View source for Demonstration of Getting a Case Moving (500822)

'''Date:''' 22 August 1950

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

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All right. What you do first in the case is all listed here in your Standard Procedure: Put the preclear in reverie, checking perceptics, see if he’s moving on the track. Run pleasure incidents to tune up perceptics, strengthen sense of reality and get preclear in own valence. Try for painful emotion discharges. If file clerk and somatic strip indicate a stuck case, try all prescribed methods to free on track; failing, go to Step Three. And five, try for basic area engram; failing, go to Step Three. Step Three is over here. Go back to Straightwire. What I would actually like is a case that I could put down into a point where he could go down in the basic area. I am not trying to open up cases but we will take on this.

Will you step up here, Al?

The next thing I should do probably is just sit him here and feed him repeater technique on all the holders. It says in the book you can’t do any harm with repeater technique. Yes, that’s the way you open the case.

LRH: Who’s dead?

PC: Grandmother, I guess.

LRH: Is she still alive?

PC: No.

LRH: What do you mean, “I guess”?

PC: I guess that’s the one you are referring to.

LRH: Did they spill that off your case?

PC: No.

LRH: They didn’t?

PC: Tried to get it, but couldn’t.

LRH: What were they saying when they were trying to get to it?

PC: They asked just what you did, who was dead—or wanted me to go back to someone that had died. And the only one I could think of that meant anything to me at all that had died was my grandmother LRH: Yes. Tell me. How long has she been dead?

PC: I don’t know how old I was when she died. I imagine around eight years, somewhere around in there.

LRH: Where did she live when you were eight?

PC: Detroit.

LRH: What kind of a house did she live in?

PC: She lived in—oh, it was a kind of a run-down house.

LRH: Kind of run-down?

PC: Yes.

LRH: Have a big kitchen?

PC: There was a fair-sized kitchen.

LRH: Did she cook pretty good?

PC: She cooked good enough for me.

LRH: Did she raise you?

PC: No. The most I saw of her was when my mother would take me down to Grandma, would leave us there during the summer vacation. And we would stay there maybe a couple of weeks.

LRH: Oh. You would have to stay with her there while your parents were gone?

PC: Yes, they would go back to Detroit.

LRH: And what did you used to do while they were gone?

PC: Oh, just had fun, played around out in the yard, in the weeds.

LRH: What did she do for you?

PC: Nothing as far as I know.

LRH: Did she ever dig in the garden or anything like that?

PC: I don’t recall exactly her digging in the garden. I know my step-granddad did most of that. He had a good-sized garden. I remember one time she got a bunch of little small potatoes about the size of peas, cooked them up for me . . .

LRH: Yes? Did you like them?

PC: Well, mostly the idea of eating potatoes so small.

LRH: Just your size?

PC: Yes, I guess so.

LRH: Did she ever bake you loaves of bread or anything like that, your size—small pie?

PC: No.

LRH: Very small pies?

PC: Someone did, though.

LRH: Yes? Little pies? Little loaves of bread?

PC: That may have been my mother. She used to make pie crust or something like that I used to eat.

LRH: Did you like it?

PC: Yes.

LRH: What did the hands look like?

PC: I can imagine what they looked like.

LRH: How does the pie crust taste?

PC: Good. Fine.

LRH: Do you like pie crust?

PC: Yes.

LRH: How does it taste?

PC: Oh, soft, bakey . . .

LRH: Did you used to run in and eat it or sit down in the kitchen?

PC: I used to be around when my mother baked.

LRH: Where did you sit in the kitchen when your grandma baked pie?

PC: I don’t recall her baking pies.

LRH: Never made a pie?

PC: She must have made a lot of pies but I can’t recall.

LRH: How did the place smell? Did she ever bake bread?

PC: I can’t recall her baking bread.

LRH: How did the place smell when she was cooking the small potatoes?

PC: Darned if I know.

LRH: What kind of a cookstove did she have?

PC: I think she had one of those coal oil compositions.

LRH: Yes. How did it smell?

PC: It had quite a distinct smell.

LRH: Take a sniff.

PC: (sniff) LRH: So, she had this coal oil stove. Where did it fit in the kitchen?

PC: Sat against the wall LRH: Yes, which wall? The one furthest from the door or nearest the door as you came in from the back yard?

PC: Seemed like it was fairly close to the door.

LRH: Which side as you came in?

PC: That would be on the garden side.

LRH: Where did she used to stand near it when she was cooking things?

PC: She would stand there right in front of it.

LRH: She would stand right in front of it. What kind of a gesture would she make? What kind of a gesture would she make while she was cooking?

PC: (pause) LRH: How about this one? Did she ever scratch her nose that way?

PC: I can’t recall her doing it, no.

LRH: What kind of a gesture did she make there while she was standing there cooking up something? Did she ever point at you with a spoon?

PC: No.

LRH: Fork?

PC: No.

LRH: How did she lift the lid off the cook pot?

PC: I can’t recall.

LRH: How do you lift them off the cook pot?

PC: Just lift the lid up I guess.

LRH: A big heavy iron one—did she use big kettles? Small kettles?

PC: (pause) LRH: Was there a pump in this kitchen or running water?

PC: No. There must have been. I don’t think there was. No, there wasn’t running water. There was a pump.

LRH: Where did the pump sit?

PC: I don’t know whether it was in the kitchen or not, but I know there was a pump.

LRH: Yes. How did you have to pump it? Did you ever have to prime it?

PC: Yes.

LRH: Did she ever dislike it?

PC: I don’t know about her.

LRH: Did she ever dislike—go over the words “You will forget all about her.” PC: “You will forget all about her. You will forget all about her. You will forget all about her. You will forget all about her.” LRH: “You will forget all about this.” PC: “You will forget all about this. You will forget all about this. You will forget all about this. You will forget all about this.” (laughing) LRH: I don’t know how I do it, really.

PC: (laughing) LRH: Go over it again.

PC: What was it?

LRH: “You will forget all about this.” PC: “You will forget all about this. You will forget all about this, (laughs) You will forget all about this.” (laughs) LRH: Do you know what a bouncer is?

PC: Yes.  “Go back.” “Get out.” “Get the hell out of here.” LRH: Go over the words “Go back.” PC: “Go back, go back, go back. Go back, go back, go back.” LRH: Go over “You will forget all about this” again.

PC: “You will forget all about this. You will forget all about this. You will forget all about this. You will forget all about this.” LRH: Who is talking?

PC: I don’t know. If I had to say someone it would be my mother.

LRH: What is your age?

PC: Thirty-three.

