This is the third hour on uh… December the 9th afternoon lectures. Uh… let’s further examine Agree and Have and characteristics of flow.

This is the second hour of the night lecture, December 9th.

I mean, when you examined the chart there on ARC, you found that volume per unit space determined the position on the tone scale. As you got down to the flows, dispersals and ridges, low on the tone scale towards 0, you had an awful lot of matter for a very small amount of space. And when you went up scale, you found out that you had little matter for lots of space.

We covered the part force bears in clearing a pc. Now let’s go in over something that we’ve already been over several times, and let’s get the part that space bears.

Now that, of course, it’s uh… indicative there of considerable perversity, actually, as far as space and so forth is concerned. This is uh… also indicative of what aberration does and is. It’s too much per unit space. And you get no action in too much per unit space. You don’t even get much thinking in unit space as far as MEST universe beingness is concerned.

We find out that an individual’s concept of his space regulates his concept of density. And his concept of density would be his degree of aberration or his degree of freedom, as the case may be. And we could just arbitrarily divide up the arbitrary scale we call the tone scale, something like this: And, get down here at minus 8 and let’s take that, and let’s find out the gradient scale of space.

So we start looking over the proposition, we find out that a person, then, should have quite a bit of space for his havingness. If he has a lot of space for his havingness, why, his time is fluid and he… he’s… he’s light, hi… his uh… aesthetics can more easily enter in because it’s very hard for an aesthetic wave to enter anything that’s very gross and heavy. An aesthetic wave doesn’t transmit easily over something that’s gross and heavy. That doesn’t say it can’t, but it just doesn’t.

Now let’s take the first level here of Differentiation. Let’s take down in this band Association, and down in this band and from here down, Identification. Now let’s just take those as three levels. And let’s look at space in relationship to these three things. I give you Korzybski when it comes to a complete, exhaustive dissertation on Differentiation and Identification. You don’t need to study that but you can c… conceive of a fellow who can… you know, the best way I know of to recognize this, is to get some fellow who’s having trouble with his wife and give him some good old straightwire – the First Book covers this, by the way, considerably. We get this fellow who’s having trouble with his wife and get who he has her confused with – just that. And you’ll find out he’ll study around and he’ll study around and he’ll study around and finally he’ll find out that she wears her hair exactly the same as his mother. Or she has a certain mannerism that connects him to an aunt, or Grandma and his wife are confused, and he has attached to his wife everything he has found wrong with Grandma. Ha-ha! And furthermore, his wife won’t do the things he expected from Grandma. That’s a real lovely piece of identification, isn’t it?

Have you ever tried to draw a picture uh… for instance, and uh… you looked at the MEST universe reproduction you were making – you were going through the MEST universe you see – and the thing that comes out does not match what you should have built. This is the cry of all architects, painters, sculptors, and so on, is „Here… here is this horrible thing! Every time I try to think something up, it always falls short of“ they used to call it „the ideal.“ When they say „ideal,“ they might as well say „an idea.“

You’ll find more fellows have married their grandmothers and their aunts and so forth, and the wife isn’t there at all. She isn’t present.

Now the funny part about it is, is that theta can communicate in terms of ideas without this interruption of flows. You see, ARC becomes bad when you start getting into MEST universe type flows. And it becomes almost impossible to maintain. But as we go up the tone scale and things become lighter and lighter, a person can, of course, become much more ethical and at the same time, lots less serious.

Well, what do we do? What do we do? We… in the old days we got him to take a look at Grandma and then look at his wife, and we found he was occluded on Grandma. How do we solve that today? Make him create his wife and put her through her paces and even create a body, his own body, out there in a mock-up, and have his wife put that body through its paces. And we go around on this and do the create and uh… alter and destroy cycles, start, change, stop cycles, and so on. We… we do all these things and uh… we find out that the other just sort of clips out.

It sounds funny that a person who is very serious is liable to fall short on his ethics. He is more likely to go into a moral code, something good and solid and heavy, you see, that’ll kill somebody unless he follows it – and that’s the idea.

Why? Because all of a sudden he’s gotten action, capability of control in space over an energy form.

So as we get up tone scale, we find that individuals are airier and lighter and actually more aesthetic. So that the heavier wave lengths are favored down around 0.0, and the lighter wave lengths are favored up around 40.0 and down. You see, you sort of have a scheme thereby by which… by which at 40.0 you have theta operating, really, only with uh… very close aesthetic waves; and down around uh… 1.0 or something of the sort, why you have theta mainly concerned with the solidity of objects. And… and it’s uh… that is to say, you’re worried in that band, you’re then worried about effort. How much effort is it to do something?

Now how would we… how would we really get Grandma back? We haven’t been able to ever find Grandma, we know Grandma’s very aberrated… get an E-Meter… every time the E-Meter says uh… we say, „All right, now Grandma,“ and uh… the E-Meter goes „Rrrrrrr.“ You can just feel the brake lining smoke as it stops and sticks. He’s evidently somewhere there on Grandma, and is she solid! Or we get a sudden change of density. He just gets a lot thicker all of a sudden.

The person who tries to do an aesthetic job on this universe will generally go down tone scale fairly fast because he’s trying to apply this light, airy little wave to things that are heavy masses. And it just doesn’t work out well.

You see, that me… E-Meter registers thickness – density of energy. The denser, the thicker, your preclear is, the less space he has.

You can mock up a stage and a play in your own mind which with a flash appears in great beauty. And uh… in the MEST universe it takes carpenters, and carpenters belong to unions; and uh… it takes lumber and that has to be sawed up, and that comes down, and there’s people that are worried about the… the mass of this – and uh… this and oh boy, oh boy, oh boy!

So we say, „All right, now mock up… mock up something which we will now call ‘Grandma’. Okay, we’ve got Grandma. Now we’ll have Grandma go through her paces.“ That is just your standard cycle running, and try to run her upscale – reverse the scale on Grandma, and so forth. ‘Regret’ is the attempt to reverse scale, by the way. ‘Regret’ is the attempt to not have, and reversing scale is to not have by getting space into it.

Now it takes a pretty airy hand, by the way, to handle a lot of MEST. You’d think it would take a very solid, serious hand. But that doesn’t handle MEST, not worth a nickel. It takes good airy treatment. If you can take a look out at a massive space and say, „Well, now let’s put something or other there.“

So we just handle this thing.

And uh… somebody comes around and they say, „Why do you want it there?“ „Well, I don’t know. It would just look good.“ And they say „Well, you’ve got to have a better reason than that.“

Now it doesn’t matter whether he gets a pumpkin on a stick or… or uh… whether he gets uh… uh… a skeleton, or whatever he handles that he calls ‘Grandma’; he’ll handle this after a while and he’ll finally realize that there was some possibility he did have a native capability of being able to control the old gal. So he’s willing now to get a pumpkin with a skirt on it, or a skeleton with uh… the typical hairdo Grandma had, or something strange. And you get him to handle this. And if you just went on down the line, the first thing you know he could… he could mock up Grandma three – dimensionally and she’d really be Grandma. And the same time you do this, he could look at all his facsimiles about Grandma too. Don’t even direct his attention to ‘em. He just could do that.

You’d say, „Nuts to you, fella!“ Uh… because there isn’t any better reason than that.

So we’ve solved those two points. Now just let him stand Grandma up there and stand his wife up there, if necessary, these two mock-ups side by side. Probably by just handling ‘em, you’ve blown all this. But the truth… the final finishing touch would just be: „Look at them. What’s similar about ‘em?“ And the fellow all of a sudden says, „Well, what do you know? They both have flat feet,“ or whatever it is. He has this identification. He’s taken a single point of similarity and he has made it equal to the other point of similarity. You see, they both had flat feet; that made ‘em similar. They both complained about their feet; that made ‘em similar. And he’s closed the gap on this similarity down to a point where there’s a solidity in the fact that we have Grandma-Mama, or Grandma-wife being the same feet. And out of this we get ‘same person’ and out of this we get ‘same behavior’ and out of this we get the same reaction toward ‘em. Well, that’s an identification.

You want something to work on an aesthetic band. Of course, theta favors an aesthetic band because that’s closest in to motionlessness; it’s closest in to the fine wave length which can append to theta itself. Theta can communicate through aesthetics much, much before it is capable of communicating through reason.

Now obviously this fellow has no space with regard to them. He’s never been able to cause them to act. That’s one… that’s one: he… he wants Mama to come in and tuck him into bed and she never does. Just let him start on that one. Uh… and… and she… he just never could control her, he never could, he’d be lonesome or he wouldn’t have anything to play with or something of the sort, and he’d want Mama to read to him or something like that, and she… she’d go over and do something else. He tried to say, „Come here“ or „Go there.“

And then people say „Well, I wonder what the reason was behind that painting.“

A little baby, by the way, will get completely outraged about this. They have no concept of the idea that they can’t place in time and space at will, because they’re pretty high on the tone scale, although they’re all messed up with trying to learn how to use a MEST body all over again. And uh… you just get the baby reaching for a bottle, and then just arbitrarily move the bottle in some other location. And move it back and forth, and boy! That baby will start to raise more cain than anything you’ve ever seen.

Well, let’s just put the cart before the horse, and let’s put a couple more carts in front of the horse because that’s just nonsense. The reason behind the painting is the painting. That’s all. A person has to start on up tone scale to get the full appreciation out of this.

But let’s feed the baby so we don’t even have hunger as a sort of thing, and then let’s get the baby’s eye on something like the bottle that sparkles or attracts the baby’s attention. And now let’s move it out of reach. The baby will start reaching – move it out of reach. When the baby doesn’t reach for it, make him have it. You could drive him silly. I mean, he’d just go crazy right on. He’d just spin right before your eyes if you were to keep this up continually on and on and on. When he doesn’t want something, make him have it; when he… when he wants something, don’t let him have it. And you’ll just spin him in.

Well, let’s look a little bit more at Have and Have Not, and Agree and Disagree, and Want and Not Want, and we find out that there is such a thing as a tractor beam. And there’s such a thing as pressor beams. So you can reverse this situation with selective use of tractors and pressors. You can have something move in your direction with a tractor beam, and when it starts to agree, it’ll get an outflow. You’re pulling agreement out of something. You get that.

Why? Because you’re keying in the whole doggoned track of the MEST universe on him. You’re just dumpin the… the… the whole aberration scale that he has right on his head.

