And I want to know first, before we go further in this, what you have done with this process this morning.

Don't all speak at once, please.

This morning - had a happy little thought this morning. You know Alley Oop in the comic strips, how he dashes around in time travel to various civilizations and so forth? Well, a very, very pleasant little game to play is to just consider yourself from that viewpoint, you see, and start looking at this society. It's very amusing.

What happened with you, Mr. Young?

Picked up a dime this morning with the head of somebody on it, and it was obviously a king. The date on it was 1935 so obviously this country had a king in 1935, so obviously there's been a revolution, you see, and so on. And so I think I'd better ask a few people about the revolution in this country. Obviously, there was a king in 1935 - he had his head on a coin. And we don't have one now. It's a "general" somebody or other.

Male voice: Well, a lot of chips blew.

Well, generals ordinarily succeed rules, and so forth, so it must have been a palace revolution. Probably the captain of the guard or something of the sort. And if you ever feel terribly bored with the terrific seriousness of this society just pick up some bric-a-brac on it and just start to extrapolate and try to figure out what the society is all about. And what do you know, you come up with much better history and much better purposes than are presented to you.

Hm?

Well, this morning, now that you know all there is to know on the subject of Spacation, there's hardly anything I have to offer at all. Of course, it does happen that the last few weeks we seem to have been going over an awful lot of other stuff that probably should fit in someplace, but naturally this Spacation in a rote process - we obviously don't need it, so we will go into the rest of Spacation this morning.

Male voice: I say, a lot of chips that I have been getting for the last few days, quite a lot of them blew.

And I have to kind of keep tabs on what we're doing here a little bit and once in a while I write it down on a piece of paper. Sometimes I even put the piece of paper down here on the desk and sometimes even read it.

Quite a lot of them.

Let's look immediately at a couple of facts with - regarding anchor points. And let's correlate anchor points and attention for a change. And we will find immediately that attention falls into two categories which is "too much" and "not enough." The norm has not been discovered in this universe yet; that is to say, the ideal (pardon me) has not been discovered in this universe yet but one of these days somebody will discover the ideal amount of attention past, present and future and will - of course, the universe will stop moving then. Because the only way you really get any randomity, I mean, randomity immediately into attention, is to have plus attention or minus attention. You either have too much attention or too little attention on something or not on something.

Male voice: Quite a lot, yes.

So we find out that our thetan - he is brought up and exteriorized, and he just goes along beautifully up to the point where he discovers once again he has too little attention.

Hm-hm. Anybody's perception turn up a bit on it?

This morning somebody was telling me about what is the significance of this. A car appeared where no car was. The next thing the pc knew he was standing there with his hand on the fender of the can. It stopped but it took a long time. He had to jump up somebody's control centers or do something of this sort in order to get the car to stop. But anyway, it came to him as a shock. He didn't know quite what was on the time track immediately back of this.

Female voice: I ran it and I believe mine did, just running it.

Well, I'll tell you what was on the time track immediately in back of this - of course, I wouldn't evaluate for him, so he'd better put his fingers over his ears for a moment. But it was - it was just minus attention, too little attention.

Good. You mean running it on somebody else?

Now, it doesn't matter whether the car appeared by supernatural means, he still - he still should have been able to have enough attention to detect the super-naturally appearing car before it appeared. You see how obvious this is. So, nearly anybody running in this society today is running on minus attention.

Female voice: Hm-hm.

Now, you start to ask somebody to get attention and what do we run into? We run into the fact that it's awareness, and that is debarred to him by pain and the pain of the situation is intolerable, so his answer to that is to be unconscious.

Yeah. What happened to your pc?

What is "unconscious?" Unconscious is minus attention, minus randomity. It's also the end product of no-responsibility.

Male voice: Well, I don't know. I think something - something happened to him; he speeded up a bit on his ability to...

Now, no-responsibility and unconsciousness and too little attention are, of course, all lumped up into the subject of too few anchor points or not enough attention to anchor points.

Hm.

So, all this starts to look a little more intelligible, I hope, because anchor points are completely unnecessary unless you're going to put some attention around because you wouldn't care whether there was any space there or not unless you wanted to do something with attention.

Male voice: ... shift. And I know I turned on something on me while I was running him. It just came - came and went.

But you try to turn on some preclear's attention and turn up his attention units a little bit higher and this is going to turn up his awareness, which is going to turn up immediately his consciousness, which is going to bring him into expanding lines and as they expand - because you're going to get him into more space, you see? So his anchor points are going to start going out from him; he's going to have more space. And the next thing we know we are into a situation whereby he hurts. So he immediately turns down the volume control on attention which brings him back to a comfortable amount of space. He has to have a comfortable amount of space because he doesn't have enough attention. See?

Uh-huh. Did you try black anchor points?

What is a comfortable state of mind? Well, it would be: have just enough space to be taken care of by the amount of attention which you were able to put out.

Male voice: Yeah. I did.

Now, we wonder why these cases get very upset and very fidgety, and so forth, when we try to change their perception level. Because perception, of course, and the subject of anchor points is the subject of attention, is the subject of unconsciousness and consciousness and sensation and effort and all the rest of it, and we wind it all up there together rather neatly. And we see that we try to push this fellow's attention units out any distance - nuhah! His anchor points expanding is something he can't tolerate.

Well, the next time you audit it or anybody audits him, put imaginary anchor points there.

So, that you find a case that's being very comfortable on one cubic micro-millimeter of space - the average person - you find him being comfortable with that and all of a sudden you start pulling his attention units out - his - pardon me, by pulling his anchor point units. And you start to pull these out and he doesn't like that. Well, that's ridicule is the way he expresses it emotionally and you start pulling somebody's anchor points out, very fast, see, and that's loss. And you pull them out slowly and hold them, that's ridicule.

Male voice: Hm-hm.

If you - really, ridicule is to pull them out slowly, hold them there and let the next few pile up before he notices it. Then that's ridicule.

He can have his certainty that the anchor points that he's putting up are imaginary. Also, put up his body eight times. That's the way you drill into a case like that where you don't produce a fairly swift result instantly with this process.

I mean, you can take any case that has too little attention and start to extend his anchor points and he'll become very restless unless you use just Anchor Point Processing. He gets nervous, upset; he gets the feeling like he's being ridiculed.

You find out that there has been anchor point trouble. There has been real anchor point trouble.

And if you were to suddenly let go of the anchor points - "Yeah, all right," he says, "yap-yap-yap, I don't want to be processed" and so forth. "I'm from tone 5 to 8 on the Tone Scale and I don't need to be processed," and so forth.

Now, let me give you an example of what kind of anchor point trouble there can be. If we're operating on a level, Homo sapiens processing and so forth, we better know something about what kind of anchor point trouble he can get into. And one of them is the trouble of the unwanted child. And his anchor point trouble is the fact that he can't have any anchor points of his own because it is made pointedly clear to him that these anchor points belong to his father belong to his mother or belong to the orphanage or belong to the state or something of the sort. Well, you can really chew right in with this technique - pam - pam - on a factual level rather than let it happen as what it is, which is just an excellent drill on space, that the thetan, after exteriorization, simply starts picking it up as just a wonderful method of getting precise and locating things and getting perception and so forth.

Well, just the threat that you're an auditor and are - possibly might give him a Straightwire question is sometimes enough for one of these people. And if you want to know what a sudden antagonistic reaction to you or Scientology amounts to, it's just that: You might ask him a question; you might do something; you're dangerous. So he goes into an immediate barrage of protection. He's trying to use you as an anchor point and then hold you off That's quite a trick. And so in trying to shove you away his antagonism, of course, is just shotgunning all over the place.

In other words, he's pretty well already on the road to using it, exactly what it is. He has got to be able to make and unmake space with rapidity in order to get anything accomplished that he might want to accomplish, including having an interesting time of it. The making and unmaking of space is what he has to be able to do.

Now, you come up and you say, "There's a subject, Scientology, and it's been doing things for people and we can probably do something about your wife's obsession with tiddlywinks," something like that.

So, we find a thetan exteriorized - accepting it on that level. Arid we find somebody who is not yet well exteriorized accepting it on the level of the resolution of the reason for: "What is the significance of?"

And you immediately are taken aback by the fact that the fellow says, "Oh! One of them quack things, huh?" Well, where did that reaction come from? He suddenly realized that somebody might do something to expand his anchor points.

Well now, to get the preclear into communication there has to be some of the Q and A factor involved between the preclear and the auditor. In other words, the preclear must be able to feel that the auditor appreciates the fact that the preclear is having reasonable difficulties. That's not making light of his difficulties; he just has to accept it on that basis.

And then - and then you say, "Well, all right. If we don't want to talk about it - well, that's perfectly all right with me if you don't want to talk about it."

So, with such a case, the case has to have a reason for and wants the effect of. Well, then let's be very precise about what we are doing. In such a case, we want an assessment - a good assessment; and we want to find out what kind of anchor points is it he had trouble with. Well, the kind of anchor points: Is it familial? Is it state? Institutional? Religious?

Then he really gets kind of sore. Why? You betrayed him. How did you betray him? Well, you - this is his level of ridicule and betrayal, you see. You might have pulled something out of him and now you have shoved back in the possibility that you might have pulled something out. See how completely nebulous it is? And so, he's betrayed. "Yes, I knew one of those auditors once. He didn't do me any good at all. I talked to him for over thirty seconds." That's about the way it works, you see? I mean, just the threat of something coming out or coming in.

We'll find that anybody has a certainty on something somewhere on the inverted dynamics. No matter how inverted they are, he's got a certainty someplace or he wouldn't be in communication at all. And he can have a terrific certainty on one of these dynamics, even if it's only a certainty on a crucifix, even if it's only a certainty on some girl who has left him flat, or even on some guy that's left her flat. She's got a certainty, he's got a certainty somewhere on these dynamics. Use those for anchor points and you've immediately established the reason for.

Well, people go forward into the future to anticipate the behavior of anchor points because they know very well that they cannot regulate the behavior of anchor points because they can't control anchor points. This they're convinced of.

He can get a certainty on an object in mock-up. He's actually using a duplication of the MEST universe - heavily. You see how that would be?

Well, how do we tie attention, then, in with this and what does it do for a case?

We take somebody who has been jilted at the altar; have her put up the bridegroom. She's sure certain of him - boy! She may not be certain of anything for the next eighty years unless you process her. But she's really going to be certain of this fellow; he jilted her. And that sure stuck her on the time track - pam! So, have her put up the bridegroom in a bracket of six. And then have her contact this universe on your next six number of brackets, and here we go. Simple as that.

You'll always find that a case has his attention on an anchor point or a class of anchor points. And this is what we know as the play I was talking about yesterday; everyone of them's playing a play. Well, what play is it? It's "What I'm doing with my anchor points at the moment," is the name - the real name of the play. But he has some sort of a pattern which he's trying to maintain. He has his attention too fixed or too dispersed.

The next thing, we find out that it was her mother that pushed her into the marriage; now she's certain of Mother What's she trying to do? She's trying to fix responsibility. Every time she tries to fix responsibility on something or has fixed responsibility on something, we use it for anchor points. And the total bracket on this is, if I remember rightly - let's see, that's one, two, three, four, five - it's eleven; it's a bracket of eleven really when you use the MEST universe confines, plus the other person's universe, plus one's own universe; there are eleven commands. You just run it right straight through.

