View source for More on Machines (2ACC 531119)

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

'''Date:''' 19 November 1953

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

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Okay. And this is the first afternoon hour of November the 19th. And this afternoon I wish to assure the ladies and gentlemen present, they better get in and pitch.

In spite of your feeling of irresponsibility towards your people, just roll up your sleeves; because I think everyone of you is absolutely, completely and wholly and totally and only responsible for the states of case of everybody else present. That is something that would be calculated—if you didn't look at it the right way—to bog everybody down. Well, it'll bog you down unless you bog everybody up! So this is a case of bootstrap lifting. Operation Bootstrap that you hear going around the field, I was talking about a couple of years ago. And I said, saltily—we were out there in Kansas—it's boots with stuff on them. (audience laughter)

Anyway, we have a little problem, a little problem. That problem consists of just that effect. And when we analys—, give an analysis to this problem—we look it over from every angle and we hold it up and we try to shoot significance under it and over it and around it—we can look straight back to the answer at the first line in the Factors: "Cause to produce an effect." All right.

When people slide over onto reception of effect, they don't exteriorize, because they're on the receiving end. Just that. I mean, what do I mean by receiving end? If I picked up a—took off a shoe and threw it at the wall, the wall was on the receiving end, see? Well, I'm throwing the shoe at the wall. The wall's on the receiving end; so is the shoe on the receiving end. Now, the shoe is on the sending end at the moment I throw it and on the receiving end at the moment it hits the wall, right? Any thetan who considers himself a communication particle, or who is himself more anxious to receive effects, so forth, is analogous to that shoe. He wants somebody to throw him and receive him.

Well, how do we bail somebody out of this state? We push him up to being more cause and less effect. The final analysis, all this is based on postulates.

I was working on something this morning that I've worked on many times before and it was as successful this morning as it has always been, and that is on the basis of postulates—of effect that mustn't be unmade.

How do you suppose this stuff keeps standing up? Why do you suppose a preclear starts breathing a sigh of relief on this stuff every time he finds out it doesn't fall down? Means his postulates are good, that's all. It's mocked up and not supposed to be unmocked.

You're mocked up as cases and you're not supposed to be unmocked. And the basic postulate on this whole line is "Mock it up so good that it can't be unmocked." And then you never added also: "It can be unmocked by me." You just never added that. Slight omission!

It's a lack of trust. A lack of trust, in the final analysis, in yourself. You're afraid someday you'll carelessly fall over a tomato can or something and accidentally unmock everything and then not know how to mock it up again. And you'll know how to mock it up.

How do you know how to mock it up? Well, if you're unwilling to look at somebody else's universe or through somebody else's perceptions—if you're unwilling to do this, you'll never know how to mock it up again, will you? Isn't that a grim thought? You won't ever know how it looks.

People, when they're fairly high on the band, like very much to have other people around. They'll always know how to mock it up. All they've got to do is to take a squint at the universe and pang!

Now, a lot of people are playing the dirty trick of hiding their own universes to such an extent that nobody else will know how to mock it up. And a lot of other people are playing it to such an extent that they have chosen themselves out of groups to such a degree that if they ever forget now, they're done. Because they can't look at somebody else's conception of what it is and so get it mocked up once more. So, for lack of trust in self and so on, people say, "All right, now it is mocked up and it will resist all effects. It is mocked up and will resist all effects." Unmocking it is an effect.

In fact, the only effect it can receive after it's mocked up is to be altered or unmocked. Those are the only effects it can receive, see? It can't be mocked up again, once you've set up something that mocks it up. It's real cute—you can take a piece of MEST and you can go this way, and you say, "Look, it's real." All right, that big postulate there—"It will resist all effects." It's sitting on your right ear, on your left ear, on the tip of your nose, on the top of your head and tips of your toes, in your shoes, in the clothes closet, in the bedroom, the attic, the skies, the heavens, all the stars—everyplace. It's sitting up here. It's sitting there for everybody else. Mustn't be unmocked, which is, "It must resist all effects."

Now you expect somebody to carve into your bank and by preferably necromancy, unmock it? The compound of machinery, the compound of effects, which now must never receive another effect. "It must never happen again" is another variation of stating "It must resist that effect. I must resist that effect."

You run into a brick wall, and it damages the skull and it injures the beauty or something of the sort, and you pull off of it and you say, "Boy, that must never happen again." And so it becomes a landmark. "It must never happen again. I must resist that effect." And then you go on a little bit further and, you see, something else happens and you say, "Well, I must resist that effect. That effect must never happen again." Resist the effect. Resist the effect.

