View source for Black Mock-ups, Persistence, MEST (2ACC 531118)

'''Series:''' 2nd Advanced Clinical Course (2ACC)

'''Date:''' 18 November 1953

'''Speaker:''' L. Ron Hubbard

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All right. This is the second hour and just a—it's not an hour, but just a second rundown in this morning's work.

Now, you understand why we're doing this technique of putting emotions in barriers. We're trying, in the first place, to invert barriers.

We haven't come to Step II yet, very much, but that's the automatic machinery which unmocks barriers. And I showed you some of that yesterday. That's a little bit advanced. But the point is everybody perceives a little bit differently. They've got various mechanisms by which they can demonstrate to themselves that it's not safe to perceive, and in this wise they rather cut things from under themselves.

We've got to get this very good on being able to put thought, emotion and all kinds of effort, including light—which I gave you yesterday—and today, blackness.

I mean, you can close your eyes—I want you to shut your eyes right now and do this trick. I don't care if it sticks you on the time track—you can unstick later. Doesn't matter.

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

Now make the outside of the wall behind me—the other side of the wall behind me—black, and with effort in it, no matter how tight or weak, but get that wall black and with some effort in it. The opposite side.

Now get the back wall of the room, the outside back wall of the room, black. The other side away from you. The other side away from you. Get it black. Now get a little effort in it.

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

Now get the four outside walls of this building, the outside of the walls, black, and with some effort in them. No matter how faint that effort is, but get them black and get some effort in it.

Now get the floor under your feet… I'm not asking you to unmock any of this, the devil with it. Get, if anything, an effort to make it persist. Under your feet, the floor under your feet, the underside of it—get it black and with some effort in it.

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

Now let's lay a black sheet on the outside walls of this building, crushing in against the building or even pushing in faintly—I don't care how much effort, but get some effort in that blackness. Now let's make it persist. Definite effort to make that persist.

Now get the ground underneath the whole building with a definite effort to make a black sheet come up against the underpinning of the building. And get an effort to make that persist now.

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

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

Now get any building on the street—whether you can see it or not, doesn't matter—but just get a black shroud over it, pushing in against it. And make it persist.

And get another building, any other location, and get a finite direction to it and make it covered with blackness with a little effort in it. And make it persist.

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

Let's get another building someplace, I don't care at what distance away. Cover it with blackness, and have the blackness have some effort in it to push the building in.

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

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

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

Now let's mock up the front wall of this room as black. The whole thing black. A little effort in it, even if it's the effort of tiredness.

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

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

Now the back wall of the room black, with some effort in it. Pay particular attention to the outside of that wall, but let's get the whole wall to some degree. And get the idea of making that persist.

Now let's take the front wall again, and on the opposite side of this front wall, let's put a sheet of blackness. The far side of the front wall, put a sheet of blackness.

And now, like you were blowing bubble gum, pull a bubble of that blackness through into the room so it comes right through the wall.

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

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

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

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

Now just yank the rest of the black sheet through the last hole. Make a big bubble out of it and fix it up so it'll persist.

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

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

Now let's unmock the wall in some small portion—just unmock it so there's a hole in the wall, and let that stuff come through.

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

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

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

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

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

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

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

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

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

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

And when you got that real good, (if you have to, make some more of it) drop it over somebody else—very carefully, so that it persists.

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

Now just mock up, all the way around this room—have somebody else mock up all the way around this room, a big black sheet which completely encompasses the outside of the room; have them put enough effort in it to make it persist.

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

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

Now get a big black envelope with plenty of silence in it, and slide it over this building. And have somebody else nail it in place.

And have somebody else come along and drop another envelope over the top of your envelope for somebody else—as though you weren't there at all. All right.

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

Mock up, now, a signboard—completely black.

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

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

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

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

And get two of you, entirely black, agreeing with two other people, entirely black, that it must be all black. Get a definite effort to make that blackness persist. All right.

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

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

Male voice: The sun won't obey.

Huh?

Male voice: The sun comes through.

Sun keeps coming through?

Male voice: Uh-huh.

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

Male voice: No worse than I felt before.

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

Male voice: Oh, yeah.

Did you get them outside the room?

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

Mm-hm.

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

Well, that's all right.

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

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

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

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

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

Get it withdrawing them.

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

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

Now let's get a huge spider web that you're putting out to locate present time—really black and nyaaah—to locate present time with.

And have present time send out a duplicate spider web over the top of this one, to locate you, so that you got two spider webs.

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

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

Now put black jerseys on them.

Paint their faces black.

Put black pants and skirts on them.

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

Now put some effort in the cones—squish!

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

Okay, throw all that away.

And let's reach for present time with a couple of black beams. Good, persistent beams that'll be here for the next eighteen thousand years.

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

Get a truck to carry them around with. Okay.