And in any one case you could make the grand statement that covers the whole case, "He's a case of too fixed attention units" - take a nuclear physicist. And you could make the grand statement about another case (completely embracive statements, you see), "Well, his attention units are much too dispersed" - some clerk in a cosmetics counter. And you look at her and her attention's just all over the place and it's just - nothing settles on anything, you see? And you say, "Well, her attention is too dispersed."

But what do we - what do we do with the bridegroom when we run into the MEST universe? We simply have the bridegroom hold on to four corners of the room, and have people hold on to the four corners of the room for the bridegroom. See, this is - this is how we run the play called "Jilted at the Altar."

Well then, don't be surprised as an auditor, having made this postulate and hung your preclear and you with it, that the next thing you discover is a condition with the too fixed case of too much dispersal; and with the too dispersed case, too much fixation on something. Because it goes in successive waves and these successive waves go to make up the descending spiral, the Tone Scale, DEI, cycles of action - all of these things fit in right into the same bracket.

Now, without - without being facetious to the preclear and thus upsetting his - his concept of how serious it all is with him - you remember that you can actually push him back. The one thing he's deathly afraid of; if he has gotten into this situation, is ridicule, which is why he won't put out his anchor points, see?

Now, ridges are points where attention is too fixed. There are too many anchor points per unit of space if the ridge is a painful or unwanted ridge. So, what do you do? You just got too many anchor points in the same unit of space...

That - he can't put out his anchor points is expressed to him as a fear of ridicule; he can't get them back in, is what this really is. So he's trying to pull all anchor points in. This - he's playing the game "The reason why" - fear of ridicule, fear of betrayal, so on - the reason why. He's trying to fix or she's trying to fix responsibility. "Why was she jilted at the altar?" Well, we don't know why she was jilted at the altar. There isn't any reason why she was jilted at the altar. The fact is she was jilted at the altar but she wants the reason why.

Now, let's take where we have no attention; I mean, it's just all over the place. You really have a condition there of unable to fix on any anchor point. And you'll find that there's a near vacuum around this person. There's just - there's just no attention units in it at all, no anchor points in it.

Well, so she'll try to fix it on the bridegroom, then try to fix it on maybe the bridegroom's mother or her mother or the bridegroom's family or there'll be some specific character; she'll finally get down to a desperation. If she were not being processed in the process, she would be very desperate, if after she'd sorted this through she had found out that she had to fix it on the fact that the dog which she had owned as a little girl had not had any puppies. And this psychoanalysis simply marches forward very boldly and lets her remove responsibility completely out of the sphere of action and anchor points that she can have anything to do with and pushes it madly back into some symbol of the symbol of the symbol of the symbol, and this is quite acceptable. What is this? This is an inability to accept responsibility.

So, these two conditions are the two conditions of a case. But both of the conditions change as the spiral is unwound backwards or as it proceeds down through life.

Responsibility would merely mean the ability to accept various patterns of anchor points and various ownerships of anchor points. Flexibility to accept responsibility, ability to own an anchor point is - about the lowest understandable MEST language that you can put it. Of course, there isn't any up above that. I mean, responsibility? This is real silly!

You find this girl who is scattering her attention here and there will eventually get into a situation where her - oh, something happens - life and some young fellow marries her or something and leaves her or something happens like that. All of a sudden her attention goes bong and fixes. This is how you hypnotize somebody. You lead him into dispersing his anchor points all around, see, and then making him suddenly fix on one anchor point.

"Fix responsibility? Well, I'm responsible, of course. How silly!" I mean, it's just that sort of a reaction. What are we talking about this for?

This is very curious. I had this happen a few times. One notable time I noticed this was - I was just a kid and it was a situation which had a little bit of - a lot more drama than is permissible on this planet.

Low on the scale we have to fix responsibility. The fixation of responsibility each time is, again, the reason why. And so we use Acceptance Level Processing for such a person; he's very satisfied. It's these damned screens; it's these doggone objects; it's denial; it's restriction; it's... See, again we're into the reason why.

Down along the docks and this - I had a ship, the old Doris Hamlin, and a sailor who was wobbling around and pretty, pretty darned drunk took out a knife and started in my general direction and I planted a shot exactly to part his hair, just exactly and that's exactly what happened. That's very dramatic. This doesn't happen very often on this planet. You don't get this opportunity unless you're young and don't care what the police say.

But when you're picking a case up the line, we can cross, we can cross with great ease "The reason why" and Anchor Point Processing by merely making the anchor points into forms of which the person is very sure of.

The guy went into a complete hypnotic trance. His attention unit was completely dispersed all over the place, you see, and then all of a sudden this slug and a sudden noise takes a few of the hairs out of the top of his crown of his head and it was no impact there or anything like that; it knocked his hat off He went into a complete hypnotic trance. He just stood there and his eyes dilated from the relatively small point they were in, completely out! They just went zzrooomm. There he was!

Now, the way we get him "very sure of" is because anything they have tried to fix responsibility on as the reason why is, of course, to them the cause. So, although they put up the anchor points, they "know" they're not putting up the anchor points because they're not cause - no sir! Under no circumstances - they're an effect.

Anyway, I said to him, seeing something had happened to him with regard to this - I says, "You will now be a model sailor and will be very obedient to your captain." And he was.

So, the only way that you could get them to put up anchor points is to put up something which they have assigned to be cause. So we would have the girl who is jilted, she didn't - she didn't jilt herself - no sir! She knows that; any fool knows that! And so naturally, to get her to put up any anchor points - she has been betrayed. This means all of her anchor points have got to fold up on her, slam back into her. That's the way you demonstrate that you have been betrayed. You see, she says this, and this is obviously true.

For years, though, I wondered why he got sick after he left that ship. He got real sick. He used to write me once in a while, what he could write, Real mean, I keyed in space opera.

So, you just sneak it in kind of sideways on her. And you say, "All right. Now, put up - put up the fellow who jilted you eight times," and keep putting him up in brackets; that's all. She's cause so he's kind of putting up the anchor points too and somewhere along the line she'll realize that she is really putting up the bridegroom as anchor points. Although she will do it quite willingly, she's not going to admit that she's doing it.

And space opera, they used to just walk aboard the ship automatically, you see, usually drunk, something of the sort or under dope. And they'd no more than pass through the airport of the - of the spaceship as it was parked in port like out here at the airport or something of the sort, and that recruit would no more than walk through, then there'd be a zizzzzz on both sides of the airport and he was indoctrinated. High speed - "You will be obedient to the commands of the officers. You will not mutiny, you will not leave the confines of the ship. You are dedicated to the job of being a tubeman third class." See? Just zoom!

And you get the idea, the difference between admitting that she is putting up the anchor points and putting up the anchor points, that is accepting the ownership of the anchor points.

And he was all set then. These sailors would walk around, completely controllable except, of course, when they mutinied and killed their officers and stole the ship. Anyway. The other method of indoctrination was to put somebody in a - he'd go aboard and he'd lie down and go to sleep in the bunk that had been assigned to him and a little box over the top of the bunk would go bizzzz and he would be completely indoctrinated.

She'll - very often they look like thieves or something while they're being processed. Like some - some girl, something like that, who is terrifically occluded, they look - they - ahhhhrnm. They'll put up these anchor points - they're somebody else's but they'll put them up. Good joke on the auditor. Real good joke on the auditor. They aren't her anchor points! She'll put them up. She stole them; she knows that. She's borrowing them for the moment of the session. She'll return them afterwards. See, this is the kind of an attitude. They aren't real; they aren't hers. This is the - what you accept as a no-responsibility level. Well, it's true.

What did those little boxes do? They simply completely fixed his attention - pam! Sometimes cruder old tramps - they'd have a doctor or something of the sort and he'd just give them a shot and give them narcosynthesis and tell them - sort of a thing. Didn't have any modern conveniences on those ships.

And you'll get many preclears who are tremendously cooperative and completely irresponsible. Now, just mark that down as the - what you're looking at when you look at some of these preclears who say, "No. That didn't do me any good." They've just got something there. There's something somewhere in the bank they can put up that is direct effect upon them - direct - has a direct effect upon them.

Now, you would think that the officers were pretty bad beasts who did that. What do you know, they were indoctrinated, too. A line or owners or something like that or the state would pick up these officers and bizzzz, "You're an officer You will not" - and this is interesting with the crew. You will find people doing this in this society, still dramatizing old space opera because this society does it like mad, too - "Crew member, you will not go forward into officers' quarters. You must not cross the line of class on officers. In other words, you mustn't ever answer up or talk up to officers."

Now, remember I said we mustn't forget that Dianetics says that they get stuck on the time track. Well, they can be stuck on the time track or they can be STUCK on the time track. See? Gradient scale. Well, when they are really stuck, oh boy, you better find something close to the specie of what's sticking them in order to free them.

And the officer was indoctrinated never to feel himself even vaguely associated with a crew member. And the idea of the crew was put straight into his head and his own responsibility with regard to the crew and so forth, but the - he was never given to believe that they were human beings that breathed and everything, and so you had very nice, very nice, smoothly operating lines.

What is getting stuck on the time track? It's an old space being gone from a facsimile. And the facsimile now is trying - tries to expand and when it expands it takes the space out of the adjacent material because the preclear probably was putting no space back into it.

Why was this necessary? You had so much space that an officer going off a little bit or a crewman going off a little bit would mean the immediate loss of a ship because if you stop and think of what you could do with a spaceship of almost unlimited range - you could just go over to another galaxy and set up a kingdom.

When you ran a facsimile all you did was put space back into it - present time space. He went over the incident several times and, of course, he kept putting space in it. He'd eventually put enough space into it so that it would disappear. In other words, we kind of wore it thin. Here was a process by which you could iron out or scrape or claw at or erode a deposit of energy. You'd let space into it gradually and it would gradually expand.

There's hardly been a single man in space opera who hasn't played God or king or government simply on the process of stealing a ship and going and setting things up elsewhere. So, you see these indoctrinations were real rough. They make a psychiatric electric shock these days look like the pat-a-cake that it is.

Well, if you could find the place where the person was stuck on the time track - that was the game we were playing - find out where he's stuck and then let some space into it. When he lets some space into it, it would no longer stick to him and because he was not then being the effect of it, he did not think he was in 1892 or something. See, this facsimile occurred in 1936, let us say, and - it occurred in 1936 and it affected him greatly. In other words, it took all the space out of some moments.

Now, the odd part of it is, these ships were very often surrounded by points of light which were the demarcation points of furthest departure on the part of the crew and on the part of the junior officers. It's real interesting. In other words, they gave them anchor points and they didn't dare leave those anchor points.

Now, if you've ever noticed, you run a preclear, his reality fades out when somebody departs from him suddenly. He can actually feel the reality in the environment go. You ever had it happen to you? Somebody gave you some terrifically bad news - oh much too fast or too quick, and you just watch the environment just fade right on out - just out.

Now, you wonder why the devil and how in the name of common sense somebody is stuck on the time track in space opera - just look at that operation.