And so we have these postulates. So a person cannot even unmock his own postulates. I've tested this once more, and it was very delightful to me that this is still holding true. And it's been going on for many months. I, every once in a while, test out this postulate and then I kind of have a tendency to forget it and then I'll pick it up again because it seems so obvious to me.

As a matter of fact, I upset the preclear I was working this morning for the excellent reason that I almost have hysterics every time somebody does this. It's so weird! It's like giving somebody a glass of water to drink and then have them getting very puzzled over this glass of water. They—what are they drinking? And they start holding a long dissertation, or something of this sort, on whether this is water or isn't water and so on.

Do that trick this way: You have a person sectionally unmock his body where it's sitting—after you've had him unmock enough other things in the room around him and in the universe around him so that you're sure he can unmock things. So you have him unmock a lock of hair and then one ear and so on, and put it back each time, and then unmock it and mock it up, and mock it and unmock it—and go on with the body, gradually, until he's perfectly willing to see a completely empty chair. And of course, that's the trick: the chair is completely empty. All right. It is. It's—for him, the chair is completely empty. If he unmocked it for you, too, you wouldn't see him at all. But you don't bother to go into that end of the technique because that's just adding more to it.

Now, the point we have here is that as you unmock the body and mock it up again and unmock it and mock it up again, have him mock up several more bodies of various kinds in the chair, and then you go on this one: "Now mock up a body that will resist all effects." You just shoot this to him, see? You get various reactions on the first one. Sometimes the body doesn't appear again. So you say, "Now mock one up that resists all effects," and they just get no body. Of course, that is the best body in the world to resist all effects.

And then you insist that they put a body there that will resist all effects, and they will put some kind of an idea of themselves there—the thetan. See? That's real good. Now you say, "Unmock it." They stay there, of course. And then it's like you've handed somebody a glass of water who is very thirsty and they keep asking you, "Well, what do I do with it?" And it just gets that silly.

I—every time I do this it just appears to be very funny to me. They try to unmock it and they try to unmock it, and you, actually, every once in a while have to call it sharply to their attention—which is why I'm lecturing on it rather than giving you the Group Processing—call it to their attention: "Look! Hey! Well, what postulate did you mock it up with?"

"Well, it will resist all effects," they'll say.

"Is 'unmocking' an effect?"

"Oh, yeah … Yes."

"Well, now unmock it."

"It doesn't unmock."

You want to see somebody not look at something, why, just pull this on a pc that knows nothing about it at all, and boy, you talk about not look at something—that just keeps eluding them. Keeps eluding them. You put this red sign in front of their face and say, "Look," see, and they just don't look at all.

So after a while they suddenly catch on, "Oh, yeah, I said it would resist all effect. And unmocking it is an effect, and if it resists all effects, why, then of course I can't unmock it. What do you know!" It should be, "It will resist all effects except my efforts to unmock or change it." Except my efforts. See? Never add that.

That's because, you see, they're in a desperate condition, usually, when they make this. Every once in a while they get real desperately bored, see—they make something like this. Put up some barriers and limitations, and now they're going to resist all effects, see, that's part of the game. Screens, barriers. Now, back of these black screens and so forth, some of you've been running this morning and so forth, there is that: "It must not be destroyed," which is, "resist all effects." Now, when you put "must not be destroyed," and you alter that to "must resist all effects," you see, then, why it doesn't unmock.

Now, when you go down the track, then, and you just start shooting this postulate out, you could—there's many ways you can handle it: You can double-terminal the darn postulate. You can start making it up in bales. Of course the best thing to do, is just have the person continue to unmock something and then mock something up in its place which must resist all effects, and then make him unmock it. And you'll just continue to do this. And you do it with MEST and you do it with other people, you can do it with everything until he just keeps busting his own postulate. And all of a sudden he says, "Well, the heck with it, that postulate isn't that rigid. (snap) Great." See? You're returning to him, with this drill of mock and unmock: "Now you mock something up to resist all effects, and then unmock it."

Now, sometimes you have to slip it to the preclear pretty strong. You say, "Now resist all effects. Now get real determination there. You're going to—that's really going to work now. Okay." And then get him—unmock it.

That's why this stuff gets so permanent. That's why your own bank gets so darn permanent, why the case doesn't want to alter and so on.

Well, if something is going to resist all effects, and you've got a machine which duplicates all effects, and that machine is going to resist all effects, it's just going to keep on duplicating, duplicating, duplicating each and every effect, isn't it? So when a bad effect happens to you, why, it'll duplicate you, just as nice. Duplicate. Duplicate. Duplicate. Duplicate. It'll make facsimiles and they cave in on you, and it'll make ridges and they'll cave in on you, and everything. And all these things that it makes probably are going to resist all effects too. It probably makes everything and puts the postulate into it secondhand, you see. Well, that's real good. Okay.