Every once in a while you’ll find somebody that has a reversal on Agree and Disagree. What they’re doing is operating on somebody else’s tractor. They’re… they’re… they’re not… they’re not doing too well in a lot of ways and a lot of things.

So he wasn’t able to command, control or locate, or even get into a reasonable agreement with, the control and location of Mama in time and space. He’ll stand for a lot, but ordinarily he cannot control this factor and in view of the fact…

They’re… you say, „All right, now get the flow of Agree,“ and this person will get the flow – yeah, they’ll get an outflow! Tohoohoo. What’s this mean? It means the space immediately in front of them isn’t even vaguely theirs; and it means that they are flowing at something else’s command and behest; and that this something else’s agreement has become almost a coincidence of space with this person. This person will then be found to be more or less in valence with somebody else, so that their agreements cause an in-pull. That would be by a tractor wave.

And by the way, I should define ‘control’ for you. Control is simply locating something in time and space. Creation would be uh… locating something to control – or creating something to control.

You very often find a person’s parents, for instance, have fixed tractor waves on them. This is tractor waves of desire – very interesting. They’ve got tractor waves on him. The parents pull.

And uh… he isn’t able to do that and so what happens? By golly! She goes out as a perceptic. Goes right on out on a pers… I was going to say, when it goes out in terms of perspective. She goes out in terms of PERCEPTIC. And this vanishment is because she has gone out in terms of perspective. He can’t control his viewpoint where she is concerned. He cannot control then, he figures, any space in which this character has been, which is all around him. And he can’t control the force and can’t control the location and it gets awful solid and the next thing you know, it’s just energy he can’t handle. You see, it’s a body of energy, a collection of particles. And so he says, „I can’t therefore view it.“ So you get an occlusion on the track. Isn’t that interesting?

Now there’s reverse tractors too. There isn’t any reason to get too wound up about this because this is very simple. People go around with „wanting to be wanted“ tractors. How do you work that out? Well, here we have „I“ and „I“ has this tractor wave which is not a compulsion, but he’s doing a „Schluurph.“ „You will agree.“ Now unfortunately that, of course, gets on anybody but the quite aberrated, that gets this flow uh… pardon me, on any but the quite aberrated this would be uh… agree. So what we get is this flow with that tractor.

All right, what do we get then in terms of identification? Identification is quite black ordinarily. Now we get Mama or Grandma, or somebody like that. He hasn’t been able to handle that… that mass of energy. And in view of the fact that he hasn’t been able to handle it, control it, something like that, it buries itself. Well, now it buries itself. He’s immediately saying, „I can’t take responsibility for it.“ He can’t take responsibility for it because „It’s cause and I’m an effect. Well, if it’s cause and I’m an effect, I don’t want anything to do with it, and the best thing to do is just shut that thing off completely.“ So he takes no responsibility for the vision or anything else. Saying, „No responsibility for the vision“ is just exactly the same as saying, „I don’t want anything to do with that force. That force can master me.“

So we get this „You will agree“ tractor is resulting in that. See how that is? He pulls in „You will agree“ and he gets disagreement. See how that is? He wants to be agreed with and he gets disagreed with: that’s the trick.

No responsibility is the inability to handle force. Responsibility is the ability to handle force in the MEST universe. And that is the definition of responsibility and that’s all there is to it.

Now, he’ll get around to a point, then, where he’ll reverse this vector and he’ll put a tractor wave with the open end thataway. And it says „agree“ – „You will agree“. And what he does is want this person over here to pull in. He wants this person over here to grab on to that tractor and agree.

Now… so we get this solid pack idea of identification. Therefore, anything that comes along that vaguely relates to this commanding energy, the energy which handled him which was Mama and which is now in the engram bank as Mama, we’ll get the engram bank identified with Mama or Grandma, or whoever it is. We get that bank identified with them and anything else that moves into present time throws the bank into restimulation and actually will handle him in the same way. And he can’t identify the difference between one and the other because he’s got ‘em in identification. He is identifying, that’s the trouble with him. He identifies Mama alright. What we want to do is differentiate Mama.

Do you see here, Figure 2? People go around with these doggone fool reverse-end tractors that they fasten on people. They put the open end of the tractor on people to get these people to want them, to desire them. And this actually is the way sensation works.

Now, we start moving it up the line and the occlusion disappears and so on, and we get into a degree where he can see that they are just similar. They vaguely associate one with the other, and there’s just this similarity and you could actually interpose what? Space! You put space into action there. And the form that Mama is, is no longer packed tight. It’s… it’s gotten space in it. And other things don’t pack in with it. You’ve got space in there again.

If you’re around a pretty girl, or something like that, very long, boy she’s got one of these tractors here which is just doing a beautiful job. Figure 2: She says „Want me. Want me. Want me.“

So you get up the line up here, and when a fellow’s really free, he can create space. He can make space open up and close up around these things.

The odd part of it is, the second anybody picks up that tractor, what do they start? They start, in Figure 3, they start of course, this flow, which again is „Don’t have me“.

One of the interesting exercises is to put a couple of anchor points out here on either side of some object he’s created, he’s got that, and then make it get bigger by expanding the anchor points. If you keep doing it, it just gets into smoke. It is practically… gets to be smoke and that’s all, ‘cause you’re putting more and more space per particles… unit particle.

So this is… this up here is „Want me“ and this is „Reject, me“. The second that thing is pulled on. So you get the tease variety. This is because… and what happens is it’s an automatic recurrence. I mean, it’s just an automatic action. The second this person – although they have this tractor up there with an open end, ready for anybody to use – the second anybody starts to hook energy in their direction or pull in their direction they feel an outflow and the outflow immediately causes them to feel „Don’t have me.“ And so you get the extreme caprice on such a thing.

Now there’s association: Association is logic.

Now this works this way in… in… in uh… where you get a… one of these tractors. It, of course, works over here with uh – this person is doing an in-pull, and so on.

Well now, there’s differentiation at one end and identification at the other end. And logic sits in between. Uh… what’s this business then of finding the common denominator of all of these other things? Finding all these common denominators and so forth? Well, you’re actually identifying so you can pull to pieces again. You’re… you’re showing, „Now look: these things are related to this degree. Now we can bring them up into association. And now we can bring them up into complete differentiation.“

You could actually have a situation where „you“ here, has one of these open-ended tractors and where „I“ here has uh… an open-ended tractor. And what do you get? You get coincidence of being: they both want to be wanted. They both want to be wanted, and there can be a momentary stability of wantingness. And this line up here contracts from point A to point B and then contracts to what? AB – to a point.

When you start to differentiate, you have looked over this, you find a common denominator to any problem – it will actually be up in a high band. The common denominator is in the high band because you can take it then, and build down into an identification with it. So you can go both ways on this thing, and your association can be… I mean, your… your uh… common denominators can be top scale or bottom scale.

And then you have two people living the same life, or a thetan in a head. Now one of the things that happens is that when this line starts collapsing, you get a coincidence of being. You just get a momentary stability or instability, and some very successful combinations are when both parties want to be wanted, and they find out that each one wants to be wanted, and they get a coincidence of being. And each one stays fairly stable on this as long as they continue to be assured that the other one wants them.

What we’re studying is: What series of postulates would you make to cause the MEST universe? So we’re studying this thing from… from up here at uh… point Observer.

But don’t let them find out the other one doesn’t want them! Because neither one of these waves, here in Figure 4, contains „I want you.“ They don’t have an „I want you“ there in Figure 4. There’s „I want you to want me.“

What’s this silly series of isolated postulates that differentiate everything in the MEST universe? What postulates are they? Well, you’ve got the first postulate in Q-l. And uh… that is that uh… you’ve said that… you’ve said it could locate in space and time. You’ve said, „Well, we can create space and we can create particles, and we can get action this way. Well, I agree… agree… agree… agree.“ It doesn’t mean that that’s all theta can do at all! Or even vaguely! We’ve just got the highest level that we can get there and uh… have a MEST universe. We can have any kind of a universe we want to if we go on to that point ‘X’ Observer and looked down, and made another postulate. Let’s make the postulate that the capability of theta is to produce solid matter, uh… capability is to produce solid matter which then will create space. Anything. I don’t care how backwards it would be. You could think and think and figure and figure and all of a sudden you could figure out how a universe could operate that way. You could make it operate.

So we get this horrible situation, really grim situation, of two people – they go along for years, each one of them perfectly sure that the other one wants them, instead of wants to be wanted – and then one day… one day there’s a little cuff or something of the sort and all of a sudden „you“ over here or „I“ uh… has got this floppy tractor wave that is temporarily disconnected or something of this sort and quite inadvertently somebody else says to them „I want you“ – schluurp! That’s all… all anybody has to say on that.

Now this goes from the Observer, then, into high complexity, because from the time you get down here to identification, it… it’s really very complex. It’s all solid and there’s not much space. AND EVERYTHING IS IDENTIFIED. You say, „This is… this is hydrogen. That is gold. Something or other is that. This is a body. Uh… this is a swamp. That is a planet. This is an asteroid.“ We’ve got classification by object.

Or this person, „you“ or „I“ in this case, happens to say, „Want me. Want me. Want me,“ about one time too often, „Want me“ – and uh… then at the same time says „Well now so and so and so and so is wrong with you. And so and so and so and so ought to be.“ Because you still get something on the order of an outflow. You get disagreement with each other although you get a coincidence of beingness. They both start occupying the same space.

You want to how NOT to find out about the physical universe? Classify it by object. German classification as the modus operandi and the only way to go about it would have led into deeper and deeper and deeper MEST. And it would have become more and more solid and more and more cumbersome and more and more cumbersome, and more and more solid. Until one day, with the solidity, the bottom falls out.

So this person… they become somewhat disagreeable to each other, and one of them may wake up one day to realize that he really isn’t wanted at all, at which moment this will break up an interpersonal relationship – whether it’s a marriage or whatever it is.

You get differentiation and association in space. That means restoration of space, then, is the key to this thing, hmm?

Well those are tractors – all up and down the line here.

All right, let’s take uh… find out how Start has to do with that. Now Start can exist there and this could exist in Change, and this can exist down here in Stop. But, you say, that stuff down there is in motion. Well, that’s true – that’s true. That… that’s down at 0.0. Uh… you’ve got objects which are in motion. They’re not true statics at all. They become dead as far as theta is concerned. And all of these scales are viewed from the viewpoint of theta and its capabilities. Don’t try to view this picture from the standpoint of MEST.