Now, when you strike an incident on the time track in Dianetics, at the beginning of it you could actually have watched your preclear's reality just fade as you hit it and then start -increase as he put space into it. The only way he could possibly put space back into it again, you were there helping him.

Nearly anybody who gets into the armed services, particularly the Navy today, will get space opera keyed in. Most spaceships are gray, so on.

When people tried to self-audit themselves on this, all these things he just reversed the process and he started taking the space out of them; he's tried to make them explode.

Well, all right. I'm just giving you this, not as pleasant history, but as something very important. You give him the feeling that he must not exceed a certain limit of space. Now, how did you do that? How would you go about doing that?

Now get the analogy but, of course, it evaluated the time for him. This thing that had no space in it was 1936-1936, June the 4th or something like that - didn't have any space in it. So, we let some space into it and, of course, he was no longer being the effect of it. But by being the effect of it he also picked up its time tag; so it was 1936! He was the effect of it. Every time he tried to cause anything to happen to it, it simply grabbed some more space off of him because it was a space starvation deposit.

You'd get his attention - his own anchor points which are actually in defensive patterns - and you'd get them dispersed so that he wasn't looking anyplace, and then you would suddenly come through with a crusher which was not in words but which merely fixed him in a space.

All right. Let's look at this, now, with this preclear and we find out that he's having trouble with this process. (He is not going to have trouble very long with this process, by the way. You just can take it straight and beat it through one way or the other.) But he goes out of communication with his auditor if it is beaten too hard. The way he goes out of communication with the auditor is by putting in space, space, space; he is unable to put in enough space fast enough that he is sure of in order to get the thing to unfold.

If you notice, I said space opera - the indoctrination was done as he stepped through the airlock. It would give him that much space and that's all the space he had. In other words, it fixed all of his attention on that space simply by making that space intolerable and then creating a vacuum of it. See, a sudden shock and that's intolerable, but it overflows any remaining anchor point pattern which he has erected and that, of course, comes in and as it comes in it leaves a vacuum. That vacuum is appetite, wantingness, whatever you want, so he "wants" to stay in the spaceship.

So, what does he do? It's very simple what he does. He - you take the object which he considers cause and put it up as the anchor points. It apparently, then, is shedding space and he is waiting for Aunt Bertha or somebody to put the space back into that engram. He's been waiting, apparently, all these years for somebody to come along and put the space back.

Now, you'll get preclears who can't leave their own homes. Well, this is partially because home at first was so intolerable to them - their original homes and so forth were so intolerable they couldn't tolerate the idea of even staying in them for a moment, and then somebody forced them to stay in them and the next thing you know, why, they wanted to stay in this - in a closed space. They don't know why, you see, but they just do, and they do stay in closed spaces. It just keys in all electronics and everything else on the track.

You'll find a preclear saying this sometimes, if you - if you really look closely - they'll - they seldom will tell you, "Well, only Mother could remedy this situation." Well now, you hear that much less seldom because it's on an earlier dynamic than, "Only Christ could remedy this situation." And you hear that quite often. Why? It's that distance out on the inverted dynamics. "Only Christ could forgive me." You hear that continually. What do you mean "forgive you"? Let some space in, of course. See, he could intercede with God, and God owns all space, so we could get some space back into the facsimile or the ridge. This is elementary.

Other-determinism would be considered - could be considered to be the process of disarranging and then rearranging one's anchor points, or arranging carefully and then disarranging one's anchor points. That's other-determinism at work. What is it that other people do? They try to get you to arrange anchor points quietly and orderly and nicely so that they can disperse them with great suddenness or they disperse your anchor points one way or the - they give you a lot of bad news and all that sort of thing - so they can suddenly drive through with the big king-sized impact which, of course, fixes your attention.

So, what do we do with a case that after a few minutes of this processing is apparently... Well, he has gone through Step I, Step II, Step III; what do we do with him? We process him; we're just going to be bound and determined we're going to let some space in rather than some light in - letting light in is sort of a poor technique, really.

What's happened to your preclear? It's just this pattern has been going on and on and on and on and on. His anchor points have been unfixed and scattered and then suddenly fixed in a pattern, or fixed in a pattern and then scattered. And we've just got this continuous cycle of unfixing all these anchor points and then giving him pam!

We are going to process him on this technique. Well, let's E-Meter him and let's find out what kind of cause he is certain of. See, what's - what cause is he certain of? What caused his present dilemma? Or who caused his present dilemma? Or what area caused his present dilemma?

Now that, in essence, is the operation of the between-lives area at this time. See? His anchor points are nicely fixed. He's in a body and all of a sudden the body kicks off. Now, that's a shock which disarranges his anchor points - the death shock. There's an actual electronic shock at death. You could put a rabbit on it and kill the rabbit and you could read the meter on him. You'd find out it was quite a large electrical shock.

He finally tells you that it was Keokuk - that time he spent in Keokuk. There are a lot of ways to handle Keokuk; Change Processing - bing! bing! bing! - is the best process that you could possibly use on it if you're just simply trying to free up geographical areas. But you're not trying to free up geographical areas with this character. Step III is working poorly on him. You notice that right away; it's working poorly on him. So what do you do?

And then with that dispersal of anchor points he has (quote) "nothing left to do but fall back on a prearranged set of anchor points," which is to say between-lives area - pam. He's in that area now, see? And now, the second he's there, they fix his anchor points on that area and then fix them again on something like a maternity ward - pam, pam! See? And it's done real fast.

What area caused it? What person caused it? What thing caused it? Just E-Meter him until you can find something that he actually will attribute his demise, decline and so forth to. Well, see if he can't get some certainty on it.

People are very amazed. They put people on an E-Meter and they say, "Well, how long was it between two lives?" And they normally find that it was ten or fifteen minutes. Real quick. And every once in a while somebody will come to you and say, "You know, I wasn't in a body there for a long time" or "I don't know what I did. I left the body and then I don't know what I did."

The funny part of it is, is he very often will got a clear and beautiful picture of it - quite often! Put it up as eight anchor points. Well, you're doing at once Duplication, Spacation and "The reason why." Now, have somebody else put it up - eight anchor points. Boy, he can do that like a shot because he knows everybody else put it up; he never did. And so we work this thing out and we find another thing that caused all this. And we can play this game with him for some time. But we won't play it too long because he'll start slipping. "Who's cause?" That's the game of "The reason why."

Well, anybody that's counting on the body to be the anchor point in the absence of a body and in the absence of the other bodies that he was surrounded with, of course, doesn't have any patterns, So therefore, (quote) he doesn't have any memory (unquote), Of course, he has a perfectly good memory of it, but if he was counting on other kinds of anchor points which suddenly weren't his, then, if this was his memory arrangement and that's gone, then he knows he can't remember

Now, you could assign a play title to every preclear - a play title. I've just given you the - "The Jilted Bride." What is this girl playing? This girl is now seventy-two and so forth; what play is she playing? She is playing the play called "A Jilted Bride." It isn't a fact that there is a finite set of these any more than there's a finite set of stories but everyone of them is playing a story. What story are they playing? That's what they're assigning cause to. At seventy-two, playing "The Jilted Bride," you'd think is rather strange.

It's not true that he can't remember, See, he doesn't depend on anchor points to remember. Knowledge is not dependent on n anchor points. Never was and never will be. So, that's the first operation on the track.

There's a story of that - the old gal who kept running over her marriage that almost came about and didn't come about, and she lived in the old house all by herself, so forth. Well, the technique indicated for this character would simply have been just let's eight-terminal a bridegroom. You would have found a lot of resistance to this as an auditor but she would have done it. The second she did it she would have stopped playing that play. As long as she goes on playing this play, which is a dramatization, it's pretty rough.

Well, let's look at the PC. You're going to run him then - he's running up toward Operating Thetan, he's doing all right, and the next thing you know he has this to worry about. His anchor points don't fix well. It's a heck of a note but they just - they're getting dispersed, and that's not good - and scattery.

Now, a lot of them sink down to sordid levels of plays. A lot of them play "The Stabbed Fetus." You find a lot of people playing this play. You'll find other people playing almost anything you can think of. There's as many games as they can play in this wise as there are titles that you can think of. But look at it that way - a dramatization.

Well, he misses the - you know, every once in a while they'll take somebody out of prison, send him home and then the fellow is miserable unless he can live in a closet. Well, this is what happens to him: He just - his anchor points are now too dispersed and he's unhappy about it and so forth. And he will come along, actually, and fix up some kind of a pattern, and then finally say this is it. And you're going to process him after that. No, he's decided this is the pattern, so on. You know, you're not going to process him anymore - until this afternoon when he suddenly realizes that this pattern is a fixed pattern and that it had to be altered about five times in the last five hours, and he'd certainly better improve his methods of handling patterns.

Somebody, I've forgotten just who it was, and of course, you wouldn't recognize it at all, said, "All the world's a stage." Well now, we're not trying to give you the feeling of a reality like it's all just tinsel and brass and there really isn't any suffering anyplace. Yeah, there's suffering. A lot of people play the game called "suffering" and a lot of them play it very easily and very well. A lot of them play it very convincingly.

So that afternoon he's perfectly willing to be processed and the process then would merely consist of scattering the pattern which he set up and letting him set up another pattern, if you were doing it by implants. Or if you're actually becoming an Operating Thetan, you just make it easier for him to fix and unfix patterns, and that would just be exercises with anchor points.

If you've ever seen an automobile wreck, you look in there at those mockups - boy, they're really playing the game "suffering" but beautifully. Funny part of it is, is they will start to play this game and then decide all of a sudden they don't want to play it. And they start to play it and then they don't want to play it and then they keep on playing the game of "Well, I started to play but now I don't want to play." And now we're getting into a more central game. Because that game could characterize the game which the preclear's playing. That is the senior play; that one you might say is the basic plot.

The ability to fix and unfix anchor points, to have and not have space is the only thing you really work with because you're working with somebody in this universe and this universe has given him the habit of having anchor points and so forth. He'll eventually get to a point where it is terrifically certain to him that he doesn't need anchor points, but that only comes about when he is so expert with them, he finds he can neglect them. See, up to that time, why, he has to count on them for everything.

"Look! I started to play this once and then I didn't want to play it." Remember, they all started to play it once as a game and then they didn't want to play.

Now, the use of anchor points is to some slight degree an agreement with this universe, but in view of the fact that thetans made this universe, it's also in agreement with thetans, and in view of the fact that the preclear himself wants to go on doing this, it's in agreement with him, too. So, merely exercises, precision, competence in handling anchor points is your keynote.

Well, that's true of an accident. A fellow runs into another car head-on and he - at just a moment there, he - he's going - he's going at the rate of sixty, eighty miles an hour, down the highway, driving madly and if you saw that sparkle in his eye, you'd say here was an accident coming. He wants to play that game called "accident." And then, the next thing you know, he just doesn't want to play it. He stops wanting to play it about a sixteenth of an inch before his skull crashes in on the windshield. If you run it and get the fellow to really evaluate it for you, you'll find out that it was a lot of fun right up to that instant.

