, take a different person. Another person. Good. Now, touch that person. Okay.

This is sufficiently severe and significant in this society or any civilized society that police will eventually get into a state where the "criminal" is the honest citizen. They will just invert. And they will be very punitive.

Let go.

They will graduate into government, and you get a fascist state. You could say by new definition that the definition of a fascist state would be that state in which the police became so frantic in their inability to find criminals, that they eventually, in an effort to find somebody who would listen, started to look at the private citizens who were honest. And then because they didn't listen with any great degree of patience — became the government of those people. That's what could be called an evolution of a fascist state.

Now, did everybody do that?

By the way, there are a couple of such states have formed; one was in Germany, one was in Spain — now, just that way, the police graduated into the governing role. Missing terminal — so they have to find a terminal. They have to have a terminal.

Audience: Yes!

And let's look at this communication formula again. Let's find in this communication formula here — let's just take one lobe of this and let's take here, [See chart 5 in the appendix] the first point, up here, that we will call Bill. And this point over here we will call Joe. And then this point here we will call Joe prime, and this is Bill prime. We get our parts of communication — just to go over this with you again — this first Bill up here is "origin" (0), and this first Joe here is "live form" and this Joe prime here is "answer," and this Bill prime here (the final Bill prime) is "acknowledgment."

No you didn't. Now, come on, everybody do this next one.

Now, these people — these two people engaging in communication with each other would have an awfully hard time of it if they didn't use a little bit of energy to represent themselves. They themselves do not have any real mass or energy but they can mock up some, agree that it's there, across a space that they are making and agreeing upon with communication. So we have cause (C), distance (that line), (E). Cause, distance, effect. And then we have cause prime, distance, effect prime. And we get one cycle of communication.

Find another person and touch them. Okay.

Now this necessitates, we see, lower here, actually two terminals. When this gets real solid and when people start really working on it we get these two terminals. We could call this terminal "B" and this terminal over here "J." It wouldn't matter what we call them, "A" and "B," Brown and Smith, or two electrodes on an electric motor. You'd have the same thing. Let's take alternating current. And we find out that alternating current is a communication flow going back and forth.

Let go. All right.

Electricity is a dramatization of what life does. Life is not doing a dramatization of what electricity does. Your electronics boys are good boys, there's no doubt about it. Their scientific methodology and so forth has been of enormous assistance. The scientific methodology which I have applied in scientific research in the field of the mind is extremely useful.

Find another person. Okay.

It's a practical way of thinking about something. But why is it a practical way of thinking about something? Well, it's because what life — that's what life's doing. And after a while, particles wait long enough and get solid enough and are mocked up solid enough so that you have this fascinating condition known as terminals — two terminals: "B" and "J."

Let go.

You can do anything with these terminals. You get them fairly close together, run a little wire in between them here and you're liable to find a slight difference of charge. If you were to take any pieces of iron — any two pieces of iron not hitherto connected, and run a wire between them — no way you connect them, you see, but you just ran a little wire between them, you'd find there was a momentary flow, ordinarily. You know, they'll equalize, then, their potential.

Now is this other person real?

But if we keep insisting that one of these pieces of iron is hotter than the other or is — by pounding on it, is more active than the other — you will find that you get a little electronic flow going across that wire all the time from "B" to "J," "B" to "J." Now if we were to pound on one of these pieces of iron and not pound on the other one, we would find an electronic flow would result. That is one of the older forms of demonstration in physics.

Audience: Yes!

Now, if we took a piece of cat fur and made these two terminals out of glass, something like that, and we rubbed one, we'd find the — if we had a little meter hanging right here on the middle of this line, this little meter would read current flow.

Are they alive?

We don't care anything about this. This is just a dramatization as far as — on the part of the MEST universe of what life does. The basic mistake that has been made in all of this is a very simple mistake. I've made this mistake too, so I know it's a mistake. And that is that life is mirroring the physical universe, or that it is behaving as it does because it has the example of the physical universe before it. You get the idea? That life behaves as it does because it has the physical universe before it. That is not true. The physical universe behaves as it does because life makes it behave that way. And that's the truth.

Audience: Yes!

Now, why is it the truth? Well, because when you use that principle it works! And when you say, "Well, life is going along acting as a mirror to the physical universe," you don't get anything. You don't get any results. You don't get any results in processing. You take that theory and you apply it, saying that life is simply echoing the activities of, or is derived from electricity, or something of the sort and it just doesn't work at all. So we go at it the reverse, and we say the physical universe is doing pretty much what life wants it to do, and we're pretty close to the truth. And that is the truth.