Now turn the walls of this room black.

And then look at them as they are.

Did they un-black?

Male voice: Little bit.

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

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

Now throw the blackness away.

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

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

Throw that away too.

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

Throw that away.

Now make the little tiny machine there, the little tiny one that'll make blackness any time you have to get hidden, when you don't know you have to get hidden.

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

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

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

Now keep that. Save it.

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

And get another cube of blackness. Try this one on just to make sure it will occlude you. And having tested it, save it carefully.

And make another cube of blackness. And save that.

And another cube of blackness. And save that.

Now throw the last one away.

Now throw them all away.

Now throw away any remaining blackness that you have around.

And you've just about got it.

Okay? How you feel?

Male voice: Oh, I doped off several times.

Did you get any somatics?

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

Yeah. Did you get any of those blacknesses?

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

Did you get anything black?

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

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

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

Uh-huh. With some effort in it.

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

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

I'm not evaluating for you. Just because I tell you that's the gate to Mars is no reason why it is the gate to Mars. It's—the truth of the matter is, it probably isn't the gate to Mars. It's probably the other gate to Mars. (audience laughter)

By the way, another thing that is far more deadly than blackness—ask somebody to do it—is just what you're talking about: Have them mock up everything in ultraviolet light. They don't like this one because a thetan becomes visible with it.

Second male voice: He becomes invisible?

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

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

Third male voice: Licorice all over the walls.

Hm?

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

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

Make you feel better?

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

What did that do to you?

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

It didn't hurt you. Well…

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

Got the effort good.

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

Mm-hm.

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

That's right. It's the effort to persist. And many people are running on this effort. And some are running on the effort to persist—they're having to trust the effort to persist which they have made, see? And there's where you catch the lower rung of the case. But there's no sense in putting everybody through that wringer.

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

It smoothed out. Sure.

This is fascinating, in fact, but that of course—I didn't get into machinery this morning, but I talked a little bit about machinery yesterday, the day before. And it's a wonderful fact that this is just machine-made stuff. And I can tell you that bluntly, without you suddenly changing postulates on it, because that's what it is. You got a mock-up machine which makes black. That's all there is to it. And these people that have things "suddenly disappear on them" have got machines that unmock the universe.

There are two ways to handle machines. You waste them in brackets or you create or destroy them in brackets. You waste them, save them, accept them and desire them, be curious about them—in brackets. Now what's a bracket? We've heard a lot about this bracket. Let's make sure you know what a bracket is. A bracket is: person does it for himself, somebody else does it for himself or herself, another person does it for another person, and somebody else does it for the preclear, and the preclear does it for somebody else. And that is a bracket of five.

When we start dropping space around people, we do a bracket of six. And the additional bracket is somebody creating space for somebody else with somebody else in it, and somebody creating space for somebody else with the preclear in it. You can look that over as a pattern and you'll get the idea of what that is. That bracket is quite important to you at this time. And you can blast through without using brackets, but it's not very easy on your preclear. And very often a case just sort of hangs up because some part of the bracket hasn't been run on something.

Now, in view of the fact that I ran blackness on you in irregular brackets this morning, may possibly park somebody—that's why I was being careful at the end of the session, but it evidently hasn't. Okay. Because you see, you should run people making the walls of the room black for other people, and people making the walls of the room black for you, and you making the room—walls of the room black for others, and you making them black for yourself, and somebody else making them black for himself. See?

You can also hold corners of the room this way: the preclear holding them for himself, the preclear holding them for somebody else, somebody else holding them for himself, somebody else holding them for the preclear, somebody else holding the four or eight corners of the room for somebody else. And there you've got a bracket.

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

Funny?

Female voice: Yeah.

What's the matter?

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

Hm?

Female voice: Sort of shaky and faint all over.

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

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

Mock yourself up shaky and faint.

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

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

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

Now mock yourself up in the immediate future now, as no more than walking down the steps than you pass out on the street. And then the people come and find you dead.

Make you feel better?

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

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

Female voice: (laughing)

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

Female voice: (laughing)

Somebody trying to control one of their own machines. It's always a silly picture. Machine is supposed to move, and they're trying to keep it from moving but it's their machine so they can't stop it.

All right. Mock yourself up out of control.

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

Female voice: (laughing)

Got that? You feel better now?

Female voice: Mm-hm.

That—there are three basic rules on the resolution of automaticity. You just make the preclear do it all by himself, and—if you just make him do it instead of having it done for him—and he'll recover from that automaticity. That works in any universe. See, I mean, it works in the MEST universe, his own universe and other people's universe. But make him do it himself. Now that's the basic law: You make him do it, and he owns it.

Now, if you can't make him do it right away, you can make him change it or you can make him alter it, some slight fashion.