Well, now let's take this fellow way downscale. He's still in a body, he can't get out of a body - ohhh. He's in one of two conditions. Don't ever make the mistake, by the way, of thinking that he is in one condition if he's occluded. Occlusion can be two conditions: It can be too dispersed or too fixed. See, it's one or the other

Or sometimes, it's the instant of recognition that the game is - that he wanted to play is now going to be played. And he's something on the order of a stage-frightened child who has come out to sing a Christmas carol and all of a sudden doesn't remember any of the words of the Christmas carol but somehow or other just goes right on and sings the Christmas carol, anyhow - this big strain.

And the first thing we would examine with regard to him - did you ever look at a - watch a play in which somebody was searching through the drawers? The - somebody or other was searching through the drawers of the bureau on the stage and so forth quickly while - before Albert comes in? Hm? You've watched somebody searching madly through something and trying to get a job done on a - and just before he's discovered - you know what that feeling is? You have Mata Hari or something like that. Last night's TV - the guy doing this - they had half of the TV program; he was simply trying to photostat something or other. I bet the audience was ready to fall to pieces waiting for the CPs to drive up to the door and demand the packet which he had in charge but he had to photostat it for the FBI.

The - an actor is always, of course, sort of daring the audience to jump over the footlights and eat him all up. Once in a while an audience does. You'll find that the moment when the first foot went over the footlights, he has decided he didn't want to play that game. You see, there you get your departure and arrival of an anchor point between points A and B.

FBI - I heard about this FBI last night. I was very, very curious; I didn't know we had an international police here, and I am trying to figure out now... I don't think it's a galactic police but I've got to look into it a little bit further. Might be a system police, so on. I noticed the weapons though, the clothes that the FBI man wore in it and no ray gun, so I don't think they're system police. He didn't seem to have a weapon. It's pretty hard to figure out this society. Well, that's - they're probably galactic police. We'll go in for that. Anyway.

Now, "they have to go" is another game that people play and that's a very standard game; "they have to leave." But of course, they can't leave because they can't arrive. You'll see some pcs starting to play this game, "have to leave."

Have you ever seen - have you ever seen anybody do that and get a reaction yourself? Get this reaction? That's what's known as suspense. Now, you're not supposed to be caught is what it - the postulate sort of goes into it; you're not supposed to be caught doing that.

"Have to leave." Well, don't take the place they have to leave from. Take the place they think they have to leave to and use it for anchor points. If you can just get them to give you the place they have to go to, well, you can use that for anchor points and they'll put it up very happily. Then you'll inevitably find some horrendous big engram suddenly unfolding as it sucks up this space, but madly.

But what do you know, it's just a problem in anchor points. One or two categories: "not supposed to be" or "supposed to be elsewhere." An anchor point is not supposed to be there or it is supposed to be elsewhere or both. And if you just run this as a drill on a pc in a full bracket, you will get that same emotion turning on in the pc and it's what's holding him on the time track. He's not supposed to be there; we've added consideration to the position of an anchor point.

You know, they have to go to Keokuk. That was the childhood home, the whole thing. You start mocking up Keokuk eight times - well they're practically there. But that Keokuk can't touch them, so it'll stay out there very easily. You see the mechanism: they can't arrive at Keokuk, so if you use Keokuk for anchor points then they won't collapse on them so easily.

And that's what a fellow who is very occluded is doing. He's either supposed to be there or he's not supposed to be there in a body!

You can rationalize on this any way you want to but the point is, use something of which the preclear is certain if the case isn't moving well.

Now, what do you know, these poor people, do you know, have in restimulation most of the time, without realizing how intense it is, the idea that they're not supposed to be there or they're supposed to be elsewhere. They're always feeling like this, you know.

Made a clear point there? Make more sense?

It's all right to be home but it would probably be much better if they were elsewhere; you see, they're really supposed to be elsewhere. Well, when people don't know where they're supposed to be, but they know they're supposed to be elsewhere, that means they've "got to go." And you've got the "got to go" case, and they've got to go in all ways, shapes and forms; they must depart. They don't know why and they don't have any destination to depart to, but they must depart. They're supposed to be elsewhere.

Audience: Yeah.

And then there's the case who won't move. And this case, of course, is quite the reverse of it - not "must depart" but "he mustn't arrive." In other words, the anchor point must not be at the point B in this little diagram I keep giving you of the one, two, three, four, five, six, seven, eight corners of a cube of space, and then the little diagonal in it of travel from point A in it to point B in it. You see, he's not quite at A but he knows he must never be at B, and then he doesn't know where B is anyplace in - someplace in this cube of space, but he mustn't be there wherever it is, see? He mustn't arrive.

Yeah.

The cycle of action is dramatized in this particular society by "he mustn't die." In other societies, earlier ones, it was dramatized by "he mustn't go insane."

You'll find someplace in the lifetime of the preclear, he will tell you, his emotions shut off; and if you want to E-Meter him to that moment and use that for an anchor point, it's a very fast road - very, very fast. That's an express highway. All right. And he'll fold up and start talking about it, though. You don't bother with that, just put him - have him put up that as anchor points for a while.

Probably - this society uses - doesn't use insanity very much; it's minor, but it has this other mechanism, the better solution called death. It thinks its death is a better solution than going crazy,

Now, let's go into the second stage of this process. You must realize that doing this process on an agile thetan would be something like asking the boy on the flying trapeze to sit on a car seat as a stunt; and it just isn't any stunt. And as he does this drill, these eleven points, he becomes better and better and better and better and he finally can contact the universe quite easily - his own, other people's quite easily. And you'll notice what's happening is the precision with which he is placing his anchor points is the keynote.

But earlier on the track there wasn't any way to die except, you see, say, "I'm no longer responsible; I'm crazy. Now, you have driven me crazy, so I'm no longer responsible for my actions, so therefore cannot be punished anymore."

Now, the precision of placing of anchor points is in itself competence and is in itself responsibility - that's certainty of arrival and certainty of departure.

Death is only a mechanism to stop things from punishing you. And insanity was the early track mechanism of stopping things from punishing you. Same deal, same thing.

Now, if you were to ask him to put up eight anchor points and then put place A and place B inside that space and ask him to start a particle at A and have it go to B and then go back to A again, why, he - he's very interested. If he were to test this from time to time, he would be able to accurately, more and more and more precisely spot these two points - A and B. And then very precisely make a new particle coincide with A and so travel to B and then go back to A again. That, in essence, is communication. That's all it is. But the greater the precision...

Now in this society they go on punishing the insane. And when they dramatize that - that's relatively ancient but it's quite late on the track overt though it's ancient to us. You see, then, it's a no-solution. You go insane so they stop punishing you. That ‘s not a good solution. Even today they're dramatizing the final overcoming of that mechanism; they electric shock the insane or give them prefrontal lobotomies. In other words, if they go insane they punish them more, In other words, the situation caved in and reversed itself so it's not a solution.

Now, you wouldn't think this is any fun doing this. Well, actually it isn't too much fun doing a drill. It's something on the order of practicing swordsmanship just so you can be a good duelist. There's no fun in practicing swordsmanship to amount to anything, but a thousand years or so ago - less than that, six, seven hundred years ago - there was still quite a bit of sport in killing a man in a duel. Well, the great precision with which an individual could place the extended point of a rapier was a delight; it delighted him greatly. You would be surprised at the amount of emotion there is in this kind of competence.

Now, death is under attack as the solution. Get this, it's quite important. Death is a good solution for life, real good solution. He didn't stop dying. Of course, he has to make it convincing. That's why people don't have immediate memory on past lives, not because anybody's tampered with their anchor points, because they tried to be convincing and death is something you don't remember anything after; that's part of its definition. And therefore, if you really want to stop being punished, why, you have to have a complete blank on ever having lived before. See, that's the complete wipeout. This is the wipeout mechanism of past lives. All right.

Now, I've talked about killing a man. In this society - the same thing - being able to reach up and catch the football at the exact instant and do exactly with it what one desires and to put oneself and the football at an exact place in the field. One estimates and then places - pam! pam! And there's a terrific exhilaration in this degree of competence. Now you're lifting his degree of competence up. Competence, responsibility - same thing. A man cannot be - cannot be responsible if he cannot geographically place.

Death right now is under attack. These doctors come around with penicillin and the guy, oh, he's having a hell of a time trying to get himself knocked off! He's been punished and punished and punished and punished and he's just sick of it!

The only reason the Navy Department orders officers around from one point or to another, it's trying to convince them that it's responsible when they know it's not. By ordering them around geographically enough, why, the officers become very obedient after a while - by ordering ships around and so forth.

There are more people around who are having a good time and lots of randomity by using him as the whipping boy, the whipping post, the cutting carcass, anything, see, and there's the family and everybody and argue, argue, argue and he's all ready to quit.

You've never seen anything quite as convinced of his own deity as an admiral who has, in his hands, the independent selection and ordering of positions of officers and men and ships. He is very cocky. Now, he knows they'll arrive there; he knows they'll arrive. He'll have somebody shot or court-martialed if they don't, you see. And as he goes along, everything is going fine till one day, some ship has the cast-iron nerve or bronze-coated nerve of busting its propeller and not arriving on schedule. Now, if you've ever seen a little child go into a tantrum and get down on the floor and scream, you have some idea of the seething state of mind of that admiral of the anchor point not arriving at the right place at the right time. "Outrageous!" And then, of course, he starts going down Tone Scale because he finds out that it was all justified and completely reasonable. You see? So, he starts into the cycle which is the declining cycle.

They start quitting, by the way, inversely on the dynamics. That is to say they quit at 8 and so on and slide on up to 1 again; there's an inverse of the inverted dynamic. You see, after all the dynamics have inverted, then they'll invert the other way.

One is outraged at the anchor point not arriving and then one is baffled by discovering there was a reason why. One is always baffled by the reason why, for the excellent reason that there's no reason why. If this admiral were so darned good, what was he doing making those ships go around with their propellers going? Well, just answer that. Unless, of course, he wanted to limit himself in a game. If he wanted to limit himself in a game, all right; then he also has to take the reason why the ships never arrive.

For instance, a marsupial - I don't know what's wrong with modern science, they call a - they call mammals and marsupials - this is - so then, those two words are not of the same class. This always puzzles me every time I run up against it, because a mammal has mammary glands and so does a marsupial, but a marsupial is that which carries the young internally for a short time and then they come out and they put them in a pouch and attach them to a mammary gland, exteriorly, instead of an umbilical cord.

So, the limitation of the game and the reason why are the same thing. The reason why is the boundary on the tennis court. We have agreed that if you put a ball outside that - new service. Actually, it's just a white, lime line; it's nothing. You could move it, you could make it bigger, you could make it smaller, sometimes they do, and that line is the reason why. Why do you have to have a new service? It's because the ball did not fall within that line. That is the "because." What is "because"? "Because" is the necessity to have a limitation in order to have a game.

Well, the marsupial consistently fails in its contest against a placental - what you should call - a proper name for it would be placental mammals, who simply carry their young all the way forward up to a time when the young are quite well developed and advanced. The marsupial just carries them for a short time.