Okay. Take your seats, and touch the person next to you.

So that we find this big formula of communication, two-way communication, in which this is one cycle represented here on chart 5. We discover that as it solidifies, you know — let's take a part out of here, let's say, live form missing, and yet the fellow keeps on communicating: "Hammer," you know. He keeps on communicating, but no live form is there. Nobody has said, "Yes?" He'll get into a stuck flow, here. He'll get into this — [writing on chart] I'm drawing very heavy here — he'll get into a stuck flow and he'll be going along like that, and he'll get into this two-terminal activity down here. See? And he'll get a current going straight across that wire and become, who knows, an electronics engineer someday.

Now is this person more alive than before?

Electronics engineers are good men, but they have the frailty of falling into their own trap. They start to depend upon electronic flows. They start to depend upon pieces of brass and copper and glass in order to accomplish these things. And so when they — usually, when then they start to theorize, even as I did when I was first in this work, they will come to all sorts of remarkable conclusions. They will always, inevitably, sometime or another, get interested in the mind.

Audience: Yes.

Your boys at MIT right now, and so forth, are very interested in the mind. They're not interested, though, in the human mind. They're interested in an electronic mind. And once in a while one of them will speculate — I promised Norbert Wiener I'd never mention his name in connection with Dianetics so I won't mention his name but this fellow . . . (laughter) It's too bad, too, because I was quite happy he wrote that book called Cynergetics or whatever it was, and he talks about a neural response system. And this book about this neural response system, Cybernetics, has applied the principles of electricity to life. And it tries to demonstrate somehow that life comes about because of electronic flows. And it doesn't.

You mean there's more than two in the world?

That's the basic mistake made in engineering every time an engineer starts out. And I have gotten finally, even up to my big toe, out of this morass now. I know this. I mean I know that electronics come about because of life. I know that masses and forms, their arrangement, their timing, their continued existence comes about because of life; because life can create these things. And if life can create these things, then life is certainly the boss.

Audience: Yes.

These things, these electronic terminals and so forth never create life — never. And when life lays off of them they stop running — just like that.

No kidding! Let go. All right.

One of these days, if we keep up this sort of thing, why, Westinghouse will probably eventually require the morning ritual of the prayer to the god Ohm — if we keep this up — the patron saint of electric terminals. Or they will require that a certain amount of insulation be burned every evening after work to appease — to appease the god Forest who makes tubes — makes tubes work. We might say it's probably the spirit of Edison is all that makes an electric light burn. It's probably true.

Touch the person next to you. All right.

I don't know, actually, whether or not this physical universe and all of its laws work because these engineers invent new laws, or because they find old ones. But we know this very well: that when we have two terminals here, we know that a straight communication formula can get into a terminal arrangement.

Let go. Okay.

And instead of Bill talking to Joe over here as a live form, Bill gets convinced that Joe doesn't exist or that he's dead or he's gone or something, or that he can't answer, and so he starts to plug away on this line, plug away on this line, plug away on this line. Something has got to be there, so he'll mock up a terminal over here where Joe is.

Now say hello to the person next to you.

Well, he'll get tired of flowing at just a terminal, a wall or something like that, so he will mock up a terminal. Bill will mock up a terminal where he is to flow at where he put a terminal for Joe. You see? Nice automatic system, isn't it? Now he's got a flow between two terminals. He inhabits a body; he hopes that that thing over there is Joe inhabiting a body, and he's got flow between two terminals or two bodies. When you are studying terminals, you might as well say bodies. There isn't any reason you shouldn't because these are the way they act.

Audience: Hello. Hello. Hello. (repeated responses)

Now, what happens after an individual has started this terminal arrangement? You can see how Joe as a body talking to Bill as a body, or Bill as a body talking to Joe as a body, is actually two terminals in action with some kind of a flow going in between. You could see that easily.

Go ahead, say hello.

Well, what would happen here if Joe didn't have a body at all, and Bill didn't have a body at all? Well, I'll tell you what would happen. They'd have to talk all the time. They wouldn't ever dare set up anything on an automatic response system or anything of the sort. They would have to — in order to continue their conversation, they would have to stay in very close contact with each other.