Now how does this work in the animal kingdom? How does this work in the animal kingdom, where it comes to dog eat dog and so forth? All right, we have this little animal gallumping along and a big animal comes along and goes „Snoffle.“ Well, the big animal says „I want“ and the small animal hauls back furiously to keep from being had, and of course by that fallback says „I agree“ and gets et. You see what happens? He’s trying to haul back as in Figure 2 there, you see, and he actually finishes off and energizes the big animal’s tractor.

Now if we looked from here up, we look from identification… everything… we say, „Now look. We’ve got to identify this and we’ve got that identified, and we’ve got something or other identified. We try to look up from here to 40.0. Oh, no! I’m sorry. It just uh… it just gets to be too airy. It’s just thin and airy, and you look high enough and there’s nothing there. And Man’s been doing that just uh… since… for ages and ages and ages. You run preclears, „If I just could find out the secret of the MEST universe, I could have put my own back together again and I guess I’ve been worried about it ever since.“ You get this off of preclears.

The big animal had an open-ended tractor there as in Figure 1, IX – „You will agree“ it says; „You will agree.“ Well, this is a pull; the small animal starts to disagree and then he energizes this big tractor here, and in he goes – kaboom!

You say, „What are you really worried about?“ or something like that, and the E-meter’s falling, and you say, „Well, your own home?“

And he gets the weirdest sensation. You ought to run this on a preclear, or run it on yourself some day; „the… the joy of being eaten.“ It is the weirdest, most perverted, amuse – uh… uh… uh it… it… it’s a… it is an emotion which is indescribable until you’ve really experienced it. „Oh, I’m being eaten. I’m serving my purpose, after all, in the MEST universe.“ More doggone rationalization, you see. And it just comes out of this weirdly here.

And the guy says, „No, I’m… yeah. I’ve always been worried about the house. I don’t want to leave it.“

So you wonder why yo… you wonder why animals insist on eating dead meat all the time. And they go around and they eat meat. Of course, they want the live animal and they get the dead one, and they get accustomed to eating carrion. And do you know that all across Earth here, nothing is eaten but carrion. There’s nothing but dead meat eaten, as far as meat is concerned.

And you say, „Well, uh… sort of like a little world to you, isn’t it?“ Whamm! And you say, „It’s interesting you don’t like to stray far from it. What are you… what’s the matter? You afraid something will happen to it when you…“ WHAAMMM!

Now the alligator has become very slow and very cautious about his havingness, so he buries it for a long time and lets it rot before he eats it. He wants to be sure it’s not going to go the other way on him.

Well, you could run out houses until you were blue in the face. But if you just start to mock up houses, in a lot of preclears that you run, you’ll all of a sudden get this tremendous spaciousness. You… you… the guy’s looking at a plain or he’s looking out here at a tree, or… or… a… a world that’s flat, or something. He… he’s looking at this plain. And you say, „Now we were trying to mock up houses. Now let’s… let’s get down to cases on this. Now let’s mock up houses again.“

Now that interchange, then, your animals run around and the animals that are running around saying „Want me. Want me. Have me. Have me. Have me“ and all that sort of thing, so you say „All right. I’ll have you.“ Crunch! They can actually, at that last instant, pull so hard back that they get the feeling like they’re agreeing like mad with being eaten. That’s very low tone scale – very, very low tone scale.

And the guy mocks this up, and he says, „I keep getting this plain, and that’s about all I wanna mock up.“ He gets real interested in this, and he feels all kind of griefy, and he gets kind of upset. There are many things that lead him into this. He’ll tell you… some of the most esoteric things are responsible for this state of mind, until you suddenly spring the one „home universe“ on him. „Eeeowwwww!“ It was a universe he and several others, or just himself, built once.

That thing which desires to be eaten, then, is actually enMEST, because the fear and endocrine injections into the body of something that is trying to resist that hard under that kind of a delusion is pure poison. What you get’s enMEST, any way you look at it.

One preclear had a home universe which consisted of simply one thought pool. They had fixed up a sort of a place and they’d just sit there and look in the pool. And one day the pool turned black and they couldn’t figure out why the pool turned black. And they sat there and sat there, and what do you know? Seventy-four trillion years later, in a session, in Scientology, we found this preclear. For all intents and purposes she was still sitting alongside of the thought pool. She sort of dragged it along with her and sort of hid it behind her back. And that was the case in her… her case. If she just could have found the secret of the MEST universe. She kept thinking about this, „If I could just know the secret of this, and what had happened to that pool, why it would have been all right. But then one day I found it out and I told somebody and they really gunned me down or they did something to me, but after that it was too late and it didn’t matter,“ or something of this sort. Very sad.

Now I hope you’ve seen that there is, actually, a happy solution to this. I hope you understand now that it isn’t all dark, that it’s a happy solution to it, that there actually are conditions there of uh… happy agreement whereby… whereby two animals uh… eating each other up uh… one agrees with the other – at least we have that.

Uh… you’ll… one time a preclear of such a history in processing uh… oh, a violent, violent distaste for anything like past lives or anything like that! Oh, no! And uh… I saw this on the E-Meter and ran this on the E-Meter. So uh… we suddenly hit the word ‘stars’ and we got nothing but this: „The day the stars fell down.“ And she cried and she cried and she cried. This person had never spilled a grief charge. And this person just cried and cried and cried and cried. And then she’d utter that phrase again and she’d get this visio. It was the day the home universe caved in. The MEST universe had overlapped and with a dull crash, that was the end of the home universe.

Now one of the reasons why you have to have a group before you can have interpersonal relations is here very self-evident. A group gets together and it has, or it wants, and it’ll do so simultaneously. And it’ll operate as a unit organism, practically, a group will. And it’ll be a very high-level agreement and there will be very good ARC and they’ll just get along just fine. Why? Because they don’t want each other.

And so a viewpoint up here, looking down at this, we can see what’s going on. But if we try to keep on viewing this thing from MEST and holding on to MEST while we go ahead and do this, and so on, it’s not so good.

But therefore a group could only exist as long as there was no difference in castes in the group. You couldn’t have a lot of artificial castes in a group, like ranks and uh… there’s one thing you can say about the military services: some people are ranker than others.

Now when we say, „Start, change and stop,“ we actually could write right here, „Start – change – stop,“ see? We could uh… just have those just a little bit on the scale. Just this little tiny gradient here at the place marked „2“ here. Have this little gradient, Start-change-stop. And as we go down there we… we see that there’s a slight drop – oh, just one of these little emotional curves. And that’s what an emotional curve is: Starts something, changes, stops.

Now here… here you… you – the second you get a disparity and you get this introduction of rank, of course the group falls to pieces and its effectiveness goes to hell, because the admiral’s throat is being cut by the rear-admiral, and the rear-admiral’s rear is being cut by the captains, and so on, and they’re all jockeying around on an „I’ve got to have“ and „I’ve got to have“ is „You can’t have.“ And things get pretty enMESTy.

The fellow who thinks he’s still operating this universe can get Start. He still thinks he’s operating his home universe, he’ll get Start. And all of a sudden things will get three-dimensional to him. He’ll get Start – he’ll get things three-dimensional. And then you say, „All right, change it,“ and it’ll – „not quite so much.“ And then, „Stop,“ and it goes „Flap!“

One of the favorite tricks for the MEST universe can be seen in a military service whereby they give somebody a tank and they say, „This is your tank.“

Most of you people with bad eyes think the whole environment’s holding against their face. They have no space points.

The fellow, „But I don’t want a tank.“

So we get this Start, Change, Stop. And there’s two reasons for this: In one’s own universe, all he had to do was say, „Let’s do it,“ and uh… that happened. There’s nothing to that. There was no balk. But in this universe, he could start something very easily, but to change it became a little harder, and to stop it practically became impossible. So he gets quite upset. He’s still trying to run his own universe.

Well, he’s all right as long as he’s saying „I don’t want a tank“ but uh… let him say, let him say „Oh gee! They’re going to take my tank away from me!“ and yank! she’ll lose it right now.

So we get this Start, Change, Stop. And we get it for that reason. But there’s a deeper reason than this, and it’s simply this reason: Start, Change, Stop on the big scale. Of course, you have three-dimensional visio when you say, „Start it.“ That’s space. ‘Start’ and ‘space’, for this universe, are synonymous. So when you get visios you can always conceive of starting something, you have space. Then you tell your person, when he’s mocking up things, you say, „All right, now change it,“ and he has a little more trouble with it and it sort of wants to cave in on him. He started it all right. He had it way out there. He had it out there about 30 feet. And it was just fine, and you say, „Change it,“ and this thing shows! It’s going to start coming back in on him again. And you say, „Stop,“ and then my golly! He just can’t hold it out there.

Now, furthermore, they give him this, and then he’s got it – but they’ve got him. Anything they give him, they get him too. If he fails to accept anything from them and fails to pay any attention to anything, his career is just spectacular. Unless the Army of course is trying to get something done, or something I never heard of when I was in. But they depend on privates and sergeants and second lieutenants to get something done in wars. I mean, after all, that isn’t the purpose of a military organization to get anything done.

Now you say, „All right. Now let’s mock up this thing, and now let’s… let’s uh… let’s make it walk to the right. Now let’s stop it. And every time he starts to stop it, he find it’s sticking on his nose practically. It just flies in and hits him.

Uh… but it’s very very remarkable how easily this works out. By the way, I found this out empirically: I uh – tell you very briefly – I reported in – Robert Montgomery was uh… on duty at the naval operating base down in uh… San Pedro, and I’d just gotten out of the hospital. They took me off the ship and hospitalized me, and then they let me out of the hospital. And I got out of the hospital and the ship had gone. And so they sent me over to the officer’s pool, and there was nobody over at the officer’s pool to amount to anything, and by this time they’d lost all their… all their navigators were at sea and things like that. And there were a lot of people around, but they came from the Department of Agriculture and uh… I simply checked in and went over to bachelor officer’s quarters and uh… unpacked my bag very carefully. Chose some good quarters by moving a couple of guys out, and unpacked my bag and went down to the library and I got a great big stack of novels, and I went back up and I sat down and I started to read novels.