Right here early with this unit, let's just do the basic drills, whether we understand them or think they work or don't think they work or anything else. And let's do them in a group, so that we bust the third dynamic at the same time. Let's bust through on that third dynamic. Because anybody who's playing the "only one," to any degree whatsoever, best medicine I can hand him at all is to share with the group this process. Now, you bust the three then, without even looking at it further. Pick oneself up by the scruff of the neck and shove oneself into the group and do the group some good, and be done some good. And you've all of a sudden given the guy back a new pattern in case he forgets it all. See, he's perfectly willing then to enter somebody else's universe and take a look: "Oh, well, that's the way it looks!" Bang! Duplicate! "There it is again (panting)—MEST."

Now, how do you make something unmock? Well, you don't just tell the fellow, "Now look at this room. Now unmock it." First step, see? Bog! You tell him to look at some simple object which has very little value in the room and have him make it get thinner and thicker and thinner and thicker and thinner and thicker; less visible, more visible, less visible, more visible, on a tiny gradient scale until it gets thin, thin, thin, thin, thin, thin, now thick, thick, thick, thick, thin, thin, thin, thin, thin. He'll begin to argue with you after a while: "Why don't you let me make it disappear!"

You say, "All right. Unmock it."

He will. After that he has very little trouble unmocking MEST.

Now, he does this best with his eyes shut, because the MEST eyes are so convinced. And they're really convinced—there's no sense in putting that additional arbitrary in it. If he's still in his body, let him do it with his eyes shut. You'll find out all these processes are more effective with the eyes shut than they are with the eyes open. All of them. If the world is so black that a fellow can see absolutely nothing with his eyes shut, just have him start mocking things up black—it won't stay that way very long—because he's taking over the automaticity which is making the whole world black. All right.

So we've got this problem of gradient scale again. If you can't do it all, do a little of it. You see? And nobody can do it all. All right, let's do a little of it. How little is a little of it? It's as little as he can handle and win. How much is too much of it? It's as much as he can't handle and win. That's how much too much of it is concerned. It's enough to make him lose is too much. How much is enough? Enough to let him win. You say, "Unmock it." All right, the guy can't unmock anything in the room. Boy, he's got persistence like mad, you see? He can't unmock anything in the room. Well, have him mock something up and say it isn't there.

"Well, you didn't unmock it, it wasn't there in the first place. Well, you said it was there, so there's an implication that it was there."

"Well, yes."

"All right. Now put something else up, and say, quick, that it isn't there."

And in such a wise you can get him to unmock some mock-ups. Or you can just start in and have some tiny part of MEST disappear. Once in a while he'll catch himself—he'll find out that the way he's making things unmock is by putting fog around them or he is squinting his eyes so that he won't look at that part of them, you know. Or he's dropping a black band in some fashion or another.

Now, a person who has blackness—is handling blackness—is using it to use an occlusion instead of an unmock. Now, they don't think they can unmock something, so they're damn well not going to let anything appear because there's too much there already. They have chosen their own machinery for their randomity. In other words, everything has gotten so automatic they can't handle it anymore. But sitting back of everything is that postulate, "must resist all effects."

"All right, I now create this room and it must resist all effects." Then somebody comes in and paints it. Fellow walks in the next time and he looks at it and he says, "(gasp) Urrrh, I'm wrong!"

You go down the street, knock on any door, and ask the family if they get upset when Mama moves around the furniture. They all do. You see? They had it all mocked up to resist all effects and then somebody changed some tiny little portion of it.

There's nothing unhappier than a preclear from whom this hasn't been clipped, if you've changed him any. He's mocked up to resist all effects. Now you, you dog—you come along and, over his already-for-many-years-dead body, produce an effect. And he doesn't like you! That means your postulates are tougher than his postulates, and this mustn't be. So we have a contest of whose postulates are going to "out-postulates" the other postulates—on this basis alone: The pc, actually, has lost track of what's wrong with him. That's all. He's just lost track of the channel of agreement that got him where he is.

Now he tries to go back—he's like a hunter who encounters a strange wood and dispenses with any guide whatsoever, and goes thrashing through the woods and doesn't leave any blaze marks. Steps off all the trails, forgets all of his woodcraft and wood lore, and frantically, suddenly, finds himself in a clearing half starved to death. And doesn't know which way is north, south, east or west—or if he did know, he wouldn't know where the settlement is, and if he didn't know those two, he wouldn't be able to survive in the woods. He's just lost, and thrown away all of the guideposts because, you see, he didn't trust himself. So we have a situation obtaining there where everything must resist all effects. And, of course, that's—includes him.