LRH: What was the flash?

PC: I didn’t catch it.

LRH: Didn’t catch it. Give me a number.

PC: Two.

LRH: Now let’s contact this moment. Now let’s see if we can’t contact it, when your grandmother died.

PC: I don’t know when she actually died. I wasn’t there. My mother went down first.

LRH: And then?

PC: And then us kids came later, after Grandmother had died.

LRH: Who told you she was dead?

PC: As I remember, my mother She went down there and was there when she died and then she either called up or sent a telegram that Grandmother died while we were up in Detroit and she was down there, of course. And then my dad drove us two kids down and when we got there I went in and talked to Mother And she took me in to see my grandma. And it seemed like my grandma was in a little room off to the side, off of the parlor or something like that.

LRH: How did this room look?

PC: It seems all bare with just a coffin in it.

LRH: Yes . . .

PC: And my grandmother was in the coffin.

LRH: Do you see yourself?

PC: No.

LRH: You see the coffin?

PC: No.

LRH: How did I look sitting there a moment ago?

PC: I don’t know. I can’t see you.

LRH: Well, did you get an impression?

PC: Yes. You were sitting there, leaning over . . .

LRH: Well, how did it feel looking at the coffin in the same way? Give me the same impression. I am not asking you to see it then. How does it feel sitting there, standing there. Can you give me the same impression?

PC: Oh, well, I think she was—the coffin was lined with something like white silk or satin, and it seems like she has her hands laid over her stomach—something like that.

LRH: Who else is dead?

PC: No one that I know of.

LRH: How about your stepgrandfather?

PC: I don’t know whether he is still alive yet or not.

LRH: How about a nurse? How about your great-grandparents?

PC: I didn’t know them.

LRH: How old were you when they died?

PC: My great-grandparents?

LRH: Yes, PC: (pause) LRH: Died a long time before?

PC: I should think so, yes.

LRH: Do you have any idea when they did die?

PC: No, I don’t.

LRH: Anybody ever mention the fact that you had great-grandparents?

PC: Not very often at all.

LRH: Well, who mentioned it at all?

PC: I guess, if anyone, it would have been my dad.

LRH: What would he be saying?

PC: Well, he used to be more or less talking about the family.

LRH: All right. Come up to present time if you’re anyplace else. [to audience] I thought this case was occluded. People keep passingme notes. “A grief discharge yesterday. Heavy laughter on———.”How much stuff can be gotten out of the case?

You know, a real closed-in case answers everything: “What is your name?” (long pause) “Uh . . . George.” And that’s really a tough case but this requires a little time. If you are the toughest case in the school this whole class is a pushover. [to pc] All right. Let’s shut your eyes right now. Anytime in the future when I say the word cancelled, it will cancel what I have said to you while you were lying here on the couch on the stage. Okay?

PC: Yes.

LRH: All right. Let’s go back and eat some dinner last night.

PC: Well, I ate dinner at . . .

LRH: [to audience] I am just going through this whole proceeding now, just as it’s outlined in the bulletin. And that first run there was just to give the gentleman a little chance to get his equilibrium, and a little Straightwire. A possibility of pulling him down into the charge without his being aware of it. [to pc] Now let’s eat your dinner last night. You did eat last night?

PC: Yes. Ate at a restaurant.

LRH: All right. Where is the restaurant situated?

PC: It’s, well, about four blocks east.

LRH: Four blocks east?

PC: Yes.

LRH: What kind of a place is it, after you get inside?

PC: It’s a—well, a typical little restaurant with a U’shaped bar going around; stools.

LRH: Okay. What were you eating?

PC: Liver and onions. Milk, tomato juice, salad. And also, I think, peas and carrots.

LRH: All right. Let’s take a bite of the liver. Take a bite of the liver.

PC: (laughs) LRH: Qué pasa?

PC: Well! (laughs) LRH: Right on schedule.

PC: (laughs) LRH: This guy ought to be cleared before he’s out of here. [to pc] Let’s take a bite of the liver.

PC: (laughs) LRH: Take a bite of the liver.

PC: (laughs) LRH: What have you got?

PC: I haven’t got anything.

LRH: Take a bite of the liver.

PC: I don’t think I cut it off first!

LRH: All right. Let’s cut it off.

PC: Ail right.

LRH: Your fork in your right or your left hand?

PC: Well . . .

LRH: Get a tactile on it. You don’t have to worry about it. Just feel the fork.

PC: No, I can’t. I imagine what I usually do is hold the fork in the left hand and when I eat, transfer the fork and hold it in my right hand.

LRH: All right. Let’s take a bite of that liver.

PC: All right.

LRH: Take it up to your mouth. Let it come out. Let it down. How does it taste?

PC: I don’t know.

LRH: Well, let’s taste it. Let’s taste it.

PC: I can’t do it.

LRH: Is that the first taste of it? All right. Let’s try it again. Let’s cut it off. Let’s cut it off now, spear it with a fork, take a bite of it.

PC: I don’t know if I can do it.

LRH: All right. Let’s go over it again. Let’s take a bite of it. How many times do you chew it?

PC: I can’t tell you.

LRH: All right. Who’s sitting there at the table with you?

PC: I don’t know anyone.

LRH: Don’t know his name?

PC: I just talk to him.

LRH: Do you know what he looks like?

PC: Yes.

LRH: Do you know what he’s got on?

PC: I think I do.

LRH: Well, let’s take a look.

PC: I wish I could.

LRH: Come on. Let’s take a look at him. Just pick it up at the moment you are looking at him. Somatic strip will go to a moment when you glance at him. Now, let’s just contact it. Take a look at him.

PC: I can’t see.

LRH: Can’t do it, huh? All right. Let’s go back to the time when you won the contest.

PC: You mean, any contest?

LRH: All right. Where were you standing when you were awarded the prize?

PC: Let’s see. I was sitting up on a stool by my drafting board, and the three judges that we selected were standing in front of me. And they said, “Number Two, by Curly Rogers.” That’s me.

LRH: How did you feel when they said that?

PC: Surprised.

LRH: Did you feel good about it?

PC: Yes.

LRH: What did the judges look like?

PC: Well John Ransome is a short . . .

LRH: Well, let’s take a look at him as he is right there, giving you the prize.

PC: I can’t see him.

LRH: What would happen to him if you looked at him?

PC: I’d be able to tell you what he looked like.

LRH: And then, what would happen?

PC: Then, you’d know.

LRH: Who said, “Control yourself”?

PC: I don’t know.

LRH: At this stage, you would go to Step Three. I am trying to demonstrate to you Step Two. However, we will keep on. [to pc] Let’s go now to the moment when your dog died.