If you've noticed little kids playing - it's a wonderful place to study this - if you've looked at little kids playing, you'll have found out that the extent of their reasoning on games, where you have several of them involved and there's a little brute force being applied by some of them, is "Why has so-and-so lost?" And the others will just simply stand around and say, "Because. Because." Superior force, that's all. That's all they're trying to say. "Because we've lost, that's all."

What's this a symptom of? The marsupial, you see, is - he's simply quitting on the second dynamic on the evolutionary chain, and now he's quit almost entirely on the evolutionary chain. See, he wouldn't even carry his young very long before he got rid of them.

"You have too lost!" You get - this is - this is reasoning. That doesn't exist; there isn't any reason why he lost because in the first place it's all built speciously on the idea that he was dead when he was shot; and he wasn't dead and he explains he wasn't dead and so he couldn't have lost; and they say he is lost because he's dead; and you've already entered more illogic than you need to play the game "MEST universe."

And what do you know, you chase a kangaroo (a marsupial) and most of the marsupials... There used to be marsupials all over South America. They have this pouch. There are marsupial bison and marsupial foxes. There's a marsupial anything, marsupial wolf - still a marsupial wolf in Tasmania.

"I - I've lost because I'm dead" or "I've won because I'm dead," is an equally good reason. See, the chaps, for instance, who got killed in the original attack on Quebec - they went up and got their heads blown off. And Montgomery, and so on, and the rest of them under, what was his name - oh, the famous general that won the Revolutionary War for America - who is that fellow? Famous general who won the Revolutionary War. I'm not very good on names here today - Benedict Arnold!

Well, in Australia they have marsupials instead of mammals. They throw a mammal in there and immediately the mammal starts winning. Why? He's just younger on the evolutionary track, that's all. Marsupial was - has been fading out on his evolutionary line for a long time.

Anyway, Benedict Arnold laid around there with the rest of these poor guys that just hadn't won in the fight on Quebec (see, Quebec held out) and the fellows that got killed won. Well, how did they win? Because the rest of them laid around outside of Quebec with the smallpox the rest of winter trying to inoculate each other and having one hell of a time - starving and cold and really rough. And then they had to go back and tell the people back home they had lost the war as far as Quebec was concerned. So, who - who won?

You chase a kangaroo mother who has a couple of young kangaroos in a pouch and she'll take them out and throw them away, just like that. It's a mechanism of existence, I mean, that's part of her death. She's willing to die on the future track at the moment. See?

Male voice: The smallpox.

And you'll even find human beings doing this. They try to throw their kids away before they kill themselves. And death is a good solution see? And it's - death is a gradient scale and it goes inversely up the dynamics.

That's another "because." The smallpox won. That's right.

And you just start unconvincing a person, dynamic by dynamic, and they will die eventually, whether you shot them or not. Totally mechanical method of killing somebody is just be - just invert them selectively on each dynamic.

So, what do we have here in the - in reasons underlying this? We have the positioning of anchor points. What is the end - all of responsibility? Being able to position the anchor point.

If you don't think this is done, just listen to some of the people around in the streets. They're just slaving like mad to invert various dynamics up the line and kill everybody around them. They're doing a good job of it, too. It's not arrestable but it's murder All right.

What do we mean by "force necessary to"? We mean force necessary to position an anchor point, maintain it or withdraw it. What do we mean "opposing force"? We mean that force which is opposing the withdrawal or advancement or positioning of an anchor point.

Not off on the subject of marsupials - I'm just showing you that a line fades out on death. It ceases. Well, what is this? It's a cessation of a pattern of anchor points. It isn't a cessation of the living being. The potential manipulator, arranger of anchor points does not die. What dies is the pattern. And people believe that they should look at the pattern. So, that's all there is to look at, they say, so they look at the pattern. And the pattern of the mammal is younger and the mammal is in pretty good shape - the placental mammal. The marsupial has faded out practically all the way around the world.

The only error anybody could ever make if he started to use force, is not to use - is to use not enough force; that's the only error he could make if he had any responsibility or competence of any character Because he would try to position this anchor point at position A and he wouldn't be able to shove it hard enough against the forces at position A to position it at position A.

There are marsupials, by the way, just on that, in South America - marsupial cattle. And when the land bridge formed down across the Isthmus of Panama, North American cattle (mammal, placental mammal cattle), came in and, boy, the marsupial cattle just disappeared. Well, it wasn't anything to do with the marsupial and the mammal and the survival of the fittest and that sort of thing. Actually, it's just the wearing away and the arranging of anchor points and their decay. I mean, the marsupial would have faded out whether anybody came in from North America or not. See, he was just getting down... They'd inverted on the second dynamic, even. All marsupials would do that, by the way.

You see, taking responsibility for the forces at position A would probably be to warp them in such a line that they would position the anchor point itself. You'd cause a vacuum at position A, and you'd pull in the anchor point. So, you get a terrific variety of games coming out of this. See, that's half responsibility. And how about just taking responsibility and commanding the forces at position A, too? If you did that, there's nothing easier than to simply spread apart the particles at position A and let the particle you're positioning through, exactly, to point A. There's nothing to that.

You get this point? I'm making this point very strongly because you're looking at somebody who is trying to die, ordinarily, as a solution. He has been punished too much.

You'd be surprised that as elementary as this is, man misses it all the time. He thinks the way to get his point in position A, of course, is just apply enough brute force to shove it into position A. Never occurs to him to take over position A and open it up so the particle would get through and be positioned. If he meets resistance at position A, his (quote) "education" on the track, and so forth, is such that he'll merely keep pushing or he'll not push at all. He hardly ever bothers to withdraw!

Now, you have to resolve this idea with him: that if he goes on living he won't be punished more.

After some workman has become completely discouraged about the positioning of his materiel, you'll find his tools on the ground around the point; they leave their tools there; they abandon their points. Now, abandonment of the anchor point is just symptomic [symptomatic] of the baggage, the armor, left on a - the dead left on a losing field.

He's going to use processing immediately to kick himself off - suicide. He wants you to assist him in a suicide, suicide being illegal. You can be arrested for suicide in this society.

This become quite obvious to you why - how we're handling responsibility and what competence is?

Everybody's rushing around trying to keep people from dying and saying that this is mercy. Has nothing to do with it. It's a - it's a downright cruelty.

Well now, a thetan upscale using this as a game, just as a drill, getting more accurate, getting better perception, so forth, he's just content to do this - just to do that, that's all. Not as a game itself but just as practice. He's content to handle this and he gets faster and faster and he sees that with some satisfaction.

You take a battlefield, something like that. The idea of guys going across a battlefield and carefully salvaging what they call wounded. You know, some fellow has got his head blown off, he's still alive, he'll go on living for years; another guy has no limbs left and he's in horrible shape.

But your person who is not yet running it as a drill has to have a reason, first, to run the drill. And then later on, of course, doesn't consider it a drill at all but is treating this like it's death itself - really grim; it's a real grim business.

I think up to a few years ago they still had veterans from World War I sitting - who had been mustard gassed - sitting in tubs of olive oil in veterans' hospitals. How long after the war? It's just an incredible line. They had veterans around who couldn't speak, who couldn't communicate, who had no limbs and who could manipulate nothing.

If you've ever seen the face of a - of a V or a VI undergoing processing, you can know how grim life can be - very serious. Well, this is nothing. Laughter requires an explosion; humor requires the ability to explode. Put out anchor points suddenly or retract anchor points suddenly and you can get laughter. It's what laughter is.

But how gruesome do they want to get? This - they wouldn't dare let any kind of a weapon that this person could manipulate get anywhere in his vicinity because he'd simply kill himself, quick. He thinks he has to kill himself before he can exteriorize and shove off. See.

All right, let's - let's take a look at what we do with this thetan, though, who's just considering it a drill and after a while gets kind of bored as a drill. Well, it's because the process, as I've laid it out, doesn't happen to be complete enough or involved enough to drill all the capabilities of an Operating Thetan. You notice it's a static process as I've laid it out. And, if you notice, all of these processes are laid out first as a static process and then as a motion process.

Now, you're coming along with a terrific solution for somebody who is on that computation, you see? And you think he wants to live and be happy. Well, that's your mistake, that isn't his because if you pried into it very closely you'd find out that this fellow had just been punished within an inch of never. All the way down the line, he's just been beaten around and operated on and put into pain and upset and jailed and hammered and socked until he just - he's just not willing to carry this mock-up on anymore, that's all. It doesn't say that he isn't willing to pick up and carry on another mockup, but this one has an identity. And there are lots of people around that could do this, still, so he'd better get rid of them - he'd better get rid of this identity, rid of this mock-up, put up another mock-up. He'll even get rid of it to the point of completely sacrificing his personal life.

Step V, as written up in SOP 8, is written up as a relatively static process. Now, you began to examine this and use it as change of geographical location - ping-ping-ping-ping-ping-ping. You found out it was a high-motion process. Well, similarly, the laying out of anchor points become a high-motion process in an Operating Thetan level.

If you were to ask a young boy, a fifteen, sixteen-year-old kid, "Well, how would you like to give up all of your personal memory and not know that you had ever - even lived before?"

What you want to do is make them start doing evolutions and change the evolutions: anchor points in motion - starting, stopping, changing the motion of the anchor points; varying and making complex the patterns of space; interweaving the anchor points; having enough viewpoints to run several series of evolving anchor points; making anchor points run anchor points.

"Are you crazy?" he'd say. "That's incredible. No, no, no" - most of the kids out here. A year or two later when he found out he was going into the army you'd probably get a softened answer on it. The government put a bar across the time track as a punishment for his being alive. Got to be something that has no adventure, no colour, no pay.

Now, automaticity actually concerns itself with starting an anchor point in motion and keeping the anchor point running - circle or a figure eight or something. Now it, after that, is going to keep on traveling that way, you say. And then you - people want to know why do you want to keep on - travel that way. Well, you have to limit the restriction, then you have to say, "Well, there's something down there which needs to have a beacon" or you have to have some kind of a limitation why that anchor point should go on this way. Actually, there's no reason why it should go on that way at all, except that it's fun to watch the anchor point doing this. It's motion.

And up the line, you ask him when he's really been knocked around by existence, boy, he's just been knocked from one end of existence to the other. And he has enough overt acts sitting around in the community here and there so that he knows sooner or later one of these may catch up with him. Only they are undefined and actually aren't covered well in law, and nobody will ever catch up with him - he just feels this to a point where - now you come along and you ask him, "Now, how would you like to die and not have any personal memory anymore?" And he'd say, "Gee! Well, of course, personal memory would be a little bit rough. I'd like to know I've been alive, maybe." And if he's really, really, really bad off; he'll even sacrifice personal memory.

TBD So, the next thing we must do with - on an Operating Thetan level is to get complexity of pattern and motion. A thetan should be able to make these anchor points go out with great rapidity, come in with great rapidity. Two sets of space - one coming in and one going out and interchanging with great rapidity. All of this and to be able to operate with a number of viewpoints watching a number of things operating in a number of different ways. And you've started to get up someplace toward the ability of the thetan to be complex. But this is what you exercise him at.

Now, compare that to the kangaroo throwing away the children - throwing away her babies. See? Inverted dynamics. Memory is something you can throw away. You say, "I'm dead. Look, I'm dead and death is terrible and that's what you've done to me!"