You see why we're doing the drills of turning things various colors? Turning—pardon me, I'm going to add that today: into the emotional line and so forth, you must put all the colors. In addition to emotion and ridicule and love and hate and so forth, these other emotions, then just start changing things different colors. I mean MEST objects. And then change them different colors in brackets, and you'll learn quite a bit. You find out that you'll object to Joe suddenly becoming chartreuse. Because that's this postulate. And by these drills we're just going to bust that postulate out of the whole flam-damn track, that's all.

You can't unmake a facsimile very easily—can't unmake a facsimile very easily—if the facsimile is sitting there and you're still convinced that your postulates are stretched out in time, and that on this mysterious time track (which you have never traveled, never will travel) everything must resist all effects. That's the conservation of energy.

I told you because particles wouldn't be destroyed, the engineer, the scientist—who wines and dines through all of his days, living hard by this conservation of energy—we can channel it, we can conduit it, we could make it into different compounds, but it must resist all effect! Day by day, he's sold on this "it must resist all effect." He goes around and proves it to everybody. He says, "Now look, we take this log of wood, and we measure it carefully, we weigh it carefully, and then we burn it and we save its ash and we save the residues of its smoke, and we put these all in a pile and we demonstrate to you absolutely and conclusively that it weighs just the same as it did before."

By the way, it doesn't. He accounts for this with heat loss. He just—just begs this stuff to resist all effect. And then he goes on happily working with it, trying to produce effects with it, trying to produce an effect with something that's supposed to resist all effects.

So he's at once validating and invalidating himself and he rides this tremendous maybe to a point where he can't undo his own postulates. Because that's the basic postulate. He's validating it all the time. He and his fellow engineers are around showing each other, "Look, isn't this cute: it resists all effect. Well, yep." The way to have an automobile is to have it go along very fast and resist all effect.

Persistence is our motto. You see, persistence is actually the center of the curve. There is create, survive and destroy, as the curve of action. And that's create, persist, so on. So the mission on which life is engaged, is apparently, while life is being lived, "survive." But it will end on a curve with destroy—it will destroy or it will be destroyed—and it begins, of course, with create. And you want to get off persistence, you've got to rehabilitate creation. If you want to rehabilitate creativeness, you've got to get off persistence. So, you've got to be able to alter things.

Well, the more we chug into this, and the more we alter directly, and know we are altering, the flavor, color, shape, size and particularly the emotional pattern and appearance (see, you're ready for color now, because we're up into appearance), why, he just starts breaking out of the line that beautiful postulate: "must resist all effects"—conservation of energy. "Must have an effect," he thinks, "must have an effect, must have an effect, must have an effect."

And then after a while, he gets to the point—when the case is bad off, he's gotten to the point where "I must resist all effects," and he keys that in, and the effect "to have an effect," keys out. So he starts losing all of his sexual enjoyment, he starts losing all kinds of fine things which he had in the past emotionally, and these things disappear and he complains about it.

He deserted one postulate for a new postulate, and now he's got both postulates. He must receive an effect after—after he's gone along, he's lost contact with create-create-create, and so he's—then turns around and he must receive an effect, receive an effect, receive an effect, and now the effect must persist, the effect must persist. Now he must resist all effect. And there's about where everybody who is—doesn't exteriorize easily is hung up, right there.

How do you break this down? Just alter the stuff, alter MEST, alter bodies, change their color, and then be able to unmock them enough till you can mock them up well.

When somebody is using blackness to render other things invisible or to make things disappear—instead of making them disappear he covers them with blackness—he certainly gets an interesting-looking bank. It's a real mess. And he's unwilling to part with it, because he still might have something there. But he's unwilling to part with the blackness because he might have to make something invisible some time or another, you see, and he wouldn't have a supply of it; he has to keep that around. And the blackness was put up there originally to resist all effects. You know—protective screens. So that's the way it goes. So it's one of these problems that's a circular problem.

How do you break out of it? By altering. Change.

Now, I show you you can unmock something by making it thinner and thicker and thinner and thicker and thinner and thicker and thinner and thicker and thinner and thicker, and all of a sudden it'll disappear. So, all right, he's made something disappear. You can actually get somebody up to a point where, with his MEST eyes, he sits right there and he looks at something like this microphone and he says, "Thinner, thicker, thinner, thicker." You finally get it to a point where it doesn't get thick when he says, "Thin," you see. And eventually he'll be able to look right at—not only at the microphone but through the microphone with his MEST eyes. He finds this disturbing unless he can have it back again, so you have to drill him many times into having it back again, otherwise his attention will arrest right on the point where he's supposed to see it. In order to keep from seeing it, he has to resist it, so it's still there to some degree. So you actually have to let him get it back several times before he's really willing to look right straight through it.