PC: Well, I was away, I was down at camp. And when I got back, he had just been killed the day before.

LRH: Who killed him?

PC: Some guy riding down the alley; his car ran over him.

LRH: Where is the dog?

PC: In a box.

LRH: What do you do with him?

PC: Carry him.

LRH: Carry him where?

PC: I don’t know where. Seems like we . . .

LRH: A nice dog?

PC: Yes. I liked him.

LRH: What was his name?

PC: I am not sure of what the dogs name was. I don’t know for sure . . .

LRH: How long did you own this dog?

PC: Oh, I would say maybe a year all told.

LRH: Well, all right. Let’s go back to the moment when he—was he fond of you? Did he give you a nice welcome when you showed up?

PC: If he’s the one I am thinking of he’s the one that always played with us kids in the back yard. We had him almost trained so that when we got up on the higher railing you’d stick your foot down, and the dog would run around, trying to jump up and get the leg and you’d pull it back up and he would go after someone else.

LRH: All right. What was the dog’s name?

PC: I don’t know.

LRH: You would again at this moment go into Straightwire. I am trying to do one thing at a time, if I can. [to pc] The file clerk will now give us basic-basic. Somatic strip will go to the beginning of basic-basic. When I count from one to five and snap my fingers the first phrase will flash into your mind. One-two-three-four-five, (snap) PC: (pause) Well . . .

LRH: No flash?

PC: No.

LRH: All right, no flash. How old are you?

PC: Two.

LRH: What happened to you when you were two years of age?

PC: I can’t be sure.

LRH: You see, this goes back up to a “Stuck on the track” proposition, evidently. Possibly, some trouble. It’s a possibility because this is the second time I have gotten “two” out of it. This may even be an engram where somebody’s saying, “Say ‘two.’” PC: I don’t know what happened.

LRH: What do you think happened?

PC: Well, a flatiron fell on my shoulder.

LRH: Go over this phrase, “You only think you know. You only think you know.” PC: “You only think you know.” LRH: Go over it again.

PC: “You only think you know.” LRH: Go over it again.

PC: “You only think you know. You only think you know. You only think you know. You only think you know. You only think you know.” LRH: Let’s contact an earlier time this is said. Now, go over that one.

PC: “You only think you know. You only think you know. You only think you know.” LRH: An earlier time when that was said.

PC: “You only think you know. You only think you know.” LRH: An earlier time that was said.

PC: “You only think you know. You only think you know. You only think you know.” LRH: What is your somatic?

PC: Just feel tight in the head.

LRH: Let’s come up to the moment when you’re—how old are you?

PC: Two.

LRH: [to audience] I figured he was in it a while ago. [to pc] That’s no evaluation.

PC: (laughs) Okay.

LRH: The file clerk will now give me a flash. Can we run birth?

PC: I was going to say no.

LRH: But what happened?

PC: I couldn’t say it.

LRH: Uh-huh.

PC: I wasn’t sure what it was} so I didn’t say it.

LRH: All right. The file clerk will now give me a number. How many engrams before birth can we reach?

PC: I haven t the faintest idea.

LRH: The file clerk will now give me the phrase which would hold you in birth. When I count from one to five, it will flash into your mind. One-two-three-four-five.

PC: Nothing.

LRH: Nothing what?

PC: Nothing flashed into my mind.

LRH: Well, well, well. The file clerk will now give me a number. How long have you been here?

PC: How long have I been here?

LRH: Now, the file clerk will now give me another number. Is birth the chronic engram? One-two-three-four-five.

PC: I can’t tell you.

LRH: Yes or no. Answer yes or no on this question. Is birth a chronic engram?

PC: No.

LRH: All right. Now, give me a yes or no on the following. Now, hospital?

PC: No.

LRH: Doctor?

PC: No.

LRH: Accident?

PC: No.

LRH: Mother?

PC: No.

LRH: Father?

PC: Father what?

LRH: All right. Give me a yes or no on this. Illness?

PC: No.

LRH: Accident?

PC: I don’t know, (laughs) LRH: Now, give me a yes or no on this. In the house?

PC: What?

LRH: What did you say?

PC: I said, “What.” LRH: A yes or no on this. In the house?

PC: Yes.

LRH: Outside?

PC: I don’t know what to say.

LRH: Give me just the flash, the first impression that comes through now. Sympathy? Give me a yes or no on this. Is he nice to you?

PC: Who? (laughs) LRH: Now, give me yes or no on this. Legs? Yes or no.

PC: No.

LRH: Arms?

PC: No.

LRH: Yes or no on this. Head?

PC: No.

LRH: Arms?

PC: No.

LRH: Stomach?

PC: No.

LRH: Back?

PC: No.

LRH: Hurt?

PC: No.

LRH: No?

PC: No. (laughs) LRH: Broken bone?

PC: No.

LRH: Head injury?

PC: No.

LRH: Give me a yes or no on this. Doctor?

PC: No. No answer.

LRH: All right. I want a yes or no answer on this now. Is some treatment your father gave you the chronic engram?

PC: I don’t know.

LRH: Is the chronic engram punishment? Yes or no.

PC: No.

LRH: Is it sympathy?

PC: I will say yes.

LRH: What is he doing for you? Now, for God’s sake, just take a look around. You will probably hear the holder. Go on. Take a look around right where you are. Is it inside the house?

PC: I don’t know where it is.

LRH: Yes. Now, if you could hear a word right now, a series of words, would they be “Stay there”? “Lie still, I will be back in a minute”? What would they be?

PC: Nothing.

LRH: All right. Go over this: “I don’t know what happened to him.” PC: “I don’t know what happened to him. I don’t know what happened to him.” LRH: Give me a yes or no on this. Is this phrase in the chronic engram?

PC: No.

LRH: All right. Get me the denyer of the chronic engram. When I count from one to five, the denyer in the engram will flash into your mind. One-two-three-four-five.

PC: No.

LRH: All right. Give me the word “No.” PC: “No.” LRH: Go over it again.

PC: “No.” LRH: Go over it again.

PC: “No.” LRH: Go over it again.

PC: “No. No. No. No. No. No. No. No.” LRH: Got a somatic?

PC: Well, a little pain—well, no pain.

LRH: Yes, but what do you feel?

PC: Like my head was jerking a little bit every time I said that LRH: All right. Go over that again.

PC: “No. No. No. No.” LRH: Go over the words “He will never move again.” PC: “He will never move again. He will never move again. He will never move again.’’ LRH: Give me the paraphrase there. What is the paraphrase there on “He will never move again”?