Now, one of the things you want him to do, if you're exercising somebody, is outside of the elementary things of making spaces expand and contract while doing this whole bracket of eleven - you'd start this, by the way, on the MEST universe itself If your thetan is very good, you'd start hearing things creak if he starts running anchor points in the room expanding and contracting.

The most direct line of accusation that can be pointed at anyone is, "You killed me." And the way to really make it stick is to lie there dead with no memory of having been alive, you see?

You're going to get, as a result of this, quite a test on your own ability, as a thetan, to be sufficiently complex to actually drill this other being on up. You see? See how we - we'd have to get pretty complex. Or we simply consult him as to what should we do next, what kind of a series or evolution should we go into; and then you do the opposite. He says, "Well, I think we ought to practice up with all of these brackets going simultaneously and contracting."

Well, what's this pc trying to do that it's hard to exteriorize? Get this rule. I've told this to you over and over and over and over and over, and I'll tell it to you over and over again. It's just this one; If you can help him do what he's trying to do he will recover from the condition he's in. Help him do what he's trying to do.

And you say, "That's fine. Let's do that. And now let's have all these brackets going simultaneously with the brackets outside of these brackets going simultaneously, but that second set expanding at the same time."

You know, every once in a while, somebody is hanging out of the twenty-seventh story window of a hotel or something about to jump and a big crowd collects down and everybody yells at him, "Don't jump! Don't jump!" And people come around in back of him trying to grab him and pull him back in the window again and that sort of thing, and of course, the fellow jumps.

Always make it more complex, not less, as far as he's concerned. You'll actually realize, then, why two thetans fooling around and so forth, start a universe or start some kind of an operation which grows successively complex. In order to stay interested it has to become increasingly complex.

Nobody ever understands exactly how this can be. If they really wanted to save him, they would say, "If you go up two more floors," they would call up to him, "the drop will be very certainly fatal. Here I'll drop you a rope so that you can get up two more floors. Here, sit down in that chair there and we'll haul you up two more floors so that you can jump further." He'll get over his idea of suicide, but he won't jump.

The simple things of life are so neglected, at last, and so forgotten that after a couple have been drilled this way and then they have gone through and done a lot of worthwhile things this way, and they've caved in and had a lot of things explode on them this way, it probably wouldn't occur to either of them, unless it was on a billboard or on - written on Rush Memorial or something of this sort, what the basic drill was: viewpoint of dimension, of course.

Another way, of course, is to take the brute force angle which works on some portions of the cycle, which is if a cop were to stand down in the street and start shooting at him. You just pushed him into a higher immediate level of desperation. He'd immediately go back inside the window again. And he'd be mad and probably make a complaint to the police department for having tried to kill him. See?

How many viewpoints of dimension can he get? Is it enough to just run the anchor points? No, it sure isn't. Let's run viewpoints within the spaces as more important than complexity of spaces. Let's get lots of viewpoints. This will immediately start baffling your preclear.

Here's the problem of the inverted dynamics and the problem of what your preclear is trying to do.

How does he get enough viewpoints inside there? Just keep asking for them. Because he gets a jumbled view after a while; these things start mixing. Well, you'd better drill him up by a gradient scale; make him use two viewpoints, each one equally well, simultaneously, with two different patterns of automaticity going on simultaneously. And you've taught him how to make life units which is, in essence, a life unit.

Well, it might come through to you, now, that he's trying to have no anchor points because the only way he can be punished is for somebody to grab them. And the total fixation of the case may be upon death and total fixation on death would be a total fixation on no anchor points.

Now, all sorts of weird and strange and complex things will show up as he does this, and all sorts of ridges will blow. There's no reason to pay much attention to them.

And if you could help the preclear do what he is trying to do, you probably would find your preclear recovering from the condition he's in. Because you're trying to change his condition. See?

The one thing you will pay attention to is the sudden nothingnesses that begin to show up around him. Every once in a while you will have him up to a certain point, "Oh, he's doing fine; everybody knows he's doing fine. He's so happy he's doing fine." And then he finds out he has 185 lines attached to him, personally. These just never seemed to get into view before. And there's various things you can do with them, such as throw them away, and so forth. Various things you can do.

Now, how would you go about solving the case of somebody who, after a few minutes of processing - I mean, just a few minutes of processing, pong, pong, pong, pong - on anchor points as given in this bracket of eleven (MEST bracket of five and two other-universe bracket of six, call it a bracket of eleven to save breath), and he didn't exteriorize and you didn't get him much better off; his perceptics didn't clear up, in other words, you weren't getting a noticeable change, very fast change? Well, you'd certainly just better shift your gears into "no anchor points." Get him to have no anchor points.

All kinds of nothingnesses will suddenly, just suddenly, show up as having something in them. Why? It's just because you're adding space adding space, adding space, adding space.

Well now, if he is really bad off, he'll have to have a kind of no anchor points. He can't have just a no anchor point up there. He's got to have a kind of no anchor point to be up there. In other words, he's really into the reason why.

Do you follow this? The complexity of drill, the complexity of drill should hit... It's easy for you and you will think of - start thinking immediately in terms of more anchor points for this preclear when you're running an Operating Thetan. Nuh-uh! More viewpoints for these anchor points is the way you should be thinking. You get what a difference this would make in processing?

Here again is a case of fixation of attention. You do this very readily; where is his attention fixed? His attention is fixed upon the body but it might not be fixed upon the body at all, and we go right back into our inverted dynamics which we were covering much earlier in the course. Use them for anchor points; he's got his attention fixed on one of those dynamics inverted.

Now, there's another little trick I should tell you about in straightening up the body because you don't want to run space processing too much around the body. You won't kill it off or anything of the sort but you start running much of it, it gets kind of gooey. A lot of things happen. You let too much space into the wrong spaces and so forth, so that - that's not too good. So we have line handling by the thetan as a very favored technique or energy-deposit handling.

"No Christ." See? He has got his attention fixed on "no Christ." Well have him put "no Christs" up in a bracket of eleven. See?

Now, as you start to handle these things he'll start to get gaps that he has to fill in and that is to say, actual physical geographical locations. As you throw away lines off the body, remember that you are interfering with the havingness of a thetan.

Now, it might be a position of his body. There might be some chronic somatic he has. Well, don't begrudge him this chronic somatic too much, because it's something that he's been careful of for a long time; it's the last point of sensation he's got. Volney with his ping meter over here is getting it all set up so the last point of aliveness which the person can have, is going to be pushed by the boards. All right. And then he is going to wonder why there's a resistance to this machine. Okay.

As you get rid of ridges you are upsetting the havingness balance of the thetan. He now has less energy than before - torn all these lines off and all these ridges off and everything - he now has less energy than before, unless, as you're drilling him, you'd throw it to him occasionally that he should restore the energy amount. You don't want this same kind of energy that you had before. Let's get a better energy - a bit smoother energy; you've aligned it. So, you want to put fresh new energy in there and pack it down real good and make a good ridge where you took out a ridge. You've taken out an aberrative ridge and you've simply put in an energy ridge. Well, remember that this is - this is very easy.

There - he might have a chronic somatic. If he has this chronic somatic, use it in a bracket of six anchor points. And then just use the other bracket of five on the MEST universe just without any regard to a fixed somatic, and then use this fixed somatic. I call it chronic somatic - we ought to he calling it fixed somatics, I suddenly realized. A fixed somatic is used, then, eight times around him in the bracket of six and you'll find things happening to his case right up to a certain point.

Now, there's a basic process on doing this which might escape your eye unless you were quite alert as a thetan. Any thetan I think would run into this sooner or later. Have him look for black spots or unseen spots or something around his body. This is very basic, very elementary. It's so elementary that I forgot to mention it. I actually have just forgotten to mention it until it suddenly came up here in the last twenty-four hours under another more complex guise. And there's no sense in it being very complex.

You do that very long and he starts to fall apart at that point. Why? You are putting too much space into an area.

But you can send an energy patch to almost anybody. That is to say, you can hang them onto almost anybody. It's ruinous if you really want to start in doing this. But a lot of preclears go around, they have a tremendous impulse to pick up the energy and ridges of other people; they - they're hungry. They'll steal people's ridges. This is the basis of vampirism and so on. They actually will steal a ridge.

Well, occasionally you go through the shift of punching a hole in what he's got so as to let the affinity out. Honest, you get some very occluded case, you'll be amazed if you tell him that - to have a white cloud suddenly appearing and going in all directions like punctured balloons suddenly fly through the air. See. Then you get - that's - he's got to let the affinity out of it.

All right. Any energy deposit of a body that is black has all the same a sign on it which says "not mine." It also says "effect." It also says "I'm not cause. Also says "no responsibility for this area; somebody else's." Now, you see how nicely this ties in with Anchor Point Processing. At the same time what do you do with those things?

If it wasn't for the fact that "everybody loved" him, he could kill himself off very easy, but he's - these people are dependent upon him! "Goddamn them." You see.

You just ask the preclear to get back and take a good look at his body and see if he finds any black patches. "Who does it belong to?" you say.

It's like Mehitabel and - the cat, you know. She left them in the - remember old Don Marquis's Archy and Mehitabel? She left the - her new litter of kittens in the garbage can, the lid was off and she hoped it didn't rain while she was gone and fill up the garbage can because she'd feel so bad if anything happened to "them poor dears." They're in definitely this frame of mind. People who don't get out of their body easily, there's some of that frame of mind hanging around, you see.

"Well," he says, "it belongs to Papa," or "it belongs to the teacher," or "it belongs to somebody or other," and sometimes he can't quite tell and he'll look at it very closely and he'll finally get to the idea that it belongs to so-and-so. You just tell him to send it back. And they'll really go wham!

"Well, they love me, and they like me and I've got this responsibility and I'll have to take care of them one way or the other." Actually, they're perfectly - they will often measure up to be very, very responsible beyond anybody's expectation of responsibility just because of this.

And very often your thetan becomes concerned and simply asks you in so many words - pardon me, your preclear becomes so concerned he asks you "Please duck," or "It would go right through you if I let it go," and he will restrain it - something like that. It's about the only trouble he ever has. But this material really leaves on a lot of preclears. It really leaves! It is a tearing fury! It gets gone quick. Something for you to remember It just says, "Not mine. Not my space."

Well, you go immediately from the fixed somatic to the next part of the process with this case, is to find the anesthesed area. Now, you remember about anesthesed areas? They anesthese all the way down the dynamics. A fellow has an anesthesia of God - he's gone. All right.

Now, what about a preclear that is occluded? As a thetan he's not his - simple, isn't it? His whole beingness belongs to somebody else.

We go all the way down the dynamics on anesthesed areas. What do you mean anesthesed areas?

Now, I'll give you a method of artificially occluding a preclear: Ask him to put up eight very, very heavy anchor points and pull them in on himself suddenly; put eight anchor points around him and pull them in on himself suddenly. He'll blow; he'll occlude. His visio at the moment you do this will be practically identical with any black visio you've ever seen. How do you ask him to remedy this? You have him put up eight black anchor points very, very heavy and yank them in on him; ask him to do it several times, that's all. His visio will suddenly clear and clean up again. Basic mechanism of occlusion: black anchor points which is somebody else's; but that's just by definition.