The action is taking place when it's there. There is no action taking place when it's not there. And he tries to put action there when it's not taking place. Yes, he wants to hold it invisible; that's real dopey, you see—it isn't there! Yet you'll see guys being very careful to keep something invisible. Well, what are they doing to it? Holding up a whole series of mirrors or something. You're trying to look at it in a crazy fashion in—so that they don't see it while they're still looking at it or …

It's just like the fellow, at first, he starts putting up fog around objects or he starts occluding his eyesight or he starts stretching bands of blackness across things in order to make them disappear. So there it is, and that's the way it goes.

Now, as far as the process and the patter of auditing alteration is concerned: when you alter something you make more of and less of, on a sufficient gradient scale so that the preclear can win. So he's certain there is more of it and certain there is less of it. And that's all. You work him on those scales. If he's not really certain about it, well, by golly, work with him until he—you've got it certain that there's really less of it. Not by beating him—just make him work at it.

And every once in a while, one of these machines will show up, or something of the sort. Well boy, when they really show up, why, blow them up. Well, if he can't blow them up, well, have him dispense of them by wasting them. It's real interesting to—you would try all too fast to make an exact rote procedure out of something that is actually too high-level to be much of a communication system. See, we're trying to destroy a communication system so that we can create it at will, see? Communication systems.

People use words to hold MEST out after a while, you know. You ever see somebody who was an hysterical, non sequitur conversationalist? Well, they're holding the walls and other people away from them—particularly the other people away from them—with a barrage of words. They're using it something like a pole vaulter would use a pole sometimes, too. They're holding the wall up, they're holding the door shut and so forth, with a stream of words. The other person might fall at them if they stopped talking. It's just a state of beingness.

There he's using a symbol. That's really goofy. (There was a time when people were using symbols to keep the MEST universe apart.) You start mocking this person up with having things fall in on him—nyahh! nyahh!—he doesn't like that. And you let things fall in on him enough till he finds out he can let things fall in on him. See, you have to let him find out so he can be certain what he's doing. The essence is simplicity.

Well, all right. You ask somebody to turn something blue, and he can't turn it blue and this worries him a great deal if this thing won't turn blue. Well, have it be less blue. He's got a machine, see, that makes things unblue. He can't get it blue, so he's got something that says, "Look, it can't be blue," well, just make it less blue. And that'll put the machine into line for about a half of a turn, see, clank! It'll be less blue. Make things less black. All right, and after he's made it less blue and less blue and less blue, well, he'd make it a little more blue until you've got it back to its original color of blueness; now make it less blue again. Make it less blue. All of a sudden, he can make it blue as hell.

Some people who are deeply immersed in symbolism—words will produce the most fabulous effects. They're—once in a while somebody turns up that all during his youth, for his entire youth, why, the atmosphere around Mama was blue. Every time he saw Mama, the whole atmosphere turned blue. And the auditor immediately, you see, jumps to the conclusion there must be a phrase or something there—Mama used to keep saying how blue she was. He considers that this is probable and so forth. No! This is probably not what's responsible for it. There is a deeper significance, actually, to everything being blue around Mama—it's just a shifted band, that's all.

Now, people who have a fixed wavelength can unfix with color. Color is different waves. So you make them shift into blue, and you make them shift into this, and you make them shift into that. The actual symptom is, is the kid wanted to run away—he kind of wanted to leave. He'd shift wavelength trying to tune Mama out. Kid didn't like Mama, see? And he'd try to shift wavelength up toward the invisible band—his effort to unmock. This is quite common, you see. It isn't the phrase at all, it's just—they just wanted to leave and didn't dare leave, and so they just shift wavelength.

Well, everybody gets—people get upset when they're not looked at. See, they get real upset about it. So our problem here is to simply get somebody to shifting wavelength which, of course, permits him again to change. After he's made something red, it is supposed to resist all effects. All right, it's supposed to resist all effects. Now you suddenly tell him, "Make it blue."

"Hmmmm! It's red, isn't it? It's supposed to resist all effects—if it's MEST, it's supposed to resist all effects. Well, that's real good, see. Huhh! You want to make it blue?"

"Well, make the shadows on the redness blue."

"Hm … Well, what do you know? Well, they are blue."

"Well, all right, make them red."

"They are. They're red."

"Well, now make them blue again."

'They're blue."

"Now make them red. Now make them blue. Now make them red. Now make them blue."