PC: “He will never . . .” I don’t know what it is.

LRH: It will flash into your mind.

PC: “He will never move again. He will never move again. He will never, never, never, never—he will never, never . . .” (laughs) LRH: He will never what?

PC: (laugh) The only thing I can think of— “He will never remember.” LRH: Go over the words “He will never remember.” PC: “He will never remember. He will never remember. He will never remember.” LRH: Give me a yes or no. Is this in the engram?

PC: I don’t know.

LRH: All right. “I don’t know what happened to him.” Go over that again.

PC: “I don’t know what happened to him. I don’t know what happened to him.” LRH: Go over this line “Oh, my baby.” PC: “Oh, my baby. Oh, my baby.11 LRH: What’s on your right foot?

PC: Shoe.

LRH: What else?

PC: Sock.

LRH: Okay. Come up to present time. How old are you?

PC: Two.

LRH: All right. Now the file clerk will now give us the holder that we need to get out of this engram. When I count from one to five, the holder will flash into your mind. One-two-three-four-five.

PC: Nothing.

LRH: Now, a call-back will flash into your mind when I count from one to five. One-two-three-four-five.

PC: Nothing.

LRH: Go over this line: “I will come back in a minute.” PC: “I will come back in a minute. I will come back in a minute.” LRH: Is this in the engram? Yes or no?

PC: No.

LRH: Is there anything in this engram, yes or no?

PC: No.

LRH: Is there an engram, yes or no?

PC: I don’t know.

LRH: Are you alive? Yes or no.

PC: Sure.

LRH: Are you?

PC: Yes.

LRH: Who’s dead?

PC: Grandmother.

LRH: A name will flash into your mind, now. Whose valence are you in?

PC: Nothing flashed into my mind.

LRH: What?

PC: Nothing flashed into my mind.

LRH: No name?

PC: No, no name.

LRH: All right. Go over this line. “We better not tell him.” PC: “We better not tell him. We better not tell him. We better not tell him.” LRH: “We better not tell her. We better not tell her.” PC: “We better not tell her. We better not tell her.” LRH: Give me a yes or no. Are you moving on the track?

PC: No.

LRH: What is your age?

PC: Two.

LRH: What is happening where you are?

PC: Not a damn thing.

LRH: Nothing happening?

PC: Nothing at all.

LRH: How would you express it?

PC: Nothing s happened. Nothing s going on.

LRH: All right. Let’s go over that again. “Nothings happening. Nothings going on.” PC: “Nothing s happening. Nothing s going on. Nothing s happening. Nothings going on.” LRH: Let’s go over “Nothings happening, calm down.” PC: “Nothings happening calm down.” LRH: Give me a yes or no on this. Is this in the engram?

PC: No. Who’s flashing light on me?

LRH: I don’t know. Sounds like someone was taking a photo flash picture. I guess there was one. Did it disturb you? I will have him shot for you. All right. [to audience] What is our problem here?

Male voice: Stuck on the track.

That’s right. All we’re to do now is free him on the track so he will run on the track. This is some special technique. We might be able to plow it up better—what I would do at this time is to go into Step Three. But there’s quite a bit of material in this case available, quite a bit. This gentleman is not occluded. I would not classify him as a hard case at all. [to pc] Now, give me this. “He will forget all about this.” Is that in this engram? Yes or no?

PC: No.

LRH: Is anything in this engram?

PC: I couldn’t tell you.

LRH: Did you get a “no” flash?

PC: I couldn’t tell you.

LRH: Go over that phrase.

PC: “I couldn’t tell you. I couldn’t tell you. I couldn’t tell you. I couldn’t tell you. I couldn’t tell you.” LRH: Is that in this engram?

PC: No.

LRH: Is your father in this engram?

PC: No, not that I . . .

LRH: Are you in this engram? What was your flash?

PC: I don’t know.

LRH: All right. Is “I don’t know” in this engram?

PC: I was—I don’t know.

LRH: Go over it again.

PC: Go over what again?

LRH: “I don’t know.” PC: “I don’t know. I don’t know. I don’t know. I don’t know, (laughs) I don’t know. I don’t know.” LRH: Go over the words “Get out.” PC: “Get out Get out Get out” LRH: Go over the words “Stay out.” PC: “Stay out Stay out Stay out.” LRH: All right. Give me a bouncer.

PC: Go back.

LRH: Go over the words “Go back.” PC: “Go back. Go back Go back.” LRH: Is that in here? Yes or no?

PC: No.

LRH: Now let’s see what subtle genius can I whip up right now? See if I can minimize this a little bit. How about you just running the engram? That would be easier. There’s no reason why I should run it. Just run it and start running it. Just go through it phrase by phrase. I don’t care whether you know about it or don’t know. It doesn’t matter. I won’t hang you for the data you bring up. Come on, anything that comes to your mind, even if it’s in Hottentot.

PC: I don’t have anything.

LRH: All right. If you were thinking up an engram right now, tell me about an engram, now. Just roll me off a mythical engram. Just dream up an engram, any sort of an engram.

PC: Well . . .

LRH: You dream me up an engram, anything. It doesn’t matter.

PC: Well, a mother could be carrying a child around and fall down . . .

LRH: Then what would happen?

PC: Oh, she would probably say, “Oh, God. I’m afraid I hurt it” LRH: Then, what would happen?

PC: “I’m afraid I’ll lose it.” LRH: All right. Let’s run the line “I’m afraid I’ll lose it.” PC: “I’m afraid I’ll lose it. I’m afraid I’ll lose it. I’m afraid I’ll lose it. I’m afraid I’ll lose it I’m afraid I’ll lose it I’m afraid. I’m afraid. I’m afraid I’ll lose it I’m afraid I’ll lose it (laughs) I’m afraid. I’m afraid. I’m afraid. I’m afraid, (laughs) I’m afraid I’ll lose it” LRH: I’m afraid I hurt it.” PC: “I’m afraid I hurt it. I’m afraid I hurt it I’m afraid I hurt it I’m afraid I hurt it I’m afraid of it I’m afraid of it I’m afraid of it I’m afraid of it (laughs) I’m afraid of it I’m afraid of it I’m afraid of it” LRH: Well, go on. Just give me this mythical engram. So Mama falls down and Mama falls down and something happens to the baby.

PC: Well, so she falls down, and she bounces down pretty hard. She can’t get up right away. She puts her hand on her stomach and presses real hard, to see if the—I don’t know what she thinks she can tell but she feels kind of upset herself. She’s real afraid. Scared to death. She knows that lots of times falls will kill the child—a miscarriage . . .