Why is this? It’s because Stop at 0.0 has no space, and Start at 40.0 does have space. You see why this is? Be… and differentiation is simply the distance between the particles. When you have all the particles on one point, so to speak, you’ve got identification; and when they’re just a short distance from one another so you get some sort of a battery action amongst ‘em – a mild battery action – they trickle through. You can think consecutively: add up, subtract, run this facsimile into that facsimile, cook up a new one, pour into the cook’s stove and boil it up real hot and serve it out as a geometry. Uh… and you get more particle distance in it where there’s no interaction between these points, and we get, of course, difference. Well a particle is different from another particle just simply because it is located in a different point of space, that’s all. And we get thinking, then, can be very airy. I mean, the fellow can think about this particle for a while, and he can think about that particle.

And the days went by, I was perfectly happy, I was reporting in to chow and so on. Everything was going along just beautifully. Until all of a sudden an orderly came over and he says „Sir,“ he said, „um, the Commanding Officer wants to see you immediately“, and so forth, and I said „Oh, I’ll be over.“

Now, hold your hats, because there’s a higher drill than differentiation. You’ve got to be willing to use force. And the postulates that you get down lower scale are pretty interesting, but they get enforced by force. But you can actually do this drill and improve the ability of a person to run mock-ups very fast. A lot of you have asked, „What… what about… what about getting a concept of this dog. I can just get this concept of this dog marvelously, but I don’t see a dog.“ No. No good – not a mock-up. A mock-up has a location in time and space – not a thought. You’re thinking of thinking of a dog… you’re thinking of seeing a dog, not seeing a dog or perceiving a dog.

I’d been at the war, by the way, about two years by this time and I really was bored with it. So anyhow, anyhow I’d go over about two or three hours later to report to the Commanding Officer, and he comes out. And boy, he’s fire and brimstone. „Your name has been on that bulletin board for three days. An officer is supposed to read that every morning at eight o’clock. Your name’s been up there because there’s a YMS out here and there’s nobody – to take it to San Pedro and somebody’s got to take it to San Pedro and there isn’t another officer around here to take this YMS down to San Pedro, and you’re supposed to take it down there. It’s lost its captain.“

What’s indicated there? Black and White Control Processing! And I don’t mean by running black and white now. I mean you mock up a black point in front of the preclear with his eyes open or closed. He finally gets to a point where he can see this black point no matter how small, no matter how big. He can SEE something in front of him. And you ask whether or not you should see these things in your imagination or see ‘em actually. Well, they… they look awfully thin when you first start, but you actually see them. You… you… you know when they’re there and you know when they’re not there: That’s the criteria of it. „Do you know that thing’s there? Do you feel that it’s gone when it’s gone? Do you… when it’s there do you know that it’s there?“ That’s about it. Rather than the thinness of the perceptions.

And I said „Ummm-hmmm.“ And uh… I said „I’ll go over and see about it tomorrow.“ „Oh,“ he said. „What… what’s the matter with you?“ And I said, „Well, Commander“ I says, „it’s been a long war.“ „Oh, see here now,“ he says. „You… you can’t quit like this.“

The fellow… fellow will feel this sudden surge or something when he knows this thing’s gone, when he knows it’s there, when he knows it went into yesterday, something like that. You… you’re figuring for that positiveness.

That’s a verbatim conversation. I went down and saw the YMS, but I didn’t take it to San Diego, I decided that the executive officer could take it down to San Diego. Told him so and came back and reported. And I said „It’s on its way.“

All right, let’s just drill with a grey spot on the wall… or a black spot on the wall, and let’s move it no matter how slightly to the left, no matter how slightly to the right, no matter how far up, no matter how far down. And let’s turn it a color, or let’s increase it in size and let’s drill with little black spots and little white spots and big black spots and big white spots. And move ‘em around in time, space. Put out a couple of anchor points and put the spot in there. Deal with that simple geometric figure. And deal with it and deal with it till all of a sudden the fellow heaves a sigh of relief and he says, „Ahh! You know? I believe I can see something!“

They gave me a job operating the nucleus crew training program, and I went out in the morning, and I’d go out in the little boat. And we had a… a radarscope fixed so that we could tell whether or not the nucleus crew was navigating the ship properly, and I sat down in the cabin and played cribbage with the captain. We looked at the radarscope and saw we didn’t run aground anyplace and I’d slop around. Then I’d call this small boat that I had standing on and off to see that… I’d call it aboard and I’d go ashore and have dinner.

That’s very fascinating. There’s all kinds of variations of this drill. You take the black spot. All right, now cut it in half and move the two halves in opposite directions. That’s kind of complicated. Now turn just one of them into a cross. Now turn the other one into a cross. Now turn the first one you turned into a cross back into a circle. See, it’s just control. You’re practicing on control on a mock-up.

Very, very interesting. And they… they keep… every time they’d look for you, you weren’t there. But the main reason for this was, is you just didn’t care.

And that… imagination isn’t good enough. You have to… you actually… what is indicated, if a person is doing this, or if a person is worried about imagining it; if he can imagine it all right but he can’t see it and this is worrying him, start him in at the bottom of the energy scale, which is black and white spots. If he can’t see a black and white spot after a lot of figuring, if he can’t get some kind of a flicker – somewhere – with his eyes open or his eyes closed or something like that, ask him to see if he can conceive a little bit of space – by putting out a couple of dimensions. And if he can’t do that um… in imagination, at least let him locate the anchor points in the room he’s sitting in. And if he’s gone down to that level, he will receive quite a shock when he locates the anchor points of the room he’s sitting in.

I ran this into the ground – just ran it into the ground. There’s nobody could act like this in a military service. Nobody! Finally wound up with the Commanding Officer hysterically wiring Washington to get me put on duty at that base.

You think, just because you can see them, that he does. He thinks he’s seeing them, but he actually hasn’t located them at all, or they don’t exist for him or he coils at the thought of putting out anchor points. So this is your gradient scale of how you move in on energy. You’ll find out uh… by the way on… on this, it’s… it’s very amusing what you can do to give the fellow the difference of concept on anchor points.

This is a… this is strictly a case history. I could give you thousands of them.

Now, let’s get Start, Stop and Change on a chain of thought. Start, Change and Stop on a chain of thought. Let’s start a guy thinking about some thought or other on some subject. Now let’s increase the amount of thinking he’s doing. Now let’s decrease the amount of thinking he’s doing. Now let’s stop. Now let’s pick the chain up he was thinking about just before you started processing him, let’s decrease it and uncreate it. That is to say, stop it again.

But we’ve got this thing operating.

Let’s work until the preclear can start thinking about anything. Increase his thinkingness about it, decrease his thinkingness about it, and stop thinking about it.

Now you go up there, you’re real eager; you want to get this war won; you’re going… you’re very enthusiastic, out-going and so forth, and you’d think that everybody’d start agreeing with you if you’d keep this outflow going, and enthusiasm, and you’re going to get this show on the road, and so forth.

Let’s work until he can start out thinking about guitars. All right. He thinks a little harder about guitars. Now he changes from thinking about – change is in there too, you see – he changes thinking about guitars to thinking about guitar strings. Now he decreases thinking about guitar strings, then he stops thinking about guitars. Rrrrrrrrr.

Well, you’re running into a lot of people who may be wanting to get the show on the road, too, but there’s such a thing as rank and all that sort of thing, and everybody crashes, so everybody thinks everybody’s disagreeing with everybody else because there’s an outflow and it all by… wou… winds up and everybody gets sore.

You would be amazed what will happen to some preclears. You say, „All right, and let’s start thinking about cars. Okay, fella. All right, now let’s think a little bit more about cars. Now let’s change to thinking about car tires. Now let’s decrease our thinkingness about car tires. Now let’s stop thinking about it.“

Or you… you see how that would be?

„All right, now let’s start in thinking about…“ And you keep it up, at that rate the fellow can just feel his brakes start smoking on some of these lines.

Now theoretically, you could keep a heavy enough outflow flowing so that people would agree with you, and – ha! – what do you know? They’d then have you. You get people agreeing with you, they have you. And if they have you, then your time is just zong! You just get out of control of your own time.

„Now let’s think about a guy you don’t like. Now let’s increase the thought about it. Now let’s decrease the thought about it. Now let’s stop thinking about him.“

So the spiral down is this spiral of Agreement-Disagreement – and that’s the shortening principle of the dwindling spiral of the MEST universe. That’s why these spirals get shorter and shorter and shorter and shorter. And that’s why a fellow’s space becomes less and less and less and less. Until he finally winds up here.

Oh, boy! You can… you can see the brake fluid squirt out of his ears, sometimes, when he tries to stop some of these chains of thought.

All right. Now what’s… what’s this… how do you reverse this game? Well, there’s two ways to reverse this game. One of them is you just go away and never have anything more to do with any thetan of any kind or character whatsoever, and you’ll get no ARC set-ups. Then you can have a good time sitting around doing mock-ups… and… and just skip the whole thing.

What you’re doing… what you’re doing is just working with the control of association when you’re doing that – mostly, associative thinking, and you’re doing it on this little band here, rather than on a large band.

That’s really not a terribly bad solution. You don’t think it’s amusing to do mock-ups, perhaps right now, to the degree that it is amusing to do them; or just start games and stop them of your own creation, because you’ve had an unhappy experience as a little kid. That’s no – I mean, when you didn’t have any playmates.

Now you get all sorts of pictures and mock-ups and everything when he does this, quite ordinarily, but he isn’t paying any attention to them. You just want him to get his time factors in there.

Believe me, don’t make that mistake. Playmates really aren’t necessary. But the little kid had a lot of other factors before he wanted a playmate. He’s already all messed up, and aloneness to him becomes something horrendous. And boy, is aloneness -

Now you could do at it… more… „Now let’s think of a big, wide space. All right. Now let’s change it. Now let’s think of a little, bitty cooped-up place. All right, now let’s… let’s… let’s change it into a nicer place. Now let’s think of a big wide space.“ You’ve got the guy on up the tone scale. And he’ll generally laugh or smile or feel pleased about it.

When aloneness is really felt and one suffers from aloneness, is he down the tone scale – oh, brother! That’s one thing that MEST has just simply got to do, and that’s to get together with more MEST. Aloneness.