Now, another way to handle automaticity is to merely create and destroy the mechanism which is doing it. You mock up a mechanism which you say is doing it and then destroy it. Create it and destroy it. Now, you can do that on a gradient scale. You can mock up a little piece of the mechanism and you can destroy a little piece of the mechanism, see? Until you could mock up the whole mechanism, create and destroy it. That's very direct.

But don't omit this one, please. It's much more effective to waste, accept, save (it doesn't matter which way you run those two), desire, be curious about—in brackets—the machine.

Male voice: Anytime.

That's in anything. Anytime you want to run something that's going to make a case feel better quick: waste, save, accept, desire and be curious about—five of them—in a bracket of five, works much, much, much better in the usual run of preclears. You understand that? And they have to know they're really wasting it—that's the test.

My God, sometimes you'll get a communication lag that you'd think—require a time clock or something. You feel like setting the clock and coming back tomorrow and we will get it. But the pc really has trouble sometimes wasting something.

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

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

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

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

"Yeah. Yeah. Hrmph. She wouldn't have walked in a garbage dump. She's pure. She told me so all of her life. And I gave her so much trouble at birth. I tore her to pieces. Everybody said so. And that was why she was sick all the time. My, if I could only immolate myself upon that altar." (audience laughter)

Yes, Ed?

Male voice: Ron, when you say "extend cables to present time," I don't get that. I am present time. And that means that some source of present time's a thing somewhere I'm putting cables to. How am I mixed up in that?

Okay. Where is present time?

Male voice: It's what I am.

Okay. Where else is present time?

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

Mm. Nomenclature here. We're talking about—when we talk about present time and we just say present time, we mean MEST universe instantaneous nowness.

Male voice: That's what I mean.

All right…

Male voice: You said put cables to it.

But that—you couldn't be present time. That stuff can be, though. You can be present time too, for a moment, if you want to be. But that's the stuff that regulates it. It's a coordinated motion that's going forward and backwards across the whole universe simultaneously. We'll go into that a little bit more.

When you say reach for present time, you might as well say reach for the corners of the room where they are this instant. Got it? So that puts you in contact with MEST.

Now, of course, the only criterion about time is the preclear. But you're asking him to reach for an arbitrary time. Present time is an arbitrary time. That's the agreed-upon time. And it's the instant—the same instant, across the whole universe. It isn't later at some part of the universe than another part just because the universe is in motion. That confusion gives people the idea of a communication lag. Okay?

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

Now, I'll give you a little bit of the patter here of what we should be pattering about. All right, I'll just give you this as a whole, as a drill right now.

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

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

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

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

Now let's put a little tiredness in the other chandelier. (Sometimes a little bit tricky because there's light emanating from them and people have the idea of light as a symbolical.) All right.

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

Now let's put some effort there anyway.

Male voice: (laughing)

How many people blew a lock on Mama? Okay.

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

Let's put a little grief into it now.

Male voice: (laughing)

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

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

Male voice: (laughing)

Now let's make it be angry.

Let's put some resentment in it.

Male voice: (laughing)

You getting good this morning?

Male voice: (laughing)

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

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

Now let's put some desperate boredom in it.

Male voice: It is not, then, sleepy.

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

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

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

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

Now some serenity. (audience laughter)

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

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

Male voice: Yeah!

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

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

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

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

And some sexual happiness.

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

Now let's make the door happy.

Now let's mock up a broom. Now, you see, this is one's own universe we'll go into now. Mock up a broom, or anything that you say is a broom, or any concept of a broom. Have it ridicule you.

Now mock up a car and have it ridicule you.

Now get the idea of somebody else's mock-up of a broom—other person's universe—somebody else's mock-up of a broom and have it ridiculing you.

Throw it away.

And get the front part of the room ridiculing you—MEST universe.

Get it disgusted with you.

Have it be pleased with you.

Now have your nose ridicule you.

The tip of your nose ridicule you.

Put some frigidity into the tip of your nose. All right.

Let's put some frigidity into the tip of somebody else's nose. Okay.

Now let's put some darkness into the first chandelier. I don't care what part of it. Put some darkness into it.

I'll give you a real hot, good game. There's a light—now put some darkness into it.

Male voice: That's effort.

That's an effort, isn't it? Any one little tiny part of it. I don't care what part of it you put some darkness in. I didn't say make the whole thing dark. All right.

Now have it think a thought that relieves it of the darkness. Feel its relief.

Well, this comes very close to being your drill. Now, you see the variations on this.

Now, the ones I didn't point up and run a full scale on is on mock-ups. And let me tell you where that goes. That can go as far as and as rough as a mock-up of Mama—we shouldn't attempt this with anything like a group at this time—but a mock-up of Mama, and you simply have the preclear change emotions in it, clear all up and down the emotional band, including the second dynamic, including ridicule, love, affection, hate, so on. And the two things you start beating to death are love and hate—in terms of people in your own universe. See that? Mock-ups of brooms, mock-ups of dustpans, of stoves, of cats, of dogs. Anything—even a thought of a mock-up on the thing, you see? And you just change the emotions in the mock-up of the thing which you have created.