LRH: Is anyone sympathizing with her?

PC: No, no one around.

LRH: And?

PC: And she says, “God. God, I’m afraid. God, I’m afraid I hurt it” LRH: Go on.

PC: And just, “I would just die if anything happened to it. I know I’m going to lose it. Probably be born dead.” LRH: What about not being able to get up?

PC: No. She rests there awhile and finally she pulls herself up and sits down on a couch.

LRH: Does she say she’ll have to get up? Did she say she’ll have to get up or . . .

PC: Well, she could say, “No one around to help me, so I’m going to have to do it myself.” LRH: All right. Let’s run that line, “No one around to help me, so I’m going to have to do it myself” PC: “No one around to help me, so I’m going to have to do it myself No one around to help me, so I’m going to have to do it myself” (laughs) LRH: If you feel like yawning, go ahead. There’s anaten right there.

PC: (laughs) “No one around to help me, so I’m going to have to do it myself No one around to help me, so I’m going to have to do it myself” LRH: All right. Let’s go to “I would just die if I lose it.” PC: “I’ll just die if I lose it I’ll just die if I lose it I would just die if I lost it I would just die if I lost it” LRH: Go over “I have got to get up,” PC: “I have got to get up. I have got to get up. I have got to get up. (volume of voice increases) I’ve got to get up. I’ve got to get up. I’ve got to get up.” LRH: Is there an earlier “Got to get up” here?

PC: I don’t know.

LRH: Go over the line “I’ve got to get up,” PC: “I’ve got to get up. I’ve got to get up.” LRH: Go over the line “I can’t get up.” PC: “I can’t get up. I can’t get up. I can’t get up.” (yawning) LRH: Roll that in your mind when you go over that again, when you start to yawn. Roll it over in your mind a few times.

PC: “I have got to get up. I have got to get up. I can’t get up. I can’t get up. I can’t get up. I can’t get up. (yawning) I can’t get up. I can’t get up. I can’t get up.” (yawning) LRH: Now, go over “I have got to get up. I have got to get up.” PC: “I have got to get up. I have got to get up. I have got to get up. I have got to get up. I have got to get up. (yawning) I have got to get up. I have got to get up.” LRH: What was the other one?

PC: I don’t know.

LRH: Go over it again.

PC: “I have got to get up. I have got to get up.” LRH: Let s feel some moisture there. Let’s feel some moisture there. Let’s feel some moisture on your skin.

PC: Well, I don’t feel any.

LRH: Go over “I’m afraid of it.” PC: “I’m afraid of it. I’m afraid of it.” LRH: “I’d just die if I lost it.” PC: I’d just die if I lost it. I’d just die if I lost it.” LRH: Go over “I’m losing it.” PC: “I’m losing it. I’m losing it” LRH: How do you feel?

PC: I feel all right LRH: Got a little somatic?

PC: Oh, I have got a little pain right in my back now, on the right-hand side.

LRH: Do you want to get up?

PC: Yes.

LRH: File clerk will continue to sweep out the somatics. And come on up to present time. How old are you?

PC: Two. (laughs) LRH: All right. Have you got a little pain there?

PC: No, I just . . .

LRH: Where was the pain?

PC: Right back there—just probably from laying there so long, (laughs) LRH: All right. Shut your eyes. Somatic strip will go back to the moment of the impact. Somatic strip will go back to the moment of impact, the moment of impact. Now, it will sweep forward into the moment of the impact. Boom! Well, let’s do it again. Somatic strip will go thirty seconds before the moment of impact, thirty seconds before the moment of impact, will sweep forward to the moment of impact. Boom! All right. The somatic strip will go back thirty seconds before the moment of impact, thirty seconds before the moment of impact. Now, it’s going to go forward to the moment of impact—five seconds—now. Contact it. How does it feel?

PC: I don’t feel anything.

LRH: What?

PC: I don’t feel anything.

LRH: All right. Go over that.

PC: “I don’t feel anything. I don’t feel anything.” LRH: Go over it again.

PC: “I don’t feel anything. I don’t feel anything.” LRH: “It’s not moving.” PC: “It’s not moving. It’s not moving (volume of voice increases) It’s not moving It’s not moving.” (volume of voice lessens) LRH: Go over “I don’t feel anything.” PC: “I don’t feel anything I don’t feel anything I don’t feel anything” LRH: Papa? (snap) What was your flash?

PC: I didn’t have any.

LRH: More than Mama present? Yes or no.

PC: Yes.

LRH: What does Papa say when he comes in?

PC: I don’t know.

LRH: What would you say if somebody had fallen down and was dreadfully worried?

PC: Well, when he comes in, she would probably say, “I am so worried about what happened this afternoon.” And he would probably say, “Well, what happened?” And she would say, “I fell down, tripped over the rug” And he would say, “How do you feel now?” And she would say, “I feel so worried. I’m afraid I hurt it.” And he would probably say, “Did you bang it hard?” Or something like that. And she would say, “Well, I jolted it awfully hard when I fell.” And he would say, “You ought to be more careful, walking around like that.” LRH: Go over that again.

PC: “You ought to be more careful, walking around like that.” LRH: Go over it again.

PC: “You ought to be more careful, walking around like that.” LRH: Go over it again.

PC: “You ought to be more careful, walking around like that. You ought to be more careful when you are walking around like that. You ought to be more careful when you are walking around like that.” LRH: What did he say about forgetting about it? Would he say anything about forgetting it?

PC: Oh, a little while later, he would say something like that LRH: What would he say?

PC: Oh, he would say, “You’re just worrying about nothing “ LRH: Go over that again.

PC: “You’re just worrying about nothing “ LRH: Go over that again.

PC: “You’re just worrying about nothing You re just worrying about nothing.” LRH: What else would he say?

PC: “It’s all in your mind.” LRH: Go over it again.

PC: “You’re just worrying about nothing It’s all in your mind,” LRH: Go over it again.

PC: “You’re just worrying about nothing It’s all in your mind.” LRH: All right. Your somatic strip will now go to the first holder we have to have in order to get you unstuck here. The first holder we have to have. When I count from one to five, it will flash into your mind. One-two-three-four-five, (snap) PC: I didn’t get any.

LRH: What?

PC: I didn’t get any.

LRH: All right. Let’s just relate this incident all over again from beginning to end. Okay. She’s walking in the living room . . .