Audience: Hello. Hello. Hello. (repeated responses)

And rather than do that, why, they invent something called absent-mindedness or other-terminalness or bodiness. So that they set a body there in the chair and Mother's talking to the body, you know. And they say — Mother says, "Now — now, Joe, after this, I want you to realize that you're breaking your mother's heart by getting these bad grades. And after this, I want you to realize that you've got to study harder and you've got to amount to something in the world like your Uncle Bill." And she can go on like this for hours and Joe's body sits in the chair, and he goes off and examines the daisies — very handy mechanism. Life has uses for it.

All right. Good. Good. Good.

Now, it'll go a little bit further than that. In addition to bodies as terminals, they start getting other types of terminals. They get invisible terminals which nevertheless have mass. They get all sorts of — kinds of terminals that discharge one against the other.

Now tell the person next to you "Okay" many times.

Let's get a picture of this fellow running a drill press down in the factory. And he's got this foot on this drill press, see, and he presses this thing and a bar comes along the assembly line and he's supposed to drill a couple of holes in it. And they're in such and such a place so he comes along and he presses it, moves it up to the next one, presses it, pushes that along. Gets the next bar, presses it, gets the next bar, presses it, moves that along. Gets the next bar, presses it. Next bar, presses it; you know — wuhhh.

Audience: Okay. Okay. Okay. (repeated responses)

After he's done that for a year or two, he's liable to set up a terminal back of his leg here somewhere that, every time this thing goes "click" in a certain way as a signal, this terminal back of his leg will lift his leg and drop it again.

All right. Fine. Fine. Fine. Fine. Now, touch the person next to you. Is this person even more real?

He is no more aware of lifting his leg and dropping it. He's no more aware of his hands fixing that bar in place. He has become a machine.

Audience: Yes.

And you'll find many of these fellows who take jobs of this character have only one ambition: They want the kind of a job where they can set up some sort of an automaticity like this and then dream daydreams — to dream up things and think of things and invent fairy tales for themselves and so on. They like this.

Well, all right. Let go.

You go around a factory and question a lot of these fellows that are running these repetitive-action machines, and you will find that they are very, very fond of highly mechanical jobs that they can set up on an automaticity, you know, bang, bang, bang. And then they sit there and they say, "Gee, wouldn't it be nice . . . and Marilyn Monroe walks in, and then I say, 'Hiya babe!'" You know? They're floating off someplace by themselves.

Touch the person next to you. That person real real?

They don't have to put their immediate attention on these terminals and don't have to give attention to get some kind of an action done and get the rest of the machinery enough food so it will run. Sounds strange, doesn't it? But that's actually what they're doing.

Audience: Yes.

They're doing the work so that they can get enough energy to feed enough energy to the things which will do the work, so that they can get enough energy so as to feed enough energy to the machine so that it will work, so that they can get enough energy in order to feed it back into the machine, so they will feed enough energy into the machines . . . One day they'll come up to you and they'll say, "You know life has no purpose!" That's right, it doesn't — round and round, round and round.

All right. Let go.

Well now, any engineer has learned to regard with extreme caution anything like a perpetual motion machine because it doesn't happen in the physical universe that he can observe — a perpetual motion machine. By his experience, all machines wear out.

Touch the person next to you.

But unfortunately there is one: the life energy-space production unit itself goes on and on and on and on and on and on and on. And having no moving parts, having no mass, having no wavelength, it never wears out. But it can play silly tricks on itself. It can forget. It can channel. It can do all sorts of weird things.

Is that person real real?

But if you took all the things growing on Earth and had them feeding everything that they were getting, you know, into machinery, round and round, and round, and round, and round, we would have to introduce new energy all the time in order to justify the energy in heat loss which was going on. And we do have new energy all the time. We have the Sun. The Sun goes across and furnishes enough energy and there's enough old stuff lying around and old life deposits and things like that, that these machines can keep up.

Audience: Yes.

The reactive mind came about through some breakdown in the communication formula. For want of a terminal, he put one up. He made a facsimile, you see, of some sort. He didn't have enough terminals so he put one up.

All right. Let go.

Lack of answers eventually makes him anxious about answers. Lack of originated communications gets him stuck on originating communications.

Now touch the person next to you.

Any time that thing breaks down, it starts to jam and you start to get more and more massy form. Life evolves itself into a necessity to have terminals. It has to have terminals, it thinks, so it evolves itself into tighter and tighter terminals.

Is that person real real?