One of the first things you'll find out is he hasn't got a face or he hasn't got a head or he hasn't got any inside to his head: it's missing. So, you just start taking missing parts. Well, if his attention is on the body, you may be able to just exteriorize him by just working the body itself on the basis of no face.

There's no reason in the world why you can't have a black deposit of energy which belongs to you and which you say is causing something. We don't have to limit this game. See? I mean, there's no reason why you can't do that. It just happens that the game has been played in the past that way. So, therefore, these processes work

"Now, all right, you say you've got a pain there in the sacroiliac. Now, let's use the sacroiliac. Now a bracket of six, see, on a sacroiliac." You're putting up sacroiliacs; he has a pain there.

Blackness had always meant somebody else's or what's the significance and so forth. Well, that's just the definition of blackness. Blackness could just as well and does mean knowledge, in other words, ink. Ink is knowledge in this society. If you just drink enough ink, why, you're tops in this society - as a thetan, of course.

Follow that immediately afterwards - you do, then, the bracket of five on the MEST universe without any regard to sacroiliacs and then immediately after that you would take a look at him.

All right, we have some indicated drills and processes here, now, as an expansion and enlargement of exactly what we've been talking about. And I want the - the auditors who have been doing the auditing, now to get some auditing themselves for the remainder of the afternoon.

And by the way, the ping meter - that's where it really would shine, in its present situation there. It's where you found an anesthesed area. Just have him put it up in a bracket of six, that's all. You get - on this basis, you found his nose was anesthesed, so you have him put his nose up on the basis of "no noses" in a bracket of six, making space out of no noses.

That concludes this lecture but not the assignments.

It's really interesting. You'll find some people who have had a lot of tooth trouble; they have lots of tooth trouble. You put up mouths and so forth. We've gotten down into a reason why when we've gone into this, you see.

Well, of course, the best and mostest reason why is they're not supposed to be there, they're supposed to be elsewhere. So, if you just get the idea of "not supposed to be" and put up the idea... Now we've really got the case at the vanishing end of nowhere, see. I'll go into this very quickly and make a clean statement of it.

You run the absence of an anchor point as the positions you use for the anchor points. See - no nose, no noses no faces up eight times, no noses up eight times.

And the next thing you do is, of course, use ideas instead of anchor points. You'll find out that practically anybody who's bad off in this society is using a word - masses of words as anchor points, or masses of money as anchor points; one or the other. This is just open and shut case. Or an absence of money as anchor points, or an absence of words as anchor points This is the way it looks, works, is.

Now, "mustn't be there" is used as an anchor point or "must be elsewhere" is used as an anchor point.

And now let's go right on into Acceptance Level Processing on space. What kind of space is acceptable to this preclear? And we're off onto a brand-new technique, you see. We've just moved into IV with Spacation. What kind of space is acceptable to him? Spaces full of cobwebs? Spaces full of dead bodies? Spaces full of excreta? Spaces full of what? What kind of spaces is he in?

Well, some of them will just say, "I can have bad space. It's got to be bad space." So, we put up "bad space" all these times. Bracket of six on "bad space." Any shape to it? Any points in it? Nope, just bad space. Bad space for themselves and bad space for other people and other people making bad space for somebody else's and so forth. Because we've got again - we've entered consideration into anchor points.

Now, there's one thing, is what I told you yesterday, it'd probably take eighty or a hundred hours to batter cases to pieces that were in this particular class, but it's very simple. They have forewarning on how to keep their anchor points from being rearranged by you. See, you've told them the technique; they know the technique is going to be run on them. So they have an opportunity, then, to make set the anchor points which they have, so that you can't disrupt them with this particular threat, you see - pam.

But there is one that busts it up. And that, again, goes back to what I was telling you the other day about effects. Using "bad cause" as anchor points or "bad effect" as anchor points - just the thought "bad cause and bad effect." It's quite interesting.

What is more interesting than that is using as anchor points "the effect that can't happen again." Because that's where they're stuck on the time track. Every time somebody produced an effect upon them with auditing, they knew that was one they couldn't have again. See?

And you say, "Well now, what happened to you in processing?"

"Oh, one time I got this marvelous flash of insight into everything and I just don't get it again. And every time I turn around I seem to get this marvelous flash of insight, and yet I just - I don't get it anymore and so forth. I guess I'm just deteriorating and decaying."

Actually, what they're doing is just following out their goal of vanishing on all the dynamics. The mock-ups vanish. They vanish - the - reality vanishes, the mock-ups vanish, the anchor points vanish, they - everything starts vanishing, vanishing, vanishing and thin pretty Soon they're gone, too. That was a relief! See? Been punished too much.

So, let's just look at that This could be - the word is overly severe. This isn't the succumb case; this person is trying to survive. He's; trying to survive, now, by being somebody else or being somewhere else and having another body certainly.

& And this is continuing, continuing this morning lecture period, a little more on this. Pretty recent. I just want to go over this with great rapidity here.

Continuing the morning lecture of the 29th of October.

You can rationalize, that is to say justify or excuse, any of this you want. But your overt act-motivator sequence is what is worrying your people who are trying to succumb. That should have been obvious to you the second I said they were trying to die. They had been punished too much and this means they could be punished more. And they don't dare give anybody an excuse to punish them any more. So their overt act-motivator sequence is worrying them.

Now, you can take somebody in Scientology and you can make him run as anchor points - this is very specialized to Scientology or Dianetics - you can make him run as anchor points his concepts concerning the subject. such as his overt act-motivator sequence. See?

You just say, "All right. Now make eight anchor points out of the overt act-motivator sequence." It's very interesting. Use survive as anchor points; use this as anchor points, that as anchor points. You can simply blow him to pieces.

Now, a case who's really - who's really - doesn't want to cave in but is caving in, and so forth, will use as anchor points just this one thing: processing. That's very hard - I see a couple - a couple of - a couple of Step I's who are well up around here having to think for a moment in order to get that one in, but that's a fact. These people's condition is being solved by processing, not solved by getting well; because they know that in these techniques I've been working with and getting together here and we've been studying and so forth that the method to die painlessly is contained - to "not be anymore" with a total justification for not being anymore. You see? I mean, that's their total...

And they're trying to solve "How do you die - how do you - how do you pass away and not be - how do you render yourself unpunishable so that you can get a few licks in yourself so that you can't be identified and still retain some personal memory on what you're doing?" The - death is not the perfect solution. It's a good solution, it's not a perfect solution, you see, so they're trying to better this solution of death before they take it as a plunge.

Now you'd say these people are suicidal. Well, every once in a while out in public or something of the sort, I've mentioned the fact that psychoanalysts during psychoanalyzing and the three months succeeding work with a psychoanalyst, the incidence of suicide is fabulous. Oh, it's just out of sight.

I mean, any psychoanalyst - you could just sit back knowing nothing about his practice or anything of the sort, simply say, "Well, the suicides during the last month rather condemn what you're doing, don't they?"

And he'll explain to you carefully how these three boys and these two ladies all came to him too late. He could have done something for them but they came too late. You didn't even know there had been any suicides in his practice. Well, you can just pick up a shotgun and just fire just on that basis and you've got it. There sure were.

So, why is that? Well, these people have gone to the psychoanalyst to find out if there's some easier way to solve this thing than by going crazy or by dying. "Is there some way I can unload all this affinity with which I'm burdened so that I can then be completely free?"

These people who want to - want to be completely free, they want to be free of affinity so that they can kick the bucket. And they find out there's no solution in psychoanalysis, so they just chuck in the sponge and blow their brains out or take strychnine, so forth.

& The easiest thing, the best thing a psychoanalyst could have done, knowing as little as he knew, was to have a book on painless ways to commit suicide. I, as a matter of fact one time, was very, very interested in the medical examiner of the city of New York, he was a good friend of mine. He's what compares to a coroner in the rest of the country, and this chap gave me quite a rundown, quite a rundown on how you went about the business of committing suicide painlessly. He'd made a great study of it, because he'd had lots of subjects to look at. And I should go and get hold of that fellow, and get him to write a little booklet on the subject in the society. And you'd find out it'd really sell wonderful, "A Thousand Ways to Commit Suicide Painlessly." Fabulous, huh? Alright

There's - you know what to do about such a case and pull it apart? Acceptance Level Processing on space. He doesn't want to be there. Use the anchor points that - "the effects which won't happen again," "the effects in processing which I can't have," you know, no effects from processing as anchor points. You'll find out that he starts to settle down to a long grind. He's depending on processing. He isn't depending on getting well. He isn't depending on getting better. He isn't depending on being more able or anything else. He's just depending on that one thing: processing.

You take a capitalista - we have such a case, don't we? He's using as anchor points "dollars" and "no dollars." And that's the total anchor point.

You wonder why it is - you go into a home that's not furnished in any good taste or anything... Somebody out in the street, he'll sit around and tell you about having made twenty-five thousand dollars that day by hooking Joe Blow and company, and so forth, and if you involve him in domestic affairs, it will simply be the cost of the rug, the price of the - the price of the van Gogh he has hanging up on the wall. I see a number of sighs. Evidently you've had conversations with these people. Van Gogh doesn't exist there, you see. There isn't a van Gogh there. There's something like seventy-five thousand bucks hanging on the wall. Everything is money. That's an anchor point. Money is an anchor point, that's all.

Now, of course, their contest, then, becomes, "How do we grab everybody's anchor points? How do we get hold of everybody's anchor points?" Then "We can't have this kind of anchor point, so let's jettison this kind of anchor point and we'll have charity one way or another, so they can... We won't have charity, we don't want charity. You can't make any money out of it. Let's give it away." And then they find out, belatedly, that it cost them money too, but it was kind of surprising but that's the way it goes.

Everybody has an anchor point which he's fixed on. If you hit it, as a pc, he's a solved case. Everybody has an anchor point he doesn't dare look at. Now, we've been going heavily on "he won't look; don't think, look." I've been waiting for somebody to pick it up on the reverse side because this process has been out long enough; matter of fixed and unfixed anchor points. To date nobody's mentioned it to me and they should have. Just bait lying there. There's the guy who's got to look. He looks and he looks and he looks and he looks, and he - that is to say he can't get any space into what he's looking at, so he can't disperse.

Now, you get the idea of a fixed beam going straight at one thing only. That's no space. That is no ability to spread one's attention span. And the preclear who's handling his body with beams has surrendered to this idea that "we've got to have these fixed spans on these certain subjects which are unmovable," and that, in essence, is automaticity. You just start letting space into it.

Well, how about letting space out of a case? Do you know that people will actually - they love this exercise of trying to make hard space. Trying to make hard, close, closed, tight space. So, we start running brackets of six whereby we pull in all the anchor points to a nice, tiny, closed-in space. We don't let it explode, you know. Just have a small space. And we pull in eight anchor points and we again have a small space. Eight anchor points and we again have a small space. So, bracket of six - people making small spaces for other people - bracket of six. Tiny spaces. Infinitesimally small and a great many of them for other people.

Some of these people have let in enough space, accidentally into their body at one time or another, so they felt their body - some of them have - they're just suddenly going to go this way - poom They've got too much space, too much affinity, too much this and that. So, just let some of it out.