PC: Yes. She’s walking in the living room. There’s a little throw rug between the two main carpets. And she’s—she has to avoid a table and to do that, she doesn’t look where she’s going. And she stumbles over it and falls down on her knees and then on her side. And then—she’s quite jolted. And the first thing that comes into her mind, she’s worried about the child she’s carrying. And she’s quite shaken up. Because she fell pretty hard and she puts her hand on her stomach and presses there and feels around. And then she says, “My God. I think I hurt it just terrible. If I did something to it now I’m afraid I’m going to lose it. I’m afraid it might be born dead.” And then she says, “I have to get up. I have to get up. I will have to get up by myself. There’s no one around, no one around to help me, so I will have to get up by myself.” And she gets up to a sitting position, turns around, gets on her knees and finally manages to get up.

She is real shaky, all done in, tired. And she goes over on the couch and lays down. Then, after a little while, she feels a little better. She’s able to do the rest of her housework. And the neighbor lady comes in and she talks to her about it. And finally, her husband comes home and he comes in the door and he says, “Well, how’s everything today?” She says, “I got into trouble. I am awfully worried.” And he says,  “Well, what happened?” And she says, “I tripped on the rug and I fell and I think I hurt it. I am afraid that I might have killed it.” He says, “How do you feel now?” She says, “A little worried, scared.” “Oh, I think you are just worrying about nothing. It’s all in your mind.” And she says, “No, no. It’s not. I’m afraid something’s really happened to it.” And he says, “Oh, forget about it. You’re always worrying about things like that.” LRH: All right. Let’s go back to the beginning of it again, and just tell me. It doesn’t matter how accurate this thing is at this time, just go back to the beginning of it and tell me all about it again.

PC: Well, she was working in the living room, straightening things up. And she comes from the living room into the dining room and there’s a table—that she has to get around. She wants to go around to the right-hand side of it, to go over to the dining room table that they have—there’s some sideboard there or something. And, in avoiding this table that’s sitting out in the middle of the room, she doesn’t watch where she’s going and she trips over this little rug—in between two rugs there. There’s a little throw rug, trips on that. And she falls right face forward, right down, hard. And it almost stretches her out. She rolls over on her side. She says, “Oh, my God. What have I done now?” and “This is terrible. I’m afraid I hurt it. I’m afraid I might have killed it. I’m afraid that I killed it! Just terrible—just terrible if he’s born dead.” And she lays there and rests a little bit and she says, “No one around to help me. I have got to get up. There s no one here. No one here to help me, so I might as well get up myself.” So she turns over, gets on her hands and knees and she is real shaky. She manages to pull herself up. She walks over to the couch and lays down.

After a little while a neighbor lady comes over to see her and asks how she is. She tells her everything that happened. The neighbor lady tells her to be awful careful about things like that. That there are a lot of cases of women falling down and hurting themselves, hurting the baby, the baby is born dead. That scares her even more—more and more likely that the baby is dead right now.  “Probably killed it. Fell down too hard. Afraid it’s going to be born dead.” She just knows that it’s going to be born dead now.

Every time she thinks about it, she feels worse. She can’t stop worrying about it. Worries about it all day long. At night when her husband comes home, he comes in the—the door and he says, “Hi, how’s everything today?” And she says, “I had a terrible time today. Fell down on the floor.” And he says, “How in the hell did that happen?” And she says, “That little rug.” And he says, “How do you feel now?” And she says, “I feel awfully worried. I’m scared.” “What about?” “I’m afraid that I killed her, that when I fell down, I’m afraid I killed her. That just worried me all day.” And he says, “I don’t think that you have done anything to the baby.” And she says, “Yes, I have. I know I have hurt it. I know something will be wrong. This isn’t—just lays there, doesn’t move or anything. I’m afraid she’s dead. I know it’s dead for sure, now.” He says, “Oh, you are always worrying about something. It’s just in your mind.” And then before that he says, “You ought to watch where you are going.” And she doesn’t say anything to that. And then he says, “You ought to be more careful where you are going.” And then he goes on and says, “You are always worrying about things like that anyway. It’s just in your mind. Forget about it.” LRH: All right. Is there an earlier incident like this, yes or no?

PC: No.

LRH: All right. Let’s return to the beginning of this thing, now, and let’s tell me all about it again.

PC: Well she’s in the living room, the living room or the dining room—or actually, just two rooms put together And they’re about the same in size. And the dining room has a table in it, a round table. And this table is fairly close to the division between the two rooms. And she’s going from the living room into the dining room and she has to go around that table. She wants to avoid the table. She doesn’t want to run into anything. And in doing that, she trips over this little rug that covers up the space between the two rugs, the living room rug and the dining room rug. She trips over that and falls right smack down on her face, falls down hard. And real scared since that happened. She rolls over and feels her stomach and says, “My God. What have I done now? I have hurt it. I think I have killed it. This is terrible, terrible. I’m afraid I have done something awful to it. I just know I have.” And she sits up a little bit, goes over on her right side, her thigh. She says, “This is terrible; this is terrible. I have got to get up, got to get out of this.” She tries to make—she gets awfully dizzy.  “No one here at the house—no one here to help me. I will have to do it myself. No one here to help me up, so will have to do it myself. No one to help me up, so I’m going to have to do it myself.’1 So in a little while, she rolls over and gets on her hands and knees, but she is still dizzy. And, she manages to rise up and she rolls over. She rests there a long time. She’s worrying about what happened and she lays there for a while, and finally, the neighbor lady comes in—across the alley— comes in the back door. She calls out and the lady answers her and she says, “I’m in here.” And the neighbor lady comes into the room and she says, “Is anything wrong?” And she says, “I fell down just a few minutes ago and I’m afraid I have hurt my baby.” And she says, “Oh, this is bad. I’m awfully sorry to hear that.” And she says, “Is there anything I can do for you now?” And she says, “No, there isn’t anything you can do. There isn’t anything anybody can do. I’m afraid I killed it.” And then she says, “Oh, you mustn’t talk like that. It will be all right.” And she—the neighbor lady . . .

LRH: Continue.

PC: What?

LRH: Go ahead.

PC: And the woman says, “I just can’t help it. I just can’t help talking that way. I know I have done it. I have done it, now. I knew it would happen, too.” And the neighbor lady says, “I am sure that there isn’t anything that happened like that.’’ And the woman says, “It doesn’t move. It’s just absolutely still now.” And the neighbor lady says,  “Well, that doesn’t mean anything I am sure that it will be all right” And they talk a long time. About this time the neighbor lady says, “Well, you are all right now. I think I will go on back. If there’s anything you want me for, let me know. I am just across the way. Let me know.” And the woman sits up again and feels a little better and says, “I am awfully glad that you came over.” The neighbor lady is pleased and the woman goes in the kitchen, looks around a little bit trying to fix dinner.