A good drill on this is just to put this new list I've given you on all the emotions—ridicule, love, hate, sexual sensation and so forth—and just do some Self Analysis and just put those emotions into the mock-ups which you get. Just in routine. See that? See? Oh, yeah?

Male voice: Sexual sensation—I cant get no concept on the thing.

Well! (audience laughter) Can you get the idea of frigidity?

Male voice: Yeah. And sexual longing and sexual disgust and …

All right. Well, you just work those enough then and all of a sudden this thing will turn on with a roar. That's right. Okay?

Now, you could, as I said, just do some Self Analysis in—with this list, and put the emotion, in turn, in each one of those. However, that's rather—a little bit in advance of some of the people present. We're right back into the worries about making up mock-ups and so forth.

So, to some slight degree, we'd be neglecting one's own and other people's universes. And we probably won't unneglect them until we have done something of Step II, which is get rid of these damn machines. And we're not ready to do that step until you've got this MEST around you here in remarkable condition.

So the only new thing or variation which I would really ask you to do today—now, I've just given you a pattern on the whole process, you see, but as of—what I'm asking you to do today here is a little bit different: put it into MEST, all these things, and blackness and effort and so forth. Put it into MEST, in a bracket—bracket of five. You putting it into MEST, somebody else putting it into MEST, somebody putting it into MEST for you, you putting it in MEST for somebody else, other people putting it into MEST for other people.

Now, you got that routine? Boy, it's sure awful self-evident, that routine there.

Male voice: For the moment being—neglecting own universe and the other fellow's universe.

Yeah. Well, I say. You—because we'll run—rattle into and bog down on: "Can we get some mock-ups and can't we get some mock-ups?" And the only reason you can't get mock-ups … I beat my brains out wondering—trying to why—find out why people couldn't get mock-ups. And honest, I almost am at the point of strangling somebody when I find out all of a sudden how easy it is to undo this one. The only thing that's wrong with it is we've worried about it so hard right now, see? You got machines that wipe them out faster than you can make them, of course. Because when you put up a mock-up, you'd be located! And if you got located you might go to jail. And there's somebody still looking for you in the ninth ward of Arcturus. I mean, that's what it amounts to. Grrrrrr! (audience laughter)

Another thing is, is we've got to solve, we've got to solve—I repeat this—before we do any further auditing: the primary reason for a tacit consent of nonadvancement of cases amongst the people of their own class. You see how you solve that? People are afraid of emotion and they're afraid to look. And if they're afraid of emotion and if they're afraid to look, then they're scared of turning on any real hot run in somebody else, and they're afraid of emoting themselves. So they haven't sufficient volatility to respond to very much processing. Well, we've got the technique which unlocks this. Believe me, this is the technique which unlocks it. So let's unlock it!

If I were auditing you personally, vis-a-vis, you on the couch or in a chair, and me sitting at my desk and so forth, and we were going at it by the hour, this is exactly what we would be doing. Wouldn't be doing anything else. It'd probably have a lot of frills on it and it'd probably surprise you to death where it went occasionally, but at the same time it would just be the deadly proposition of making awfully sure that you could enter some gradient scale which would put blackness and lightness and—we'll go into that this afternoon, shouldn't try it this morning—colors. Miscolor things. Different color things. And a blackness-lightness, effort-thought, on all the emotional band, into any and every kind of a MEST object, in terms of brackets, so that you're willing to let somebody else put it into MEST too. See? Get that?

And you'll find out that a person's been getting along horribly and all of a sudden he's perfectly willing to let somebody else put it in, but he won't. And you'll find somebody else is in—gee, he was just getting along fine as long as he was putting it in, but all of a sudden other people putting it in for other people, well, nowrrrh! Or other people put it in for him—he can do it himself! I've had people get real mad. You just run them on a bracket, see? Not particularly surprising.

So I'll be real mad at you if you don't get real good at this. And if you don't get real good at this, if I get real mad at you, it'll create a terrible effect upon you. You realize this? (audience laughter) You understand then? You're doing this in self-defense, you realize this? Oh, dear. Gee, I haven't gotten mad at a preclear since 1950—that is, not seriously. (audience laughter)

Okay. In the next two minutes, why don't you all step—the Second Unit—step in the other room and let me snap a wide-angle photograph of you.

BLACK MOCK-UPS, PERSISTENCE, MEST PAGE 2 2ACC-03B - 18.11.53

[[Category:Lectures]]
[[Category:Lectures 2ACC]]
[[Category:Lectures 1953]]