"Hey, I'm doing this!"

See, this is real upsetting. That's how little a scale is necessary to accomplish this.

Now, a person can do this with his MEST eyes wide-open. But it doesn't work near as good as with his MEST eyes shut; because they're more convinced. See, they're a mock-up that is just going along at a great rate too.

So the alteration of color and running the band of color—blue, green, red—doesn't matter whether you go up scale properly, so forth. There is a scale known as black. There is a—ultraviolet, you go up into black light. And it's an interesting scale up there.

Well, when the person thinks he's a communication particle, when a person thinks that he is the shoe and not the wall and not the person who threw the wall [shoe], he expects the auditor by some necromancy to reach into his skull and turn a small switch which will shift him, as a thetan, onto a different wavelength. Or because a magic word is spoken—abracadabra or abraca-Hubbard or something of the sort—he expects that this magic word will suddenly alter, see, alter the state of case. And he will be very surprised, believe me. So would I! I would be amazed.

Now, an auditor can sweep down on a preclear and by making him numb, null and void practically, and wiping him out almost completely, be able to alter him utterly. This is easy too! (audience laughter) Real easy.

So the technique line which is indicated and which does consistently produce results, is making the preclear exercise those capacities and capabilities—his potentials, in other words—as near to the basic potential as one can reach. And that is the basic law of evolving processing. Use those potentials which are nearly as possible, the most pervasive and basic things which the thetan has. And if you get something more basic, use it.

But use the most basic thing you have in order to what? Make it possible for him to change his own postulates. Because he's the person who's keeping himself from changing his own postulates. And as long as he keeps himself from changing his postulates by having the postulates in such a form as they can't be altered—must resist all effects, you see—you're going to have a picnic. You're really just going to have a good time. I don't care what step case he is.

Now, you come along with a sweeping piece of knowledge, which is the fact that he is not his body. That's a big step, see, because you can step him outside of the center so you have him out of the location in which he has postulated himself—some of his postulates have already been immediately overcome, and he's out of the vicinity of those things which he says he's manufacturing all the time, and so he can change his mind. But if he's in the middle of this maelstrom, it really becomes a maelstrom, because every time he tries to change a postulate he'll cave something in or push something out, one way or the other. So it's rather rough to process.

So we have a different method of exteriorization, and this I will tell you about. We have people unmock things in the environment by this gradient scale: make them thinner, make them—so on, and change them in various colors. And then we start them in—and this I want you to be very particular about; in addition to colors today, I want you to go through this exercise today—we make the various parts of the body emotional, on all of the things you've been working with: the left foot, the right foot, the left knee, the right knee, the right shoulder, the left shoulder, the right hand, the left hand, the right elbow, the left elbow, the right ear, the left ear, the nose, the right eyeball only and so forth, until we get the skull completely encompassed, and then we start whole emotions on the body. And then we start colors on the right foot, colors on the left foot, colors on the right knee, colors on the left knee and so on, until we have changed the color from this to that and back to normal again. Remember, when you say, "Make your right foot red. Now its natural color. All right. Now red. Now a natural color. Now make it blue. Now a natural color. Now turn it yellow. Now a natural color." You'll find a guy will jump about six feet, by the way, the first time he ever realizes his foot is red or blue or yellow. And he gets this real good.

You're bringing him up toward what? You're bringing him up to the point where he can unmock his body. And instead of exteriorizing somebody, we change whatever he sees of energy around of his own—whatever he sees of the body, or would be greeted with with the body—or somebody else's universe; we keep altering those colors, and keep altering the emotional tone, and altering the colors of these items: his body, other bodies, MEST universe, so forth, and unmocking. After you've done a lot of color drill, you see—you've done enough thinner, thicker, thinner, thicker—you changed it enough so that now he can unmock a tiny portion of it and you get it thinner, thicker, thinner, thicker on this until he's sitting there without his right big toe. You give it to him back fast enough so he doesn't worry about it, and then it's gone. And then after a while it goes and he doesn't miss it. "Well," he says, "no right big toe. That's real interesting!" See, completely relaxed about it being gone, then give it to him back again. And then you go straight on through a "body unmock," leaving the thetan in thin air. Very simple. Real coy.

There are two processes which you're using. One is this process which I've been giving you here for couple of days, and which you've been doing, however poorly but with some continuing success along the line. (You have been getting success with this because I've been checking up on you.) Continue with that, with the addition of color, and the addition of changes in the environment and changes in the body and then a little bit of unmocking in the environment. And finally our end product is, we're going to unmock the body till we can unmock it this way: unmock a body, put an entirely different body there and then unmock that body and have a completely empty chair, and then mock that body up and unmock it and mock it up and unmock it and mock it up and unmock it until it's with great rapidity one can do this—have it, not have it, and so forth. Leaves the thetan sitting in empty air.