LRH: Okay, Let’s go on back to the beginning again. Let’s return to the beginning. Let’s return to the beginning of it now.

PC: Okay. The woman’s in the—she’s in the living room, straightening things up for dinner.

LRH: Do you get sort of a visio on this or anything?

PC: No.

LRH: Well, let’s see if we can get there the moment she falls.

PC: All right.

LRH: Get the moment she falls. Now, what happens the moment she falls?

PC: Well, she falls. She goes right down on the floor, right on her stomach.

Really bangs it hard. She jolts herself. She’s so scared that she’s just paralyzed. She’s shaken up. And she rolls over and puts her hands on her stomach immediately and she says, “Oh, my God. What have I done now? I’m afraid I have hurt it. I’m afraid I have done something awful to it. I am afraid I killed it. I knew it would happen, too, I knew it would happen.” And she gets up a little more and . . .

LRH: Let’s go back to the moment she falls.

PC: She just trips on the rug and she goes through the air and whams, lands right on her—well, hardly on her knees but even as that happens she goes over on her stomach. And she hurts. She’s quite shaken up. She’s hurt herself and she lets out a loud gasp and a kind of a cry when she hits. And she immediately—she clutches at her stomach and yells, “My God. What have I done now? Now I have done it. I have hurt it. I know I have hurt it awful bad.” LRH: Go over that again. Let’s go back to the moment there where she falls.

PC: She jerks, going through the air, and she falls partly on her knees and mostly flat on her face—or stomach. And she lets out a kind of a gasp when she does it She rolls over, she’s clutching her stomach. “Oh, my God. What have I done now? Now I have done it. I have hurt it. I think I have killed it. To hit it as hard as I hit that, must have done something. I’m afraid I have killed it. Oh} it will be born dead now.” LRH: All right. Let’s go over this incident of the fall again, the moment of the fall. Let’s return to the moment of the fall and just tell me about it again.

PC: Well, she just tripped on the rug and her feet—she cant quite get them under her again, and she goes straight over on her face. Off her knees, off her knees—smashes it straight onto her stomach, down on the floor, down on the floor, really a hard smash. She rolls over on her back, clutches her stomach. The first thing she says, “Oh, my God.

What have I done now? I know I have done something now. I have hurt it. I have hurt it awful bad. I’m afraid I have killed it.” She moans around some more. “This is terrible. I knew it would happen, too.” LRH: How interested are you in this?

PC: Well, interested enough in it to tell you about it.

LRH: All right. Let’s go over it again, go over the moment of the fall.

PC: Well, she’s tripped on the rug. Her feet are tied up when she does that some way or another, and she cant get her feet out to save herself and so of course she falls right flat on her face, bangs her knees and right flat on her face. And hits her stomach a terrific blow. She rolls over right away. She’s very scared, shaken up. So frightened she can hardly think. “My God, what have I done now? Now I have done it, really hurt it this time. I knew it would happen too. I knew it would happen.

I knew something like that would happen.” LRH: All right. Let’s go over it again. Let’s contact the moment of the impact. Come on. You know you are interested in this.

PC: Not too much.

LRH: All right. Let’s get back there to the moment of the impact.

PC: All right. She’s just hit.

LRH: Go on—rolling over now.

PC: “Oh, my God, what have I done now? Really hit. I’ve done it this time. I know I have hurt it. I have hurt it awful bad, killed it. I know I have killed it. Now it will be born dead. What am I going to do? What am I going to do?” And then she rolls over and up on her thigh now. She has got one hand on the floor, and really feels sick. She says, “No one here to help me—all alone. I need someone to help me. I have got to get up. I have got to get out of this.” And she rolls over on her hands and knees, one leg up and grabs ahold of the table and pulls herself up. And she goes over to the couch and lays down. And she lays there for a while.

LRH: All right. Let s go back to the moment of the blow.

PC: Bang—down.

LRH: Are you interested in this?

PC: Oh, not too much.

LRH: Let’s go over it again. Let’s get that bang. Let’s get to the bang.

PC: All right. She just comes off her knees now and squash! right on the floor. She hurts her shoulder, too, I guess.

LRH: All right. Let’s go over that smash again.

PC: Her feet got tied up. She’s partially on her knees and hands, but she has so much forward motion, right squash on her stomach.

LRH: Come on up to present time.

PC: Okay.

LRH: Present time?

PC: Yes.

LRH: How old are you?

PC: Thirty-three.

LRH: Okay, cancelled. Five-four-three-two-one, Thank you very much.

PC: Thank you, sir.

LRH: How do you feel? Feel pretty good?

PC: Yes, swell.

LRH: Okay, you’d better. [to audience] Now this doesn’t apply to any evaluation of AI’s case. The incident—how does one work this incident until he is really moving on the time track? That doesn’t matter how long that takes. It’s the effect one achieves. Now, probably due to this holdup on the track, which may have been chronic for some time, his sense of reality and so forth about such things is probably rather bad. You get how that would be. “I” is not precisely located on the track. And I have seen that happen quite often.

All right. Now, I am not trying to hang him with that incident, not by a long ways, but that incident is quite valid in spite of the fact that we had to enter it on the gentle side. I am sorry that this was not terribly spectacular. If I give you another demonstration, I will give you somebody who will explode. But how does one leave it at the end of the session? Preferably, one would try to get him into a pleasure moment. I did not do so and I am going to ask his auditor—whoever his team captain has assigned to him—Frank Hulswit—yes, I am going to ask Frank to take the gentleman and put him through a few pleasure moments or run this the rest of the way if it has to be run. Now, I think you can probably get him moving on the track. He’s obviously out of valence and he’s obviously in Moms valence.

Well, 1 think perhaps if you buckle down here and roll it this week, we will get a clear picture of this. I am trying to tell you what is Step One, and I interrupted this end of the run. The rest of it is rather mechanical. You will probably find that after running that incident which I contacted a couple more times, you will see no grief ever locked anybody up on the time track. It takes physical pain to do that. So you see, as far as his age flash and the rest of it is concerned, we had to go back to that step in Step Two which says bluntly that if he is stuck on the track, we try to get him moving on the track.

Male voice: Is it possible that he’s keyed in to a pain engram, a death engram—which is a grief engram—and this prenatal thing all at the same time?

Oh, yes.