Now wherever you can run these curves backwards, do so, but most of the curves, when they run Start, Change and Stop and so forth, the guy’s Start gets awfully confused with Stop. So if you start an automobile, back it up. You’re running a curve backwards. Have him stop the automobile; now make him make the automobile back up. And he’ll be back at the beginning of the thing again.

But this does not mean that that is THE solution; very far from it. You can… you see, if there was just energy and if there was just such a thing as positive and negative energy, all would be lost. Fortunately, that’s not the case. Mock-ups don’t even have to be built out of energy. They can simply be built out of an agreement that that’s the way it looks. You don’t have to have anything there for anybody to see to have a complete communication with mock-ups.

But get… now, of those drills, this starting and stopping a chain of logic is a very interesting one. Of course, that doesn’t cover too much, but when we apply that on a chain of logic to thinking about wide spaces, changing their character, thinking about small places, thinking about a little bit bigger places, thinking about big wide places again – why it’s interesting what happens.

You get a lot of preclears trying to do that who can’t yet handle energy and get through this universe. That becomes very interesting, because, what are they doing? What are they doing there? They’re just going to get a concept and they’re going to permit themselves to be completely machine- gunned from all sides continually with all this energy. And they’re content, then, to say, „Well, I’m above all this energy stuff.“ And it’s a funny thing; their concepts aren’t clear, because here they are, sitting in and dependent upon energy. And in order to get out of where they’re sitting and their dependency on energy, they’ve got to be able to handle energy so they can kick it in the teeth. And if they can’t handle force and energy, they can’t kick it away from them. So it’ll continue to trap them.

Now we could take the whole emotional scale and we can start planting the emotion – this is quite necessary in this mock-up – we can plant the emotion in the incident uh… in the… in the scene. In that case, you have to have scenes. Or you plant the emotion in the thought chain. „All right, let’s… let’s think… let’s think now about your grandfather. All right now, let’s think cautiously about him. Now let’s hate him. Now let’s be… feel fear of him,“ see? Now it’s best to put a mock-up out there and put the emotion on that. „Let’s… let’s get afraid of him. Now let’s feel a little bit of grief about him. Now let’s feel a little bit of caution about him. And now let’s feel enthusiastic about him.“

So, we look at the… we look at this game and we say, „Well now, who would possibly get along in this game and who wouldn’t get along in this game? Well, you can get a very high-level group of thetans. They can get together and they can set up teams and play chess and have a good time, make lots of space, lots of action, if they want to go in that direction. But there are entirely different things that can be done that are just as much fun, if not more so, than on the space-energy idea.

Of course, you’re taking the guy up scale when you get these upscale emotions, because they’re on the emotional curve. Enthusiasm is at 4.0 and apathy is at the bottom, so you can run the guy from apathy on up.

The space-energy idea is highly specialized, and of course, every time you crooked it into line with a positive-negative terminal of opposites, why of course you get „When you win, you’ve got to lose; when you lose, you’ve got to win.“ –

„Now let’s feel… let… let’s get a visio of a stopped car and feel apathy about it. Now let’s change the thing and feel cautious about it. Change the car and feel cautious about it. Now let’s start the car and feel enthusiastic about it.“

And the more serious you take the game, the less chance there is of winning. The bottom of the tone scale is „Lose,“ and the top of it is „Win.“

By interrelating those two things, you’ve shot the guy up tone scale. You’ve done the same thing as, „Take a little tiny space; now make a little bit bigger space; now make a great big space.“ You’ve brought him up tone scale on that gradient scale, and you’ve got Start, Change and Stop regulated against emotions, which again give more space!

This tells you it takes lots of space, and lots of unseriousness to win.

Do you know… ever hear of anybody who was enthusiastic spoken of as ‘broad’ and ‘expansive’? Yeah, that just means more space in him. And did you ever hear of anybody uh… apathy, and so on – actually there are a lot of degrees of apathy – but a guy… a guy gets awful solid at apathy. A catatonic schiz is actually so solid in some cases that you can mold their flesh, and it stays the way you put it. They’re still alive it says at the bottom of the bed chart.

These things called „universes“ are games. And really the most valuable thing that a thetan possesses is his spirit of play. His spirit of play is sensation of play, and is not just energy. It’s… it’s… it’s a tremendous sensation. A guy has… has practically lost it if he’s here on Earth at all. Spirit of Play. It’s tremendous: he’s depending on all sorts of the soggiest, low tone scale emotions imaginable in order to get any sensation. In substitute for what? Spirit of Play.

Now, therefore, identification, association, differentiation goes from condensed space, such as an object, through wider spaces with more or less related objects in them, or disrelated objects, up to widely different objects.

For instance, sex is… is… is – boy, that’s about eighth-rate as an emotion. It is just dull – incalculably dull compared to the rapidity, randomity and actual sensation of the Spirit of Play. It’s way up there. And uh… you couldn’t possibly think that anybody could be serious and win through this universe. The more serious they get – 1.5 is real serious – why, of course, the more serious they get the more they have to do things by flows, and the acre they have to agree and the more they have to follow the rules, and the more broken the piece becomes.

„Let’s uh… let’s get a picture of a mine, uh… in the West and a plugged hat. Let’s get a high silk hat and a mine in the West. Uh… now let’s get the uh… now let’s get a factory chimney and a breadfruit tree.“ See, those are widely different things; they’re in widely different places. Now you might experience just a little bit of difficulty sitting ‘em down side by side. Now you could practice sitting ‘em down side by side and then start moving them out again.

And as you bail up out of it, you find out, all of a sudden, that the universe starts surrendering to a Spirit of Play, and that one of the Spirits of Play is „Let’s pretend.“ And „Let’s pretend“ is a very important thing, because of course it’s a pretense, and it couldn’t be anything else but pretend.

Your enthusiasm and zest for existence comes mainly from your ability to differentiate. You go into one place, you one… one quarter of the country – one province – and you find out that they’re talking there with uh… one accent; you go over the border of that area and you find out they’re talking with another accent. And you say to yourself, „My, isn’t that interesting?“ A guy alongside of you who’s way down tone scale, heard ‘em talking the first accent, went over the border, heard them talking the second accent and there was no difference between the two accents. Didn’t make any difference at all to him. He couldn’t tell the difference between the two. Oh, he really could tell the difference between the two; it’s all the same to him. It would’ve meant space caving in on him.

And you go around worrying because uh… you go around… you see, all of these things have a MEST mockery. Anything theta can do, after it’s been corrupted by MEST, turns into a mockery. And… and you say – „The „let’s pretend or not take it serious“ must be bad.“ If you’re saying this, then you are probably looking at insincerity. A person has already taken it serious, and then has abandoned that. And so he kind of snipes and snarls and so forth, and he uh… uh… knocks to pieces the nomenclature of writing or motion picture making or something of the sort, and runs a lot of… of ss… sneers into it along the line. You know – Time magazine, New Yorker – just beneath contempt.

Now you get… get the difference and the handling of and the similarities in and the identification of s… objects and spaces with regard to thinking.

Uh… this sort of a… of a bored, uh… insincere uh… mockery and so forth. Well, you understand, it’s got to have something to mock before it can mock, and it doesn’t have anything. That should tell you immediately where they must sit on the tone scale. They don’t have anything, but there has to be something they can mock, or something they can be insincere about.

You know space, by the way, has another action in it. You can get always a minus side of the curve. What do you think when you have to drive a long way across a lot of space to get someplace? Lots of space with very little havingness in it? Well, how do you think some rocket jockey feels when he would shove off from one planetary system to another one by slow freight. There’s LOTS of space. It sure increases the appetite for havingness and there’s lots of space in between those two.

So that means that somebody must have been sincere about this above an upper level. They might be up tone scale from the sincere guy or they might not be. That’s beside the point. But when you’re dealing in terms of insincerity and you get „mockery of sincerity,“ the guy’s already bought seriousness – and failed. A guy who does that one has already quit. And it is a form of apathy. „We’ve got to make fun of it because we can’t do it.“

Space, however, becomes infinite and so forth, only… and becomes too big, only to the degree that a fellow feels he can handle force. Oddly enough, if a fellow can handle lots of force, he can handle lots of space. He’s just as happy about it as a clam.

And it’s the sort of the… the… the snide, sharp cracks of the ball player who’s sitting over on the bench. He’s being very witty at the expense of the guys who have replaced him on the team. It’s bitter. And there’s nothing more serious than that kind of bitterness.

But for instance, if you were to suddenly adventure upon a voyage which would take eight months and you would not even see land or water or trees or anything else for eight long months, and all this time you could see by the passage of stars that you were on your way someplace, I’m afraid that the degree of force of which you’re capable of handling right at this moment would make you feel awful funny.

All right, so where do you go up tone scale from this? You get up into the band of – where? „Let’s pretend.“ Well now, you say, „That’s kid stuff.“ Yeah. Ummm. And boy, do they knock it out of the kid in a hurry. „Now look, Johnny, it’s all very well for you…“ Or use it on him – oh, I’ve… I’ve seen this happen to some poor kids: „Now, Johnny, you know very well that Hopalong Cassidy would have eaten his cereal.“ And uh… the poor kid gets roped in these days. They’ve set up all sorts of mock-ups for the kid to buy, instead of the kid fixing up mock-ups. Well, of course, that’s about the fastest thing you could do to a kid. If you want to put him up at the top of the chute and really shove him to the bottom, give him some beautiful, engraved, pure lead pistols. Hmm-umm. You’ve given him a MEST object, and corroded it with an illusion. There it sits in his hand. Oh, he’s much better off with his thumb and forefinger. But the truth be told, it’s a much more important and interesting game to simply mock up the weapon.

Now if you want to get that same feeling, go out and look at a bright sky, a real bright sky when there’s no moon and just look at that sky for a while. And just spend a few minutes looking at that sky, or a half an hour just looking at that sky. And you’ll all of a sudden find out what your force registry is with regard to space. God, a guy gets tiny! Gee, he becomes weak looking at all that space, all that distance, all up there. Eeeowwww!

And if you’re going to deal with energy, have it shoot. What… what’s the kid doing with a hand? Let him make a weapon of his own design and blow the hell out of Johnny.

Now you take somebody else… somebody else – maybe young and feels enthusiastic and zip, and so on – terrific capability of force, he’s got his ideas. And he looks at all this space and he says, „Ad astra per astrum!“ or „Stars, here I come!“ Yes yes. That’s very interesting, the interrelationship of that.