Now, if he finds himself surrounded by ridges, he ought to be able to make pieces of the ridges he sees—if he's looking at ridges; it's not necessary that he does, you know—until he could make his whole bank disappear and come back at will. That gets real interesting too.

There is no energy interchange because there isn't any energy. Well, it's very, very interesting, but people bog—people are sometimes much happier when they've got some energy. You see? I mean, people aren't very happy when they've got just nothingness. If you don't believe this, go down in the poorer section of town, see. You won't find people very happy, in spite of legends and sayings and maxims to the contrary. And havingness, that's something to do, that provides a randomity. If you had no havingness, there isn't anything to move in this universe, so of course we have no randomity. And that, of course, is minus—too little unpredicted motion and is a state of beingness which each thetan doesn't particularly like. There is a higher state than that, that you can push right on through and do without energy. But we're not anxious to get there—what the hell.

So he can unmock anything he sees of his own bank, such as facsimiles. Tell him to get a facsimile. "All right. Change it blue. Change it red. Change it pink. Change it purple. Now make a corner of it disappear. Now bring the corner back again."

Facsimiles are all there on the basis that they must resist all effect. Every one of these facsimiles "resist all effect." Real cute, huh? So, of course, somebody tries to erase the facsimile, you could actually make him erase one. That'll change the effect—it really will. But unless you know the higher echelon and the in-between steps, actually, that were tremendously valuable before we got to cause and effect—before I got that information beaten out of the bank, the interim information—very usable, no doubt about that. But it didn't make for a terrifically fast process. And I don't care how fast this process is, this process works. I've been tearing case after case after case just to pieces with it—just knocking it to pieces. It—all of a sudden they can put things there and perceptions turn up, my God—keep right on going. So you just have—don't have them sitting there.

Theta Clearing, body unmocking. Body and bank unmocking and Theta Clearing would be the same thing—pardon me, thetan exterior.

Now, you notice I haven't been talking too much about being three feet back of your head, and this is the reason: we just remove the body while you sit there. It's very simple.

Now, let's see somebody here who is a pretty good … Who's a pretty good Step I? You a pretty good Step I today?

Male voice: As far as I know.

As far as you know? All right. Why don't you be up—back of your body there for a moment, and make your hair thinner.

Male voice: Mm-hm.

Thicker.

Male voice: Mm-hm.

Much thinner.

Male voice: Mm-hm.

Much thicker.

Male voice: Mm-hm.

Much thinner.

Male voice: Mm-hm.

Much thicker.

Male voice: Mm-hm.

Now make it thinner right on down to about the nose.

Male voice: Okay.

Your head right thinner down to the nose.

Male voice: Yeah.

Now make it thicker.

Male voice: Yeah.

Now make it thinner.

Male voice: Mm-hm.

Make your head thicker.

Male voice: Mm-hm.

Thinner.

Male voice: Mm-hm.

Thicker.

Male voice: Mm-hm.

Thinner.

Male voice: Mm-hm.

Now kind of include in your ears.

Male voice: Yeah.

Make your ears thinner.

Male voice: Yeah.

Thicker.

Male voice: Yeah.

Bigger.

Male voice: Okay.

Smaller.

Male voice: Yeah.

Bigger.

Male voice: Yeah.

Smaller.

Male voice: Yeah.

Now make your head—your whole head—thinner.

Male voice: Yeah.

Thicker.

Male voice: Yeah.

Now thinner.

Male voice: Mm-hm.

Thinner.

Male voice: Mm-hm.

Thinner.

Male voice: Mm-hm.

Thinner.

Male voice: Mm-hm.

Make it disappear.

Male voice: Okay.

Okay. Now make your shoulders thinner.

Male voice: Yep.

Now put your head back on.

Male voice: All right.

Good?

Male voice: Mm-hm.

Successful?

Male voice: Yeah.

All right. Now make your head disappear.

Male voice: Yeah.

And appear.

Male voice: Yeah.

All right. Make your shoulders thinner.

Male voice: Mm-hm.

And thinner.

Male voice: Mm-hm.

Make them disappear.

Male voice: Yep.

Put your shoulders back on.

Male voice: Yep.

Now make your head and shoulders disappear.

Male voice: Yep.

Okay. Now make them appear again.

Male voice: Mm-hm.

All right. Make the upper torso of your body very thin.

Male voice: Yeah.

Make it very thick now.

Male voice: Yeah.

Very thin.