And you get all of these crazy phenomena that you find in a preclear — all this mad phenomena. You get circuits and you get facsimiles and you get recording machines and you get things that evidently think and do things. When he thinks of being someplace, why, he has the impression he's there, or when he thinks of being someplace, he actually goes there if he's an exterior.

Audience: Yes.

Gadgets, gadgets, gadgets — all kinds of gadgets: arms, legs, brains, noses, lungs — all kinds of gadgets. They're just gadgets. Thetan gets gadget-happy. And then he gets some ritual involved in it, like chew your food thirty-two times, sleep eight hours per day — rituals, so as to justify his possession of all these gadgets.

All right. Let go. Fine.

Now, a fellow has something. Then somebody comes around and says, "Why do you have that?" Fellow's got an old pipe. It's been lying on the living room table. Old piece of pipe — and there it is on the living room table. And somebody comes in and says, "What on earth are you doing with that piece of pipe on the living room table?"

How do you feel?

Well, actually right up to that point it was — simply had some mass, that was all, and it was an interesting gimmick because it had some mass. He's got to invent a reason, right now. And quite often he will be conscious of the fact he is inventing a reason and conscious of the fact that right afterwards, that is the reason it's there.

Audience: Fine.

And he'll do this in such close order that he thinks he had a subconscious reason to have it there. So he says, "What tricks are my mind doing now?" He just invented the reason out of whole cloth. He did it himself. He says, "Well," he says, "I have that to clean my pipe." Person looks at him and he's likely to take him seriously. But he says, "That's right. It's just a gag. That's what it's there for. It's a big piece of pipe and I have to clean my pipe, so . . ." This person looks at him skeptically and says, "Hmph." So somebody else will come in, see, and — you see what happened? That was an unsatisfactory communication to the person, you see. They came in. They saw the pipe. They wanted some reason to have a communication or a conversation so they said, "What is this pipe doing there?"

Feel pretty good now?

And this fellow says, 'Well, I use it to clean my pipe."And this, they didn't — you know, improper responses and it's just not good, that's all.

Audience: Yes.

So the next person comes in, why, he says, 'Well, what are you doing with that piece of pipe on your living room table? Look at that beautiful living room table and that old, rusty, ugly piece of pipe lying there. What are you doing with that pipe on the table like that?"

Well, swell.

And the fellow says, 'Well, I read sometimes, and I use it to hold open my books." And they'll look at this as an impractical piece of engineering. And they'll realize it's dirty and will get the book dirty and so forth and they say, "Humph." Unsatisfactory communication.

Now we're going to play a horrible overt act on you. Now I got you feeling real good, this next is not calculated to do so at all. I want you to have a small spot in the space of the room before your face, start saying "Yes?" "What do you want?" sort of a "Yes?" Have this small spot in front of your face start saying "Yes?" to you. You don't say it, the spot says it to you. (pause) That's fine.

Another person comes in and sees this pipe lying there and this guy by this time — see what he's doing? He's getting more and more reasonable about this. He figures out, he can't pull a bum joke, he can't give a bad engineering reason, he's really got to have a reason why that piece of pipe is lying on that table.

Now have that spot say it a lot of times to you. "Yes?" (pause) "Yes? You've got my attention. What do you want?" That sort of a "Yes." (pause) Now, that's fine.

And it's never going to occur to him to move that piece of pipe. That piece of pipe will stay there. People are objecting to its being there, he thinks, so this makes him dogged. He's going to leave it there in spite of anything.

Now have this little spot in front of your face say "Yes?" over and over. You know, sort of a "You've got my attention now, go ahead and talk." "Yes." (pause) All right. That's fine.

They walk in — the next person walks in and says, "What are you doing with that piece of pipe on that beautiful table?"

Now have that little spot in front of your face, say "Yes? Okay." "Yes?" a little space, then "Okay." Just as though you'd said something (which you didn't). (pause)

And he says, "As a matter of fact, last night I came down here about two o'clock in the morning and I heard this noise. And I didn't have a gun so I rushed out back and I got this piece of pipe, and the burglar ran out the front door and I didn't see him again. And I just happened to put the pipe down there and forgot about it."

Now, that's fine. Have this little spot in the air of the room in front of your face — not in your bank or in 1776, but right now — have that little spot say "Yes?" and then just as though you said something, "Okay." "Yes? Okay." (pause) All right. That's fine.

And the fellow says, "Gee, that's interesting." Ah, he's stuck with it.

Now put your finger right where you had the spot. Put your finger right where you had the spot. You got it now? You got it now real good? Huh? You got your finger where you had the spot?