„Let’s pretend“: when a man loses his Spirit of Play, he’s dead. That means that guys start dying at about 3.0. And sure enough, 3.0 down a guy will tell you, „Well, I had some illusions when I was a kid, but I’ve lost all of those. I’m practical now. We’ve got to face this thing practically, and what we’re doing here is very serious, and the reason I work hard at the office every night and work until ten or eleven o’clock is I have to keep those Cadillacs going. And uh… help keep the Cadillacs going because of the social position of the wife, you know. And uh… it’s terribly important, and so forth, and keeping the big house going, and that sort of thing.“ Some night he goes home and she’s run away with the chauffeur. This uh… and he says my heart is broken and all is lost.“

Now, space has a great deal to do with „Let’s pretend,“ and the reason why it has a lot to do with „Let’s pretend“ is because when you see lots of space you know there’s lots of room to set up lots of things in it. So it doesn’t matter whether anything you set in it is true or not, there’s lots of space to spare. If you want to repair the ability of a man to pretend, the ability of a man to assume, and so on, show him that he can keep manufacturing space and putting things in it almost ad infinitum. That there’s no capacity; that he can keep manufacturing space and putting things in it and knocking things out of it. And all of a sudden he’ll get more and more expansive and more and more expansive. It’s actually more important than anything else to demonstrate lots of space. And one of the ways you demonstrate lots of space is by mocking up a space, pull in… putting up… up anchor points, and then putting something in it and then putting it in yesterday. And then mock up lots of space and put in anchor points and then put something in it, and put it in tomorrow. And the guy has a flicker of a notion of how to do this, at first. If he’s worried about his facsimiles being in present time, something like that, give him one. Just tell him to mock up a facsimile and put it in yesterday. And then put that in a thousand years ago. And of course it’s all the same thing.

Why? Why does he say this? Isn’t that… isn’t that fascinating. He’s got a MEST object which he kept giving things to until he had it enMESTed thoroughly, then he wondered why it went down tone scale so it didn’t have any morals and no responsibility. He introduced the factor of automaticity to such a degree that nothing could exist, except matter. And then he wonders why the boy has trouble at college. „What’s all this? Yeah. The gods have afflicted me“ he says, as he stuffs another spoonful of decayed whale down his gullet.

The way you do that – he just knows they’re there. And you’ll find 90 percent of your preclears that are in bad shape will be doing this trick: They will be going back to yesterday. And they know it’s there because they’ve still got their eye on it.

You want to know what’s wrong with your preclear? Well, your preclear is too serious. You want to know what seriousness is? Seriousness is solidity. You ever hear of a „solid citizen“? You want to get something done, don’t get any of these serious boys. Shoot them on sight – or process them. But if you want to get something done, don’t have anything to do with them.

Then you’ll say to ‘em innocently, „Now…“ just very innocently, „Now… now how do you know it’s there?“

There’s nothing succeeds like insouciance. Plain flippancy will actually get more done in less time than anything else you can name. That’s a funny thing, isn’t it? It’s not serious; the guy’s flippant. The guy says, „Oh…“ It’s something like… There’s there’s more battles have been won for some general by some sergeant, or something of the sort, that said, „Well…“ Oh, by the way, one of the ways that Tamerlane really made a reputation was knocking in Hashshashin’s headquarters. Timourilang, the Iron Man, the Great Limpur – oh boy! He was good and serious. He had a sense of humor, though. You know this uh… this uh… old uh…old thing about the guy with the gold uh… Midas? You know, he couldn’t eat his gold, and he… that goes around a lot. He evidently, possibly, initiated that. I think it was in Cairo, and uh…he heard that the sultan there was very, very wealthy and when he got to the gates of Cairo, why there was no army, and he went in and he couldn’t understand this. He said, „What the devil? You’ve got all that gold and you can’t buy yourself any protection? Well, we’re going to be good to you.“ So he shut the guy in the tower with nothing to eat but his bags of gold. I think the legend more or less originated there. He had his flippant moments too, but kind of grim.

„Oh, I’m looking at it!“

They used to make pyramids of… the Khan, Genghis Khan used to make pyramids of skulls. Fascinating.

Here is a guy with tremendous space scarcity. The way you give him more space in a hurry is just simply to put him straight and then drill him until he’s got it well that all he has to do is say, „I know it’s in yesterday.“ That’s all there is and the thing disappears. That’s all there is to yesterday you see. Yesterday is „I recollect that I had – and n… now necessarily… don’t necessarily not have, but I probably don’t have now.“

Uh… his idea of flippancy was just a trifle grim. For instance, one time 35,000 soldiers surrended to him and laid down their weapons and so forth, so he put them in the center of his camp and at twelve midnight had his troops slaughter them. He accepted their surrender because he would never take a man who was not taken without arms in his hands.

Now if he still can’t get this, you get this one: „Well, take a look at it and realize you had it yesterday too.“ He finally can stretch his imagination far enough to grasp the fact that he had it yesterday. He can convince himself that he had it yesterday.

He would have nothing to do with a man who was not taken… not fighting. A guy could only expect mercy at the hands of the Khan if he had about ten of the Khan’s best troops dead in their tracks at his feet.

When he’s got himself convinced that he’s looking at it and he had it yesterday too, he can also get the concept: „I won’t have it then tomorrow.“

Now he had a code he ran on, pretty down scale and all that sort of thing, but it was there. Well, he got a big reputation one time that he didn’t deserve really at all. He kicked in this stronghold, he heard this stronghold existed, his troops were just tremendous. Those little guys were just fascinating to look at. Anyway, he… he uh… took this citadel, and this citadel – Hashshashin had more or less controlled a large section of Asia at one time or another – it was more or less in decadence. And one man was responsible for taking it.

Now really throw the… throw the 64 dollar one at him: „All right. Know it’s tomorrow now.“

They had a rank called Kha Khan. Kha Khan was like a medal. It ten times forgave a person the death penalty. He could ten times incur the death penalty and uh… not get it, if he became a Kha Khan. Well, this kid became a Kha Khan. But he, by his lonesome, scaled this tremendous citadel which had stood for hundreds of years completely impregnable to everything, and kicked open the front gate. He went up a sheer mountain cliff and went over sheer towers and battlements and down into the midst of the enemy, and went in and opened the gate and took the castle. One guy.

Work anyway you can to get him to get things to disappear in space. There’s another method of getting things to disappear in space. You put out anchor points and put an object in the midst of all these anchor points and then you collapse the anchor points. And that stuff will disappear. There’s no space for it to sit in. If he can’t get that, just make him vanish things and vanish things.

What do you think his idea of insouciance was? Everybody knew you couldn’t possibly do anything like that to that much MEST. It had stood for all these centuries and it fell to one man.

Now here’s a neat trick for you: „Get a concept… get a concept of anchor points WAY OUT in front of you. Get this concept of these way out anchor points: One to the right and one to the left – way out in front of you. All right. Now bring those anchor points in until they sit about three inches in front of and to the side of one eye, and three inches in front of and to the side of the other eye. Got those anchor points in? Now put them out about 2O feet. Now put them out a few hundred miles – that should make you feel more comfortable.“

Look down the line at the spirit of the men of great or murderous deeds, even here in the decadence of action on Earth, and you’ll find out they are strange boys, very strange fellows. They just kinda never kinda nailed down in the right places and did just exactly the right things. You looked in vain for the old school tie; you… you looked in vain for this or that. Like… like an ecstatic young ensign I saw once uh… standing on a dock, ordering destroyers to load up gas drums and freight them across to an island to make a refueling depot. He didn’t have any authority, the captain of the destroyer didn’t have any authority. Nobody owned the gas drums. They had just more or less come by those, and so forth. And th… this level of action is actually the kind of action that makes things happen in this universe. The second somebody makes something happen like that, into his tracks and into the vacuum moves conservatism.

You know, you can actually knock a man down with that trick. He… he doesn’t know what you’re doing. You say, „Get two points now and let’s put those points as far out as you can get ‘em. You got ‘em now?“

There was a great old fellow in China named Huang the Innovator, and Huang the Innovator practically turned China upside-down and right-side-up again and then upside-down and left it that way. But he organized a lot of systems; he organized a system of agriculture, he also organized the Ja… the Chinese civil uh…service which we use in this country. Uh… we don’t use Chinese in this country, but uh… we use the same system.

„Oh, yeah.“

Anyway, he invented that system, and uh… this guy was… he laid down the laws that are going to be this way and that way and the other way; and he laid them all down very nicely, and he had them all patterned out beautifully. But he himself didn’t kind of follow that. He was a wild man! He was a wild man. Nobody could ride up alongside of him. He had more women than he could count. Uh… and his whole principle was „The world has… has got to be in good shape“ and that sort of thing. Boy, he accomplished it in all directions.

„Now bring ‘em in right to here.“

And he actually laid down the spirit of innovation. And he said that without the progress, without change – and so on. He said all these things and he explained it all, these things and everybody said „Yes, sir. Yes, sir. Yes, sir, yes Huang. Yes Huang. Yeah – yeah – yeah.“ And then the old guy died and poom! In moved Chinese conservatism and there hasn’t been a stick altered in those things that he set up. I mean, it’s really rigid.

And he’ll go ‘reel’ – he starts bringing in all the energy with him. Did you notice that? You notice you had the idea?

He set up a static China’s never gotten off of. I was just giving you a look there. But he wasn’t serious and they were. And where’s China? It’s been „et.“ I trust that they found it very indigestible.

Do you know there are a lot of people walking around with the… with the whole environment sitting here? Right here on the ends of their noses? Collapsed space: There’s no space in front of them. Well, various things that have happened to them is… is people have kept insisting that they do things. People will stand up in front of ‘em and say, „Now you do this. Now you do this. Now you go there. Now you do this. Now you do that.“ And they’ve done very little of that, you see. „Now you do this, Now you do that. Now you do something else,“ and so on and so on and so on. „And you ought to be careful. And you shouldn’t talk so much. And don’t be so enthusiastic about things. And you know it probably won’t come to pass anyway.“ Just this noise – sound – yak. And it’s poured at them from a close distance and they keep trying to get rid of that yak. They don’t want that, but somebody’s convinced them they don’t own any space right in front of their bodies. And so they get this idea they don’t own anything there, and the first time you ask them to put out an anchor point, it’s quite common that some person will appear in it. Bang! Or, there’s a great big black curtain appears in it. Ask ‘em to reach over and pull the curtain aside, and find out if anything’s there. And they’ll say, „Yeah! I wonder where that came from? That’s a picture of my mother!“

Everybody who has desired China, by the way, has always ultimately found it awfully indigestible. Here we have these same laws at work.