Will - people will begin to desire hate. They've gone too far on the no-space brackets.

I don't know - see anything else on this piece of paper. I haven't looked at it so far but it says up here at the top, it says "Suspense, guilty, wrong”. You know, must be elsewhere in terms of an anchor point. That's guilt. Or "I must be here and I'm not." Guilt. Now, get the lag index of the MEST universe. Star explodes, a million years later, by MEST universe waves, you see it. You could see it instantaneously yourself.

So, something might have happened somewhere which is now traveling toward one, see, and he probably shouldn't be there; and his is anxiety. "I probably shouldn't be here because something is liable to arrive here at any moment, although I can't perceive anything, even on the road to arriving here." That's the lag. And you'll find this person runs longer and longer communication lags. They're more and more concerned with the fact that it takes time for the message to get to them using MEST messages.

All right. Now, I notice here, I've got start up - this is quite a button-wasting effects that could be produced on him. This is a button in passing. Use that for anchor points: effects that could be produced upon him, and you'll find out all sorts of strange things turn up to your pc.

Now, it says, "Thetan wastes by giving things to the body, or giving effects to the body," and that is the little hidden sneaker that a person processing who isn't well exteriorized yet runs into. He thinks it's perfectly reasonable because he's doing it too. He thinks the fellow has an effect because it happened to the body. Nuh-uh. The fellow has wasted an effect if it happened to the body. The thetan wastes effects by having them happen to the body. See, that's a method of wasting.

Now, as one produces effects continually, the motivators must be adequate. You go on producing effects all the time, and all of a sudden no effects are produced on you, boy, it's really out of balance. See, you get stuck flows - good old stuck flows.

Well, we've covered negative anchor points. Here's a real hot button: there's "hope" as an anchor point and "reassurance" as an anchor point.

I ran "reassurance" on a case one time. I ran two things on a case one time: "Reassurance" and "logic" was all I ran on this case using some of these techniques I've been giving you. Gee, I thought I'd have that fellow splattered all over the universe before I got through. I've never seen quite as much commotion. Oh yes, and "stopping the emotions of the opposite sex." That was it. "Reassurance," "logic," and "stopping the emotions of the opposite sex" and "hope." The guy goes to running consistently on "hope," you see, he's waiting for. And you as an auditor, trying to get an effect, well, he can only wait for an effect. This is rather silly, you see. He's lag-timed behind the auditing.

Also knew a case one time that couldn't get an effect from auditing until two days had gone by. That's a nice long communication lag. That's all it is. You process something on this case and two days later, why, it would happen. How far removed might you say this person was from his own reality and control? Pretty far.

And "the absence of effect one had once" - just as a button. "Let's use as anchor points now 'absences of effects that you've had.'" Just another way of stating something we've already been going over And particularly "no face" and "no body" as negative anchor points.

What's a negative anchor point? It's using something that isn't there as an anchor point. Using the fact that it's not there. Now, people do this who are rather high-toned. "Well, gee, it's a beautiful day. There's no trouble anyplace." I don't know how these two things go together, but they manage that. "It's a beautiful day, very restful. Wonderful, I just feel great, there's no trouble anyplace." It might be a terrible day, you see. They just don't see any "day" about it. The only thing they're concentrated upon is the fact they haven't immediately been accosted by trouble.

Now, people get to a point where they will actually live from moment to moment on the no anchor point of trouble. See, no trouble. They can live for minutes, and breathe - no trouble.

Another thing, of course, that goes with that "mustn't be" and the negative guilt and so forth - that is a Change of Space drill. And it runs as a Change of Space drill. Let me make that much more clean That doesn't belong with anchor points; it's Change of Space drill - Change of Space Processing.

All right, now, "Let's get the place you're supposed to be and aren't. Let's be in a place you're supposed to be and aren't. All right, let's be where you are and waiting. Supposed to be and aren't. Where you are and waiting." You'll tear his flung-dunged head off. You can actually use that process and just take a V and just bodily blast him out of his body. Blast him! I mean, that's it because you're running back through - but you can expect him to be pretty doggone jittery in running this process.

Now, I heard of a little girl yesterday - just as a footnote to this lecture this morning, I heard of a little girl yesterday - somebody should take this lady today. I'll mention this case. I have to mention her name because it's her case. Her name is Allgood: A-l-l-g-o-o-d. And of course what she's using as anchor points, now that she is unable to be all good, is of course, "no evil." And she actually has - she actually has a rough problem. She has a little orphan and wanted processing for the little orphan. I said we'd better process the guardian of the orphan first. She - by the way, I didn't say that; she said so.

And a doctor cooperating with us gave this little orphan a short run - pam, pam - just nothing, you know. And upset the case just out of this world. Not because of inexpertness. What do you know? This is one of the first times I've ever seen this happen. Must - might have used it too rapidly and didn't use it on a gradient scale, but Contact Processing failed in that doctor's hands on a twelve-year-old girl. Step VII, SOP 8. She couldn't get the little girl to touch the room there.

Now, the girl's guardian was going on and telling me at great length all about this, see. And going to tell me all about the case, and just simply told me in just so many words what the other doctor had done and all that sort of thing. And she just no more than went into that and said, "Well, the little girl was terribly upset and very agitated after she'd seen this doctor because the doctor wanted her to touch the wall, and was just very nervous and very upset so I wouldn't want that to happen to her again." Well, I don't know. There might have been a personality conflict or something of the sort, But my God, look at that case!

I said "Madam you have told me all that you need to tell me concerning this twelve-year-old case." This kid is in school and... Parents are divorced, nobody cares about her, nobody cares for her or anything of the sort. But this case is - this is a running "not want to be in this universe" with only the velocity which could be assumed by a twelve-year-old girl. Nobody can get her to touch the room, my God, how does she bear to walk? She probably doesn't.

If you were to process this little girl, you'd probably start in right there, the constant point of contact which is her feet against the floor.

Very, very interesting. I've never had - never even had a psycho take off on that line. This doctor must either have done it to her too fast, too much rapidity involved, or just flubbed the dub entirely.

Okay. This lady, by the way, will be in for a 3:00, and I don't know, we could just do all kinds of things with this case, undoubtedly, but I think a short run by somebody here might do something interesting - just a charity case. Somebody for you to work on.

Now there's somebody shaking his head - "Oh, boy!"

What would you do with that case, though? I've just told you about the lady. What would you do with the lady?

Miss Allgood, her name is.

Male voice: Use "no evil" as anchor points.

Huh?

Male voice: Use "no evil" as anchor points.

That's right. And also because it's Miss Allgood, you would put up "no man" as anchor points. She mentioned it to me. You could do this on a six-way drill. I wouldn't go at the case that way. I'd get real smart about this case. I'd get real sneaky about this case. I'd do something very covert with this case. I'd use SOP 8. I'd say, "Well, all right, now, can you get the idea, or can you be a couple, three feet back of your head? No? Well, that's just a test we use, you know. No reason to get upset. Now, it just measures the amount of reaction time you have on being startled. Good. Now, the next thing is, can you get a picture of yourself out there standing - facing...? Oh you - well, that's all right. You don't have any truck with these mental pictures. Well, it's all right. Some people do, you see. It's very wrong when they do, of course, we know that. All right. Now, let's see if you could get a white ball out in front of you there and hold it steady." That being still the best test I know for a III without going into any further lines. "Oh you can't? It keeps flying off at odd angles, hm?" Well, I would just jump IV and go into Exteriorization by Scenery, maybe. Probably skip that, and V. "Well, now, let's remember something real." And there you would go. The lady would feel much better and everything would work out fine.

In the case of the little girl, if somebody had done SOP 8, they might have sprung a lock or two or oriented her up to a point where you could have done step VII, because the little girl might have been in an anxiety concerning what was going to happen to her in that office, see? A lot of factors could have entered in there. That's just a bad deal when you can't get a little kid to touch a wall or something.

But I would have asked her to touch some MEST, not a wall. A wall is something that stops one, and this girl is very literal. I'd have said, "What is the realest thing there is in this room?" you know. Just routine, standard procedure. "What's the realest thing in this room to you? Oh, I am? Well, okay. What part of me is the most real? My shoe. Good. Let's see if you can touch it. Good. Now, let's see if you can withdraw from it. Good. What's something else real around here. Oh, still me, huh? Well, all right. Now, how about reaching out and touching my fingers. Okay. Now, we're talking. Good. All right, what else is - looks good and real to you? Oh, you think that pack of cigarettes looks quite real. Why don't you reach out and touch them now.”

It's a gradient scale of doing Step VII. You let them determine what's real to them. In other words, you're asking them, "What can you touch around here?" When you say, "What's real," you're saying, "What can you touch?"

A person's reality is as great as they can touch the anchor points of space with which they're surrounded. There isn't any more to reality than that, man.

If you ever - if you ever had one of these shocking, horrible moments of awful bad news being given to you and have felt the entire MEST universe just move in on you like that and be right here, for instance. You'll know, if we've ever processed a preclear, he - when you hit these moments of unreality, it's just completely unfixed attention, see. No attention. Mmmm. You're at a point of the no attention, which is no anchor points, no space, no nothing, and you've brought him to the inconceivable point of zero.

What's his reality on that? Well, he can't have any reality because it's untouchable in the first place. The actual thing he made there is something that can't be touched. Every once in a while you'll have a preclear mock up something, and you can't find out anything about it. You have a hell of a time. You can't discover what he has mocked up. They'll do that for two reasons. Way upscale, that's just a game - mock up something that you have - that has tremendous no significance.

Okay, any questions?

& Male voice: Is Allgood the child's guardian or is she someone else?

& She's the child's guardian, but I don't know quite; the child lives with her all the time. She probably is having a rough time of it, a little bit. She's a bit, got a lot of energy starvation. I imagine a case a bit better off, but more determined morally than the one you processed about, a short time ago. Well I'm not asking you to do anything, you can stop looking disturbed, Tooley. You have a preclear, I have to push this one around.

& Male voice: She said she wanted to see me out in the hall yesterday.

& That's right. That's right, I saw her.

& Male voice: I wonder if [continues with "you could" below.]

Male voice: You could tell me - how did you say you'd go about Step II? I missed Step II when I was writing down...

You shouldn't have been writing it down, now, that's right, because that piece of paper can't remember a thing. That's all right though. When one turns around and starts to instruct on this, only to have to be able to do it, it's a good thing to have notes. But it's better to know your subject A to izzard.

Now, on Step II, what would you tell them to do?

Male voice: Yes, I...

Oh, I'd just get a picture of yourself out there with your back to you. Preclear would make all sorts of weird comments to you when you ask them to do these things. "A picture of me? Well, that's childish. One's not supposed to have pictures," you see.

Actually you could take the preclear right at that moment and do some very interesting tricks with them. You could say, "All right. Get something out in front of you; say, 'Now I'm supposed to. Now I'm not supposed to. Now I'm supposed to. Now I'm not supposed to.'" Just have something say that in front of the preclear if he - and he goes nyaa, whoa. They sure know something's happened.

Okay. Let's call it a morning.

& On the assignment...