People who are doubted will always finally make a production out of their reasons — complete production. And after a while, he'll get to believe that any time he wants to explain anything that no reasonable explanation — no reasonable explanation is possible. He's got to invent something. He's got to dream something up.

Audience: Yes.

Well, he'll get tired after a while, of dreaming something up just because everybody comes along and says, "What's that pipe doing there?" He'll get tired of this. So he'll set it up automatically. And he gets a reasoning machine which adds all the factors into this side and pulls them all out that side and they run down the ruddy rods there, and it sorts them all through and it says, "People have not been interested in this pile, people have been interested in this pile. People haven't been interested in this, people have been interested in that. Burglars, robbers ... too exaggerated ... my age is now such-andsuch and therefore what is expected of me is so-and-so," and after it gets all down through the hoppers, people walk in and say, "What is that pipe doing there?" And the machine pipes up and says, "Do you know that is actually a part of the battleship Maine, that was dredged up." And he finds this is the perfect response.

All right. Now, sit down and get, now, the spot some more saying "Yes? Okay." (pause) All right. That's fine.

And he finds the machine is more able to give him answers that are beneficial answers to other people, than .anything else, so now he's got the machine.

Has anybody had any energy move around or anything like that?

Next thing you know, this machine starts to get more and more active. It finally tells him what to do, what to eat, what to wear, where to go. Next thing you know, he's got it inside of a skull and it's called a human brain. And when he wakes up in the morning he has to bow down to this thing — and burn a little insulation to it every night. And that's what we've been studying all these years.

Audience: Yes. No.

We've been studying this thing called the human brain — if we were really studying the human brain. Actually we stopped studying the human brain with Science of Survival to a very marked degree because we found out that there must be something else present besides a bunch of machinery.

Is everybody going out in front of his face and back through again or anything like that? Hm? All right.

If you were to walk in a plant which was in full operation, you would be suspicious if you found no living thing anywhere in the plant. And if it was sitting out in the middle of a desert and you were unable to contact anybody who had anything to do with it at all, although you searched day after day, why, you'd decide after a while the place was haunted. Very least, you would decide it was haunted. You couldn't conceive of a huge plant running full-gun sitting out in the middle of a desert with nobody running it just running.

Anybody had the sensation of the little spot as soon as it says "Okay," start to move away?

Well, that's actually what an engineer does when he takes a look at this human mind. It's a big plant. It's doing the most fantastic things. It goes on running, running, running, running, running, running, running. Must have some purpose in life so he decides after a while — or at least I decided after a while, it must be haunted. Must be something alive around there. I didn't buy this story about neurons. Last time I invented one anyhow, it didn't work. It kept synapsizing terminals with me. (whistle) (tsk) — terrible. (laughter) All right.

Audience: No.

So having decided it was haunted, I yelled into this big plant and I said, "Hey you! Get out of there!" And the fellow did. That's the history of research of Scientology.

Anybody have the sensation of it moving in?

Now, you can see — you can see here, if we're up against a problem of fixed terminals, if we're up against a lack of communication parts, lack of communication origins, a lack of live forms, a lack of answers and a lack of acknowledgments — if we're up against absences on these, and if these things do get us stuck and fixated one way or the other, and if these things do become these terminals that we find as demon circuits and other things in the human mind, if they do, then it should evolve that an individual would exteriorize and come off of these terminals and fixations with ease the moment that you reestablished the quantity of these things, these origins, live forms, answers and acknowledgments which should be present. He should just pull right off terminals, just like this. All right.

Audience: No. Yeah.

I have run some experiments in the past, and I've been processing preclears for quite a while, and have run some experiments definitely associated with people fixated on demon circuits, and have run Group Processing here at this congress. And it all demonstrated that these fixed terminals, these missing terminals, invisible terminals, all of these items, gadgets, gimmicks on which people get fixated, came apart — fell apart.

Uh-huh. In other words, there's a little something happens there incidentally, huh? Well, fine.

And I found out the body, if a complex one, was just another such ballup of communication terminals. And that by restoring the abundance of origins, the live form, the answer and the acknowledgment, that people backed right on out of their heads. "Say — what was I doing in there?" And when I say people backed out of their heads, I mean it. We ordinarily mean people as somebody who walks up in a body.

Now I want your little spot to say "Yes? Okay," to your eyes. (pause) That's good.