Now that’s, by the way, one of the tricks in… in mock-ups. One of the ways a preclear gets rid of things is to drop black curtains over them – quite common. He keeps pretending to himself that he’s got rid of them. He’s lost the ability to make them disappear. He’s run out of space. How he can run out of space is more than I know. This MEST universe is really lovely. That you could run out of space! People think they have though.

Now uh… how does this all apply on the level of processing? I’d hate to think that your goal was to get your preclear serious about his sanity. He… you would never accomplish your goal, then. Never get him serious about his sanity. He’s had seriousness piled at him until you can actually just trigger a line charge by explaining everything to him in a careful tone of voice about how serious he’s got to be about this. You could just explain it to him, sit and explain it to him carefully, that you don’t want any laughter. You don’t want him to take these things lightly, you see. You just keep piling it on him in this wise. He’s getting a type of selected flow he didn’t know existed before, and that alone will free him somewhat.

You know uh… you couldn’t hire somebody that’s lived in Lower East Side, New York to… to move out, really, in the wide open spaces. They would get upset. They’d really get upset. That’s too much space and their… the amount of force they have does not match up to that much space. It has to have a much narrower space.

You can get some preclear, talk to him that way and he’ll start line charging. He’ll… he can… you can get a guy line charging for hours and hours and hours on that kind of a treatment, that’s all. Just get frantic to make him serious. You’re just piling on that kind of a flow at that particular wave length and wave pattern, and the guy just won’t stick with it, that’s all.

Well, anyhow, you get this fellow that thinks he doesn’t have… that he doesn’t have enough space or something of this sort, and he hasn’t made objects go away. Or he’s got a terrific „Save it, hold on to it“ or something of this sort. And he actually has this black cloth sitting across the object. And you take a look at his visio – a funny thing will happen: This fellow’s got no field of visio. And yeah, he can’t do a mock-up or anything like that. You say, „How about…“ just… just as a little test, „how about reaching out now and picking up the corner of a black curtain and lifting it and see what you see. Put… pick it up very cautiously and take a look at it.“ My God, there’s everything he’s ever mocked up or thought of, it’s sitting right there with him. It looks like a junk heap or something or other to him. You’ll have to teach him how to get rid of it.

Now an individual who has lost an inability to differentiate amongst waves, types of waves and intentions – in other words practically anybody from four on down – has run into this upset about flows. So you could… you could shift on such a person, „All right now let’s run the flow Agree – Agree. Now run Have to Have – Have to Have. Now let’s run the Beauty of Having to Have – Agree.“ He runs them all the same, and with the consequent idiocies which you see in those charts.

Now very often you will find him slamming down a black curtain right straight across his face and saying, „Yes, it’s gone.“ Sure it’s gone! Same way a little kid will hide his head under the pillow and say, „I’m hid.“ He can’t see you, so therefore he figures you can’t see him. Just as silly.

And you can run those for an awful long time because if you let things inflow on him too hard and too long and that sort of thing, why if you’re not pretty expert, you’ll get things collapsing on him and he’ll get more and more solid.

So this is the trick on space. You’ve got to drill your preclear into realizing he’s got lots of space and he can create lots more. And you do that by drilling with anchor points, and also, you do it by reversing these scales. You get him starting things, and you start him upscale about this. You get him upscale on emotions. You have him mock up things and then run him up scale. See, don’t run enthusiasm uh… enthusiasm, conservatism, anger and then finish it up in apathy. Uh… if you want to, you can go ahead and do that. Of course, you’ll kill the fellow if you keep on doing that. Let’s not do that now.

So what do you want to do? You want to permit him to occupy more space, and you want his thoughts and incidents and that sort of thing to occupy more space. So w… what do you do? You approximate flows, dispersals and ridges with mock-ups, which have lots of space. And every time you make him do a mock-up, you just give him some better anchor points. Give him more space to put it in, and move it in more space. And give him more space and more space and more space until all of a sudden he says, „Why am I worrying about the fact that Earth occupies this… its own space which is coincident here? I’ve got a lot more space, and I can put things out a lot further than that.“ We can do this in a big way and it becomes interesting to him.

Let’s start in fairly low on the scale. If you can figure out what his chronic tone is. Maybe this guy’s scared. All right, this fellow’s afraid. Let’s see if he can feel some grief. „Let’s feel some fear. Let’s feel a little bit of anger. And let’s feel a little bit of that.“ First you start in depressing his tone. Then you bring it up: „Now let’s see if you can feel some enthusiasm.“ You’ll find normally he can’t feel any enthusiasm. No-no. He can sh… feel a little conservative about it because he’s got that mixed up with a lower scale. Because your person who is afraid very easily feels boredom.

You see that… that – another trick of this universe is, the test of reality is SOLIDITY! Naaaa! Anything nebulous isn’t real. The only real thing there is, is an idea. There isn’t anything more real than an idea. Nebulous? It doesn’t exist in space and it doesn’t have any energy connected with it.

Now another thing the fellow will be doing, he’ll be holding on to things like mad to keep his space contracted. He’s got things flowing in on him, and you try to solve that and it doesn’t solve right away quick. Well, the reason why it’s not solving is a very simple thing: He’s simply trying to keep things from going away from him. He keeps the inflow, he’s doing it. You’ll find that every once in a while. Ask Mr. E-Meter along about that time: „Now let’s see. Are you holding things in?“ What do you know? The E-Meter will go „Zong!“

So you see how far around your preclear has gotten twisted, on what’s real? Give him more space.

You ask him now, „Are you trying to get rid of these things?“ E-Meter – no move.

Now, I’ll give you uh… a very brief statement here, of the process connected with this. The test of how much space a preclear has: have him put a toothpick out in front of him, a mock-up, and have him move it an inch away. See if he can do that well. Now have him take that toothpick and move it about four inches closer to him – the mock-up of it, you know. And then have him take this toothpick and move it about ten inches away from him; and then two feet away; and then much closer to him. And then much further from him. And then change the toothpick into something like a lead pencil of his own creation. And move it close to him and away from him and so on. And then change that into such objects as trees, walls, solid objects. And have them move close to him and move away from him. And each time, be awfully careful with this process, that you get a proper gradient scale. And move that item in time, that is to say, „had it yesterday, will have it tomorrow.“ And change its location.

„Well, you want to get this engram and stuff away from you?“ No move.

But most of these should be played, for current lifetimes, straight in front of the preclear; and should be played around to the sides of him to get orientation points of earlier lives.

And you say, „Are you trying to get this stuff out there?“ No move. Yet he can’t put a toothpick out five feet in front of him without it slapping him immediately in the face. Bop! You obviously say, „The trouble with this preclear is everything is flowing in on him. All right then, everything flowing in on him.“ He’s getting all packed full. Ah, he wants it that way. He knows as long as things are flowing in on him they’re not flowing away from him. It’s very good, see. I mean, that’s very good philosophy. If you keep things flowing in, they won’t flow out. Now that’s good.

And what will you find? You’ll find your preclear that’s worst off can’t even anywhere vaguely hold a toothpick out in front of him. It comes in and smacks him one.

So how do you solve this? You just mock the fellow up, get the fellow to mock himself up, or mock something up that vaguely is a shadow that he calls him, or anything you can put over there, and you say, „All right, now get it holding things in. Now get it holding things in.“ And the guy’ll look at this thing and all of a sudden it’ll get very thin, I mean the… the constituency of it’ll get thin. The size of it will start increasing, and increasing and increasing and increasing. It’s letting things go.

Why? Too many MEST universe objects have too convincingly tried to occupy the same space as he was occupying. At 40 miles an hour he has hit a tree. He was trying to occupy the space and the MEST universe object tried to occupy the space and he came off second-best. And this has happened to him and happened to him.

And then you turn around to run this flow back here and you find out the flow’s much better. So you take this nebulosity again and you make it smaller, and then you make it even bigger. And then you move it someplace else. And then you change it to a color. And then you make it much bigger, and then you change it to some color. And you put it over here. And every time you make it bigger you bring him on up tone scale.

Now we’ve got fast transportation here in this country. As you go forward you see the scenery flowing in toward you, flowing in toward you. It’ll kick into restimulation all of those space occupation incidents. It seems to tell you everything is moving into your space. Everything is moving into your space. And you get that flow-in and flow-in and flow-in and flow-in and flow-in, and flow-in. And of course, it’s an elasticity of flow. It’s over-reached itself and so it’ll pack into the space in front of the preclear.

The fellow who could handle, customarily, mock-ups and say, „Well, where do I put the head?“ and you say, „Why do… why do you want someplace to put the head?“

There isn’t any reason why he shouldn’t be running the nearest facsimile to him five miles in front of him. Get that! There’s no reason why he ought to be running a facsimile an inch or two inches in front of his face. Boy, he’s bad off. He’s real bad off if he’s running a facsimile so that he’s in immediate perception of it. It ought to be out there about five miles.

„Well, the MEST universe isn’t quite big enough.“

The reason your individual keeps popping back into his head, the reason why he can’t get out of his head, this whole deal about amount of space available to the preclear; how much space can he own, how much space can he be in?

When he’s dealing like that, don’t think that he’s… he’s feeling insignificant. He’s not feeling insignificant. He’s trying to get spatial uh… expansion on something. He’s holding in something for a long time. He’s suddenly starting to get expansion. Well, get him to decrease it down and up and get things relative to the way HE wants them, till he can finally get this figure which is very small or in the distance or something, and realize that it… know completely that it is 2000 feet tall and he’s much bigger than that. That’s one of the ways of going about it.

Your first condition: he is a point in space and he can occupy the space he has. Your next condition is, of course, he’s just backed up and dispersing a little bit because something else is trying to occupy his space.

Well, the idea is to get more space. We… we want more space in these incidents, we want more space around the preclear, we want these ridges out further and we want all this to take place. And you’ll get action when that takes place.

And your condition below that, and the worst of the conditions, is that he’s dispersed all over the place. He’s trying to occupy his space. That’s not dispersal because of an explosion; that’s because he’s been moved too often in too many spaces, and too many things have tried to occupy his space.