Male voice: Well, wouldn’t that take care of the pain incident? You say it has to be painful I don’t know what you mean really by this, because you see here, you can hit a grief engram s engram. That is, the painful engram on which it is sitting. You can hit it from underside. You can hit from on top. You can hit a whole chain, and I think the possibility is quite good that he was sitting on a whole chain of falls. The one he was running there at the last is not necessarily the one in which he was held up. You say, “Isn’t it possible to hold up in three?” He is held up, probably, in three, but by releasing the chain, by entering this chain, and getting into it by one way or the other, by going down the line, perhaps to an earlier incident, once we get one popped up a little bit, we can go back and forth up and down this case until he is very freely moving on the track.

When he is moving on the track freely, we can probably get him into his own valence. You are asking me now how to go on and solve the rest of the case. I was just showing you how to unstick somebody on the case.

Your next step is to be sure that he is free and moving on the track, picking up any engrams which might halt him on his progress forward into present time. Then, when you get him into present time, you do, if possible, also get him into his own valence clearly. Then, once he is in his own valence, you tune up his perceptics by running pleasure moments. Then when you have run pleasure moments for a while, you can then go back and get grief off the case—or, in the interim you might have been able to get grief off the case.

Now, I don’t know that he was two years of age when his grandmother died. He said he was eight years of age when his grandmother died. Now the plot here is simply one, way along the line. We are still following Standard Procedure. That’s all I was trying to teach you today and I am glad that we had a case which hung up right where it did. If you will notice here, the file clerk and somatic strip indicate a stuck case. See, we tried for painful emotion; there was no sense in sweating out the thing. It evidently wasn’t there, or very handy. So we will get that a little bit later when we run through this whole step again, and we have to run the whole step.  “If the file clerk and somatic strip indicate a stuck case, try all prescribed methods to free on track; failing, go to Step Three.” Now, you see, number one in Step 2A says: “Put preclear in reverie, check perceptics and see if moving on track.” Now, as far as we got today, we checked his perceptics and we found out he wasn’t moving on the track. We tried for an emotional discharge as one of the things, thinking perhaps we could get that off one way or the other. Sometimes it will happen.

Now the next step here was to see if he was moving on the track. He was not, so we tried to run some pleasure moments just to see if we couldn’t persuade him to move on the track. Because sometimes one of these engrams will just key out by running a pleasure moment. It didn’t work; we couldn’t get him to taste any liver. So the next step of course is strengthening his sense of reality. Well, we couldn’t do that. We get right back to Step One again. Right here. He is not moving on the track, and that’s the end of that. So we would hammer away at this thing by going through Step Three, which is Straightwire and find out some more data about it and try to get him squared around in his own valence—bring up some more attention units.

So, we can go back and get him moving on the track. Now, it boiled down in the case that he wasn’t moving on the track. There he was, regardless of whether he was at the age of two, two days, two months, two years, twenty-nine or sixty-four, he was not moving on the track. Now, our next step was to get him moving on the track and this gentleman gave forth an engram which matched all the characteristics of exactly what his behavior was as he was moving on the track.

Now, that is what is important about this, if nothing else is, that he has a holder-bouncer type of engram, meaning, here’s the engram, here he is. He is stuck here. He is bounced here. He can’t move this way or this way. It says so. Quite in addition to that he’s afraid of “going to lose it” and he’s probably got to “forget it.” So we know all these factors about the engrams just because of shooting a few minor repeaters to him.

You will notice we weren’t balling up the case by shooting a few repeaters and you will notice we were scouting the engram. What sort of an engram is this? Age flash—not too reliable. When an age flash won’t work or when you keep getting “I don’t know” and so forth, you have got a masked file clerk. The file clerk is all right but you have got to come through the mask. So we have the engram and he is off of it, on it. It’s denied, forgotten and so on.

Finally, we use a technique, a jaz ne vem theater technique, Joe calls it, of asking him to imagine an engram. Well, he imagined the kind of engram that I wasn’t shooting for. I had thought he had gotten injured as a little child and had been lugged in the house by Papa, which is how far off we were getting by Papa. So his flashes were not at all accurate. So we asked him to imagine one, so he imagines one that’s got all the requisites. It goes on, it does all these things. He perhaps is not well enough schooled to tailor up this thing. Did you notice, he even got in it aI am in here,” and ttI will come back” or “I will come over,” and  “Go back.” These things are all there. These are call-backs which make him come back to the engram, and so the engram is being bounced, pulled, forgotten and all the rest of it. Now, as we ran the engram we asked him to imagine it and imagine it and go imagine it and then all of a sudden he was starting to pull down into a little deeper sense of actuality on this engram. I wasn’t trying to hang it on him. When he was hitting the bump he was frowning slightly when he hit it. We were getting a foot twitch on this thing. Well, that’s proof enough for any auditor that we have got an engram and we are running approximately its proper content. So the question is now, have we deintensified this thing enough? Because after all, we shot holes in some of its bouncers, callbacks and so on. Have we shot enough holes in it? If we have, by running a few pleasure incidents late in the case, we might be able to turn on his perceptics. In other words free him on the track.

Because, running a pleasure moment will sometimes bring a person up to present time. That’s the way you turn off headaches. We might have been able to sweep him around in his own valence. The change was faint, but it was a good chance of doing so. Another thing was, this might be the master on a later engram. Now, by bringing him up the track or by more flashes, we probably would have found he was latched up at two.

Male voice: Mr. Hubbard, on the coffin case valence . . .

He wasn’t a coffin case at any time. If you will notice, his hand position agreed perfectly with the engram which he was running, which was Mama feeling her abdomen. That’s not a coffin case. A coffin case is this way or this way, and you can put entirely too much reliance on the hand signals. Believe me, you can. They don’t indicate anything precisely. They’re just one of these little indicators that you suspect that might be in the case. But we look at this man and we say, “Oh-ho, coffin case.” But, what is it? It’s a “Mama-holding-the-abdomen-case,” evidently.

Now, here’s another little funny angle that you will get on engrams. The person, when he is asked to imagine a thing or so on, will dub in—will pick up all the context all the way along the line and build it up and make the scenery. In other words, sometime—all along in there, the mother—“She had got her feet tied up”—every piece of continuity in there will be found to be explained and phrased later on in the engram. When one has actually seen the action around Mama and so on, the action is explained by context. And he sees all that action. But as you run through it several times, the first thing you know, clear over here at the hind end of the engram Mama is explaining where she was and what she was doing. And so that’s all brought up and dumped at the moment of the crash. Well, I have kept you here a very long time. I told you I didn’t show you any miracles, but I think that your toughest case—so represented—was not very tough.

[[Category:Lectures]]
[[Category:Lectures 1950]]