Well, let's specialize it further. Let's say somebody who drove up in a Cadillac, that's a people. Now, if somebody couldn't get out of his Cadillac, you'd think he was nuts or something was wrong. Well, you would, wouldn't you?

Have it say "Yes? Okay," to your eyes. (pause) That's fine.

Audience: Yes!

Now, when energy turns up or anything like that, or you start working energy around, that's not what we want. We want a little spot out there and it says to your eyes "Yes? Okay."

Well, how about these guys that can't get out of their bodies? Same thing — it's just a vehicle. They're too lazy to walk around themselves, so they eat, and feed a body, so the terminals over on this side will activate against the terminals over on this side which will activate up here and activate across here, and then they'll get a ridge that goes into action there, that opens and closes their eyes, and so they can see that they're not walking into anything. And they get an alarm reaction system in the endocrine glands so as to tell them whether or not they should be scared of what they are looking at, and they take their body down the street, only — big joke — there's no driver anymore. The fellow isn't even driving his body anymore. His body is taking him around.

If any horrible coughs or anything like that turns on, just have the little spot say "Yes? Okay." (pause) All right.

You know, I see a lot of big cars on the road and I watch them because it's very amusing to me when I discover that the car is taking the person somewhere, and the car is doing all the driving. That's fascinating.

That's fine. Now, everything going along all right?

You'll see them go into situations — any situation which is terrifically routine and ordinary — any routine or ordinary situation, they'll just get through fine. But give them a slightly extraordinary situation, which just is a little bit offbeat — like, instead of just stopping down to a certain number of miles an hour to go through a school zone, why, the kids jump out in front where there are stop signs, you know. You know, it's just a little bit offbeat.

Audience: Yeah.

And these cars will do the silliest things, and the people in them will look like they've just been awakened from a nightmare. They'll be very startled because all of a sudden they are being asked, of all people, to make a decision for this very wise car.

Any of your eye somatics disappear you picked up earlier?

Now, I dare say, even today, thetans have cars all hooked up. I imagine they have machinery all hooked up to cars, I'll bet you. So that all they have to do is kind of think at the steering wheel and that activates. And they think at this and that will move, and so forth. Of course they're using their hands and their arms to do this sort of thing, but their hands and their arms are under the control of the car's machinery, rather than otherwise.

Audience: Yeah.

Well, this is automaticity. But we see somebody going down the street, the car's taking him down the street. All right.

Female voice: No, they turned on.

Let's look at this body walking down the street and find out the body's taking somebody down the street. There is somebody there. That somebody doesn't have mass. That somebody doesn't need terminals. But that person is as fixed in his body and as fixed upon his circuits, as fixed upon his facsimiles and his engrams as he has lacked communication parts in the past, and as he is waiting for. He is as fixed as he is waiting for communication. And we have the basic law of this and so we have the resolution of the human mind.

Oh, they've turned on? They're not going? Any of them turned up or turned off?

Thank you.

Audience: Yeah.

Well fine. Now we have a new process. Now we have a new process. Let's have that little spot out there in front of you if you're exteriorized, or in front of your face if you're not, say "Well, well, well, if it isn't X!" Big enthusiastic greeting. An originated communication. "Well, well, well, if it isn't X!" Enthusiastic. (pause) Okay.

That's fine. How's it going?

Audience: Good. Fine. Okay.

Going okay?

Audience: Mm-hm.

All right. Now remember, this little spot says "Well, well, well, well, if it isn't X!"You know. Enthusiasm! Let's get some more enthusiasm in there now. Real glad to see you. He's caught sight of you before you caught sight of him. (pause) That's fine.

Now have that little spot saying "Well, well, well, if it isn't X!" (pause) All right. How you getting that now, huh?

Audience: Fine.

Well, swell. Now, let's have that little spot say now, 'Well, well, well, if it isn't X!" "Okay, X." (pause) All right. How's it going now?

Audience: Good. Fine.

You getting detoured off into some energy masses or anything like that, or chewing on energy or something? Well, just skip the energy and just have this little spot — now it doesn't matter if it's verbal or vocal or anything, it's just got the idea and the enthusiasm in it, and it says 'Well, well, well, if it isn't X!" and then just as though you'd given it an order, 'Well, okay, X!" 'Well, well, well, if it isn't X!" "Okay, X." (pause) All right. How's it going, huh?

Audience: (various responses)

Going easier now?

Audience: Yeah.

Going any easier at all?

Audience: (various responses)

How's the somatics?