Well, one of the reasons why he’s holding on to something goes right back to what I started to tell you about a little while ago, and that’s the loss of the home universe. As long as he keeps things flowing in, nothing’s going to flow out. And the reason he doesn’t want anything to flow out is because he remembers losing the home universe and one day it flew out. Somebody sort of pulled the bottom out of the tub and bang, there it went, down the drain and he never could figure out what happened to his universe.

Solid objects have tried to occupy the same space he was trying to occupy. He’s ridden a… he’s ridden a… a… a dish – a flying uh… saucer or something of this sort. He’s ridden that thing into a glacier or a… or into a brick wall or into the side of a dark star. And brother, that thing really tried to occupy the space he was occupying. And it was trying to occupy it, and he hit something at a couple of light years’ speed, sometime. If you don’t think it’s really a sudden occupation of space… It’s shocking. It makes impacts, it makes ridges. A fellow gets convinced after a while that there’s… a solid ridge is still in front of him. He’s just hung up in an old incident where something tried to occupy his space.

Or, one tricky fellow still had it, and I imagine many of them have facsimiles of them. And you start uncorking the facsimiles, (sh… tell me) the facsimiles of the home universe and they’re very, very beautiful. The guy doesn’t want to get rid of these. He doesn’t want to touch these in any way. That’s the only recollection he’s got of the whole deal and he’s sort of been hoarding these all the time. Why? He’s gotten into a state where he couldn’t possibly create another home universe, he thinks, so he’s holding on to it like mad.

And the way you solve this is to run flows in toward him and flows away from him. And if you start running flows in toward him, flows of water, flows of ink, invisible flows, flows of blackness, ribbons, anything that moves in toward him. Just move them in toward him and move them away from him; in toward him, and away from him. And let him run flows against his sides, run flows this way. Mock up a body for him way out in front of him and let the flows run at that body. He’ll do that safely enough.

And if you want to look around your preclear with an E-Meter or you want to look around your preclear in processing or mock-ups or something like that, you’re going to find those facsimiles. You’re going to find he’s holding on to ‘em. And tha… that’s what he’s dodging mainly. That’s the secret. Somebody got to it before and so we’d better not find out how anybody gets to it again.

You’ll find strange things. If you rig up a river, usually there insists on being driftwood in it. Oh, just run it.

Well now, you know a minus space… minus space would be into somebody else’s space and scattered. And that’s what takes place from 0.0, on an arbitrary scale, down. Your thetan… your thetan is in somebody else’s space, and there’s a MEST universe space and he’s scattered in it. And therefore he’s in minus space, and that’s why you have a minus tone scale below there: He’s dispersed. And you’ve gotta collect him. And the way you collect him is he thinks he’s got a lot of space. But you’ll find out when you first start processing him, he won’t even vaguely be able to handle space. He’ll get real upset if you ask him to „Now saw out a square block of space.“

And you get then… you take the tension out of those things which have tried to occupy his space.

He’ll say, „I don’t want anything to do with it.“

Now there’s a fluidity, a flow, which stacks a person’s space up. Everything has moved in on this guy. A paranoid is one on whom everything is impinged. There isn’t any, really, such thing as a paranoid. There’s such a thing as collapsed space.

Well now, isn’t that strange? I mean, you’re gonna saw out an imaginary square block of space out of the room and move it someplace, and he doesn’t want anything to do with it. He’ll be on the minus scale.

Now there’s the other reverse case, and this person has really got a special case, and that’s – he’s sitting in the middle of one explosion or he’s had a whole chain of explosions and he’s dispersing all over the place. Anything he tries to get close to him will just fly away. Kaboom! He can’t get any solidity up close to him at all. He gets thin.

And as you get this person more and more able to handle space, he passes this point of 0.0 and goes right on up the scale. And after a while becomes terrifically able to move around.

There’s a big joke on the „suck-chiatrists“: most of their paranoids are dispersal cases that don’t have things up against them at all. Big joke, isn’t it? They aren’t classical paranoids at all. They aren’t being smashed up against, but they’re trying to hold on to keep something from going away.

Now the wrong way to get somebody out of his head like that is just keep hammering him and damning him and shaking him and uh… processing him and uh… sort of saying he’s being reluctant and he’s being mean because you can’t move him out of his head easily with perception. He hasn’t got perception because he can’t handle energy, and he can’t handle energy ‘cause he’s in minus space. That’s all there is to that, so you rehabilitate his anchor points, rehabilitate his ability to use space and you run him up scale on emotion with Start, Stop and Change and other things in the mock-ups and so forth; and you give him differentiation and you give him space back.

And some of your „flow“ boys that get things are flowing in madly on to them and so forth, no, they’re keeping actually, actively, continually keeping this flow going in on themselves. Why? Because that’s one way of holding on! They’ve been in the middle of an explosion sometime and they know darn well that if they reverse this process and suddenly stopped letting everything come in on them, that the whole universe would fly away from them and they’d never be able to attain it again.

By the way, this person could possibly be the most logical person and very forceful person you ever saw. Well they’ve just got a lot to spare, that’s all. That’s why the MEST universe was tough on them is ‘cause they were tough on the MEST universe. They started in on the MEST universe and they started going „Rrrrrrrrr“ – the MEST universe gunned ‘em right back. Because all that you’ve got back from the MEST universe was the volume you put into the MEST universe – no other volume.

Now one of the things that occupies space and one of the operations by which space is occupied, is by falling. One is in space and he falls and he hits a planet or something. You know, you fall out of a second-story window and you hit Earth, you fall and you hit a planet. It suddenly starts to occupy the space that…

So, do we have this now and so on? This person is in other space than his own and dispersed in it. And then a 0 would be a sort of a solid dot in space. And as he comes up the line he is a solid bit of energy, and as he comes up the line a little heavier he might be appended to some old MEST body down here at 0.0. He’s got some old body, he thinks he’s a space ranger, he thinks he’s a school teacher or he thinks he’s buried someplace, right about that level.

Do you know that a person’s concept who has fallen too often has dropped many inches. A person’s concept of himself, in terms of mass. But in terms of space occupation has raised many inches. In other words, he’s hit and this has jarred his existing mass down, but because something has tried to occupy where he was, he has backed off.

And the way you get him out of that is just ge… he gets to be an energy unit and he’ll be shooting energy all over the place, and all of a sudden he’ll get all very active and he’ll start talking to you about ray guns and… and how he – „Look at that streetcar conductor. Now look at him now. Okay. Ha! The guy’s hat flew off,“ see. Something like that. He’d say, „What do you know. I’m getting a little bit better. Marksmanship is getting pretty good.“ And uh… you keep him from going back into action there because that’s kind of senseless, wanting to go into action.

Now his first action as he sees that planet come along is to do what he would do in his own universe, which is suddenly pick that planet up and chuck it the hell out of the road. And he fails… and he fails to do it. That’s why you can’t run these falling engrams worth a nickel on individuals. He just flops when he tries to do this.

And then let’s get up the scale higher here, get up the scale and he’s getting more nebulous and all of a sudden he finds out one day he can mock up a body. He’ll say, „Isn’t that pretty? I am that body,“ and… and all that. He’s got lots of space and he can make lots of space and he feels very free about it all. And then one day he makes a MEST body and uh… he… he’s just sitting there calmly at the office and the such… secretary comes in and says confusedly, „I didn’t know you had callers.“

And so you’ve got the stuck visio. Well that visio is, you’re trying to move the object. Let him create mock-ups in trying to move objects and you will solve this idea.

And the body gets up and says, „Well, I’m sorry. I was just going.“

Now you get mock-ups out in front of him, mock-ups out to the side. You’ll find out in past lives he wasn’t facing the direction he’s facing now. He was facing some other direction. So you have to run these things in a 360-degree sphere around him: up from the bottom, down from the top. You’ll find falling incidents hitting him from above him and things like that. I mean, he isn’t in orientation with… just regard to where he is.

Okay, that’s how she is did. And uh… those are our aims and goals in how these cycles of action run.

So you do mock-ups to solve this business of too much space crowding up on him and trying to hold the space and objects from flying out away from him.

Now you understand, of course, that any cycle of action that goes from 40 down here to minus 8, any cycle of action can be used to reverse this, and every one of them reversed will give us what? Space! And we’re looking for space, because if you haven’t got space, you aren’t going to be able to get out of this space because you haven’t got anyplace to go. You know that horrible line? No place to hide? Well, that’s a guy who’s in somebody else’s space and dispersed in that.

And your thinnest guys, the real thin guys, the… the this… this… there’s a typical paranoid. I mean, he’s… he, he’s a strange looking boy – typical. He’s a type. You run into him time after time. He’s holding on like mad and he knows he can’t hold on to anything because it’s all flying away anyhow. And boy he holds on to everything.

Thank you very much, and good night.

And your other fellow is trying to push things off of him all the time and he can’t push things off of him because they’re going to move in on him willy-nilly.

If you want to… want to just give a preclear a good run sometime, let him ride backwards in an automobile. One preclear will do all right riding backwards in the automobile, another preclear will do all right riding frontwards in the automobile. Depending on the preclear, that will be the therapy. You can actually let him sit and watch the MEST flow away from him and get a big relief. Or you can let him sit and watch the MEST flow into him and he’ll get a big relief. But just do the opposite: the guy that too many things are flowing in on, let’s make him face forward. „Oh, no!“ He gets nervous. He gets upset about his driving. And the fellow who has things flowing away from him, if we let him ride backwards, he gets sick at his stomach.

All right, so let’s place things to him, and place things away from him and solve by creative processing, mock-ups, this whole situation of contracted space, and you’ll find that you’ll be able to take your psychotic – instead of getting jump-jump-jump every few days, you’ll be able to get it, with creative processing, jump-jump-jump-jump-jump-jump-jump-jump-jump-jump.

And that’s the way your case ought to go, and anytime when your case is slowing down on you and it isn’t doing that, it’s because you’re not resolving the problem of space and you’re not getting particles further apart for this guy. And therefore you won’t be solving the case.

Now I hope you know the primary requisite of creative processing: assist him to do what he’s trying to do so he won’t give a damn after a while whether he’s doing it or not, and he’ll get well. And that’s in terms of objects in space. Let him handle them. And that is the… actually the rock- bottom principle of creative processing. Thank you. I’ll see you at eight.