Male voice: Mm-hm.

Very thick.

Male voice: Mm-hm.

Thicker.

Male voice: Mm-hm.

Thinner.

Male voice: Yep.

Thinner.

Male voice: Yep.

Thinner.

Male voice: Yep.

Thinner.

Male voice: Yep.

Make it disappear.

Male voice: Yeah.

Okay. Put it back in place again.

Male voice: Head and the shoulders are still there.

Hm?

Male voice: Head and shoulders are still there.

Okay, that's all right. Fine. How selective! All right.

All right, put it back there.

Male voice: Yeah.

Now make your entire body disappear down to the waist.

Male voice: Okay.

Now put it back on again.

Male voice: Yep.

Make it disappear again.

Male voice: Yep.

Now put it back on again.

Male voice: Mm-hm.

Now make your entire body disappear.

Male voice: Right foot won't go.

Right foot. Okay, put two right…

Male voice: Now it's gone.

Gone?

Male voice: Yeah.

All right. Make your whole body appear again.

Male voice: Yep.

Disappear.

Male voice: Yep.

Appear.

Male voice: Yep.

Disappear.

Male voice: Yep.

Appear.

Male voice: Yep.

Disappear.

Male voice: Yep.

All right. Now in your body's place, put the body of a two-year-old child.

Male voice: Okay.

Make that body disappear.

Male voice: Yep.

Now in the place of that body put a six-year-old child.

Male voice: Yep.

Make that disappear.

Male voice: Yep.

Now in that body's place that was, put a ten-year-old child.

Male voice: Mm-hm.

Make that disappear.

Male voice: Mm-hm.

Fifteen-year-old child.

Male voice: Yeah.

Make that disappear.

Male voice: Right.

Now put your own body in the chair again.

Male voice: Yep.

Make it disappear.

Male voice: Yeah.

Put it in the chair.

Male voice: Yeah.

Make it disappear.

Male voice: Yeah.

All right. Be in your head.

Male voice: All right.

Make your body disappear.

Male voice: Yep.

Look around the room.

Male voice: All right.

Perception pretty good?

Male voice: Yeah.

All right. Make your body appear.

Male voice: Yeah.

Make it disappear.

Male voice: Yeah.

Make it appear.

Male voice: Yeah.

Make it disappear.

Male voice: Yeah.

Be five feet back of your head.

Male voice: Mm-hm.

Now are there any energy ridges of any kind that you perceive there? (pause) Around your body.

Male voice: From where I am?

Or around you. From where you are.

Male voice: Yeah.

Got one?

Male voice: Mm-hm.

All right. Make a corner of it turn blue.

Male voice: Hm.

Make the whole thing turn blue.

Male voice: Yeah.

Make it turn red.

Male voice: Yep.

To green.

Male voice: Yeah.

Blue.

Male voice: Yeah.

All right. Make it turn its—color it was originally.

Male voice: Yeah.

Make a section of it disappear.

Male voice: Okay.

Make it appear again.

Male voice: Yeah.

Make it disappear.

Male voice: Yep.

Make it appear again.

Male voice: Yep.

Make half the ridge appear—disappear, rather.

Male voice: Disappear. Yeah.

Appear.

Male voice: Yeah.

Disappear.

Male voice: Yeah.

Appear.

Male voice: Yeah.

Make the whole ridge disappear.

Male voice: Okay.

Appear.

Male voice: Yeah.

Disappear.

Male voice: Yeah.

Appear.

Male voice: Yeah.

Let's find out if there are any other ridges around there.

Male voice: Yeah.

All right. Turn them red.

Male voice: Yeah.

Blue.

Male voice: Yeah.

Green.

Male voice: Yeah.

Blue.

Male voice: Yeah.

Red.

Male voice: Yeah.

Blue.

Male voice: Yeah.

All right. Make them …

Male voice: They're different colors.

They're different colors.

Male voice: Yeah.

Good. Turn back the same color they were. Now make one small section of the remaining ridges disappear.

Male voice: Okay, I knocked out half of them.

Hm?

Male voice: I made half of them disappear.

All right, make them reappear.

Male voice: Yeah.

Disappear.

Male voice: Yeah.

Reappear.

Male voice: Yeah.

Make all the ridges disappear.

Male voice: Yeah.

Make them reappear.

Male voice: Yeah.

Make them disappear.

Male voice: Yeah.

Make them appear.

Male voice: Yeah.

Make them disappear.

Male voice: Yeah.

Okay, make them appear again.

Male voice: Yeah.

Be inside your head.

Male voice: Yeah.

Make the ridges in the body disappear.

Male voice: No body.

(Recording ends abruptly)

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