Audience: Gone.

Oh, they're gone, huh? Anybody still got any?

Male voice: Yep.

All right. Now let's have that little spot there, and it spotted you before you spotted it, you see, and it swings in there and it looks, and it says, 'Well, well, well, if it isn't X!" "Well, okay X!" More enthusiasm, now. (pause) All right, how's that going?

Audience: Fine.

It going pretty good?

Audience: Yes.

Well, good. Going a lot easier?

Audience: Yes.

Well, fine. Now, let's have it do it a few more times. (pause) All right. Well, now, that's fine.

Now find a person next to you and touch them. All right.

Let go.

Now find a person next to you and touch them. Okay.

Let go. All right.

Find a person next to you and touch them. Fine.

Let go.

Well now, find the person next to you and touch.

Now let go. Good.

Find a person next to you and touch.

Now let go and lose them.

Now find them and touch them. Okay.

Now lose them. All right.

Now find them and touch them. Okay.

Now lose them. All right.

Find them and touch them. All right.

Now lose them.

All right.

Find them and touch them. Got them?

Audience: Yes.

Are they alive?

Audience: Yes.

Well, lose them. Okay.

Find the floor. Got a floor?

Audience: Yes.

You got more floor than you had before? Less floor? All right. Find your chair.

And find the floor, Okay.

Find your chair. Good.

Find the floor. Good.

Find a chair.

And now I want you to have that little spot out in front of your face invent a game for you. (pause) Okay.

Did you do it?

Audience: Yeah.

Well, all right. Now, just have it invent game after game after game after game for you. And each time it invents a game you say "Okay." No matter what kind of a game it is, you say "Okay." (pause) All right. You doing that pretty easy?

Audience: Yes.

Does it invent some strange games?

Audience: Yes.

Well, fine. Let's make it invent some more games for you, and each time it invents one you say "Okay." (pause)

Fine. Now, how you making out there, huh?

Audience: Fine.

Making out pretty good?

Audience: Yes.

Are these games real interesting or real dull?

Audience: Dull. Boring.

Are they real fantastic?

Audience: Yeah.

All right. Now, let's have that spot out in front of your face invent some more games for you to play. (pause)

All right.

Now, just say "Okay," to it. No matter what it says, have it invent some more games and you say "Okay." You agree. That's the game you'll play. (pause)

All right. How's that working out now, huh?

Audience: Good.

Oh, this spot getting more inventive?

Audience: Yes.

Well, fine. You agreeing to it each time?

Audience: Yes.

Well, swell. Now, let's have this spot invent some more games for you to play, and you say "Okay," every time. (pause)

All right.

How's that going, huh?

Audience: Fine.

All right. Working real good?

Audience: Yes.

You being real agreeable?

Audience: Yes.

Well, fine. Does it go against your grain sometimes?

Audience: Yes.

Well, all right. Now, let's have this spot right out there in front of your face invent some games for you to play, and each time you say "Okay." (pause)

All right. Now, how's that going?

Audience: Fine.

That going pretty good?

Audience: Yes.

You sure?

Audience: Yes.

All right. Let's find the floor.

Let's find the chair. All right.

Let's find this little spot out in front of your face, and it rushes up and it invents a game for you to play, and you say "Okay." (pause)

All right. Now, how you doing with that, huh?

Audience: Fine.

Got any energy moving around?

Audience: (various responses)

Hm? You're just doing all right then. Just fine. All right.

Have something come up, invent a game for you to play and you say "Okay." (pause)

All right. Now how you doing?

Audience: All right.

Hm? You're still alive?

Audience: Yeah.

Is this getting more inventive?

Audience: Yeah.

Well, fine. Fine. Let's have this spot, now, suddenly arrive and invent a game for you to play, and you say "Okay." (pause)

Okay. How's that now?

Audience: Fine.

Oh, is this getting a lot easier?

Audience: Yes.

It is? Well, that's fine. All right.

Now, let's have a spot come up and invent a game for you to play, and you say "Okay." (pause) Now, all right. How's that going now, huh?

Audience: Fine. Easier.

Going much better? Getting easier?

Audience: Yeah.

This thing getting more inventive?

Audience: Yeah.

Well, fine.

Now let's have that little spot come up and invent a game for you to play, and you say "Okay." (pause) All right. Now how's that, huh?

Audience: Fine. Good.

Is that getting good? Or you getting dopey?

Audience: Dopey.

You're not getting dopey, are you?

Audience: Yes. No.

Is that a fact?

Audience: No. Yes.

Well, all right. Let's find the person next to you and touch him and let go. And find the person next to you and touch him. Okay.

Now let go.

Now find the person next to you. Touch him. Let go. All right. Find the person next to you. Touch him. Let go. All right.

Let's find the person next to you and touch him, see if any horrible consequence happens, and let go. All right.

Now let's find the person next to you, touch him, let go, and lose him. All right.

Now find the person. Touch the person. All right.

Let go of the person. Okay.

Lose the person. All right.

Find the person. Okay.

Touch the person. All right.

Let go of the person. All right.

Lose the person. Okay.

Let's find the person. Let's touch the person. Let's let go of the person. All right.

Let's lose the person. Okay. Let's find the person. Did you?

Audience: Yes.

All right. Touch the person. All right. Let go of the person. Okay. Lose the person. Fine.

Now find the person. Find the person. Brand-new, now. All right. Touch the person. Okay.

Let go of the person. Okay. Lose the person. All right. Find the person. Okay.

Touch the person. Fine.

Let go of the person. Fine. Lose the person. All right. Find the person. Okay.

Touch the person. Okay.

Let go of the person. All right. Lose the person. Okay.

Find the person. All right. Touch the person. Okay.

Let go of the person. All right. Lose the person. Okay.

Find the person. Okay.

Touch the person. Okay.

Let go of the person. All right. Lose the person.

Did you lose him?

Audience: Yes.

All right. Find the person. Okay. Touch the person. All right. Let go of the person. Okay. Lose the person. All right. Find the person. Okay.

Touch the person. All right. Let go of the person. All right. Lose the person. Okay. All right. Find the person. Okay.

Touch the person. All right. Let go of the person.

Fine. Lose the person. Okay. Find the person. All right. Touch the person. Okay.

Let go of the person. All right. Lose the person. All right. Find the person. Okay.

Touch the person. All right. Let go of the person. All right. Lose the person.

Now let's find the person, and let's say hello.

Audience: Hello.

And again and again and again.

Audience: Hello. Hello. Hello. (repeated responses)

Okay. That's fine. That's fine. That's fine. All right. Okay. Now I want you to say "Hello," and then "Goodbye." And then "Hello," and then "Goodbye," to this person.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

That's fine. Keep it up. "Hello." "Goodbye." "Hello." "Goodbye."

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

That's fine. Say "Hello." "Goodbye."

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello.

Goodbye. (repeated responses) Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses)

Hello. Goodbye.

Audience: Hello. Goodbye. Hello. Goodbye. (repeated responses) Female voice: Hello Ron!

Audience: Hello Ron!

Okay. Okay. Well now, how do you feel?

Audience: Fine. Good.

Have you told anybody "Hello" or "Goodbye"?

Audience: Yes.

Do people look any realer?

Audience: Yes.

No?

Audience: Yes.

All right. Well, is there a floor beneath your feet?

Audience: Yes.

Is there a chair?

Audience: Yes.

Is there a right-hand wall?

Audience: Yes.

Okay. Is there a left-hand wall?

Audience: Yes.

Okay. Is there a right-hand wall?

Audience: Yes.

Okay. Is there a left-hand wall?

Audience: Yes.

Okay. Is there a floor?

Audience: Yes.

Okay. Is there a chair?

Audience: Yes.

Okay. Is there a right-hand wall?

Audience: Yes.

Okay. Is there a left-hand wall?

Audience: Yes.

Okay. Is there a floor?

Audience: Yes.

Okay. Is there a chair?

Audience: Yes.

Okay. Is there a floor?

Audience: Yes.

Okay. Is there a chair?

Audience: Yes.

All right. Is there a right-hand wall?

Audience: Yes.

All right. Is there a left-hand wall?

Audience: Yes.

Okay. Is there a right-hand wall?

Audience: Yes.

All right. Is there a left-hand wall?

Audience: Yes.

Okay. Is there a left-hand wall?

Audience: Yes.

All right. Is there a right-hand wall?

Audience: Yes.

Okay. Is there a chair?

Audience: Yes.

Okay. Is there anybody alive in the room?

Audience: Yes!

Is anybody alive?

Audience: Yes!

Well, okay. Is there anybody alive?

Audience: Yes!

Okay. Is there anybody alive?

Audience: Yes!

All right! End of session!

Thank you.

Thank you.