This is the fifth evening and the first lecture of this last evening of this series.

Okay.

I'm going to talk to you tonight very swiftly. In two hours I'm going to cover the technique which we will call Standard Operating Procedure Utility and give you the basic modus operandi of how you become things and what the most general fear is with regard to living.

The main difficulties that the auditor has is to force somebody just to give him a little attention. That's the first thing. So, that becomes part of an auditor's skill, then, is to attract attention.

In other words, in these last two lectures, this last two hours, I'm going to try to cover with you what man has been trying to find out for an awful long time.

How do you attract attention from your preclear? Well, one of the easiest things to do is to be what he is for a moment and do what he's doing. Imitate him, in other words. Mimic him somewhat, a little bit. In other words, agree with him. "Yes. Yes. Yes. Your mother beat you. Yes. Yes. Your father beat you. Yes. Your schoolmaster beat you. Yes. Well, all schoolmasters are pigs. Yeah, they're all dogs. That's right. Yeah, they beat you and it was your early life. I know it's the tendencies toward homosexuality in the school that did it all. Yes, yes. Mm-hm. Oh, that's very — that's a very, very unusual case. Oh, very unusual. In fact, you're probably the most unusual case I have had since half an hour ago. Yes. Yes. Mm-hm. Mm-hm. Mm-hm. Yes. Yes. Yes. Well, what was that again? Oh, you meant — you meant that was your mother and father that beat you. Oh? Oh, yes. Yes. Yeah, it was your mother and father that beat you. Now, the rest of the family, they kind of mean to you too? Yes. Yes. Yes. Yes. Yes. Well, where was your family located?"

When you know you know this material, you'll know that you know. It's very simple material.

You've got him! You see, you've just changed his course just a little bit — changed the course of his plunge on communication and you've agreed with him and he has the full secure feeling now that he can be you at any moment. That is an underlying something or other. He can be you at any moment, you see. And then, imperceptibly, you just reverse the poles on him and you have him be something else.

We have here, first and foremost, how you become and why people don't become.

Do you explain anything to him? No. You just ask him how good he is at this sort of thing. You just want to check up and find out how bad it all has been. And you give him the processing, and you can let him wait in vain to be processed. You can go on testing him and checking him for many hours. Interesting, isn't it? That's something that's quite interesting.

All right, what is the modus operandi of becoming? How do you become something?

An inanimate object is the best for you to use, particularly inanimate objects that inflict injuries and so on. You'll find that he very occasionally gets somatics as he runs these things. That's because the objects which you have run him into have hurt him.

Well, you know how you become something. You study. You apply your-self. You get some influential friends. You inherit some money. You do other things. And if you do all these things well and if you have a good honest face and your service record is good and your fingerprints aren't on file in too many places you will become something.

Do you let him hold on to these things and get sympathy for them and that sort of thing? No, you just have him be something else. You find out he can't be something as a whole, then find him — have him be parts of it.

Well, that's — that would be nice if it were true. It would be very nice if it were true, because you have two billion Homo sapiens currently engaged in following that modus operandi. You also have an enormous number of insane asylums and prisons. I wonder if there's any coordination between those two facts?

Now, he's afraid of turning into things. So don't — don't scare him. Don't bother to scare him. The rest of the world is busily engaged in scaring him. You don't have to, too. He's afraid of turning into things. And the funny part of it is, he will go ahead processing on the sixth dynamic completely unaware of the fact that he has really fallen into your net beautifully. He'll go ahead on this. At any moment you're liable to get down to the more serious things in his case, but you just want to check him first. Any moment you're going to address this horrible problem of the fact he's liable to turn into Papa, see? Any moment you're liable to go into that. But this gives him an anxiety. That's right. It gives him an anxiety to go on and be these things. Be these innocent, mild, quiet things.

Unfortunately, for Homo sapiens, his modus operandi of becoming is just about as reverse-vectored as you could get. He's mired down in the MEST universe, and he thinks he has to follow the course which led MEST into being MEST.

Now, that is, actually, not particularly covert. But it just happens to be handling his wits. There isn't any reason why any human being, once you've got this down and once your own case is up along the level, should ever disagree with you again as long as you live.

Now, you understand that we have scouted and plotted, and in the work which has preceded this work, we have a very complete map, really, of how MEST became MEST. We know the basic thing: the thought, then some space, then some terminals and lines and particles and then we get counter-action between two terminals and they get driven tighter and tighter together. And then they know they mustn't be each other; and then the next thing you know, they are tighter and tighter, and it goes right on down the line. That's the dwindling spiral.

Now, nonadmiration for these MEST things, toward him, has put him into a level where he believes he is no good. But he'll get proud of himself after a while for being able to be with such expertness. So give him some praise. Give him some praise. Work it on the praise basis a little bit. All of a sudden he says to you rather interestedly, "You know, you know, golly, that chimney — boy, I really am a chimney. Yes, sir!"

Well, that winds up, evidently, in conservation of energy. Winds up in the laws of physics: interaction, laws of motion, all that — inertia, so on. These things all evolved from that upper line.

And you say, "Well, boy, you're pretty good at this," something like that. Just lead him along.

And if you want to have some fun sometime, why, take a week off, and just plot for your own satisfaction from that, on your own initiative, just how it came about from these basic principles and you will see that it is really quite simple.

The reason you want two terminals there is so you don — really don't go into agreement with him at all. And that was why we have suddenly sprung two terminals in here, amongst other reasons, but why it suddenly becomes not just mildly a good idea. You sure better had. If you're going to agree with him verbally, mentally, you sure better not have him as a physical object there to agree with, too. Or you'll get in the same shape as a poor psychiatrist I saw one day. Walked into his office and he was imitating everything. Every-thing. Anything that came to his view.

Having evolved this, it is going to take me probably the next twenty years to write enough material on various subjects in order to cover behavior aspects in man and in the physical universe. It's probably going to take me that long to do that because there's a terrific amount of complexity comes out of this little simplicity. And the background data which I have accumulated makes it necessary that I go ahead and do that just as part of the responsibility.

Now, you're going to find that there are patients that as soon as you tell them to be something, they start to operate as it in their muscles. Don't worry about it. Just remember that wherever you're processing people, reduce the number of items which can be broken to a minimum in the environment. That's all.

But as far as the overall look is concerned, it's very simple.

Now, don't start worrying about the fact that he goes off of the couch and is on the floor, and while he's busy being an automobile he keeps banging his elbows against the floor. Just take note of this and next session have a mattress down there.

Now you see, then, that the track of evolution from space, terminals, "Let there be light," and so on, right on down along the line to hard matter and no space and great value and everything scarce, you see that agreeing with this modus operandi will of course take you right straight on down the line on a dwindling spiral until for all intents and purposes, you aren't.

I have actually seen a preclear practically beat himself to pieces this way. And you say, "That's horrible. He should never have been permitted to have been processed without some kind of a mattress or something of the sort. Look it. He fell off the couch and he did this and that, and he got a big bruise on his forehead." Ah, he's lots better. So what!

You see how that would be?

It's better to process him, in other words, than to worry about the rest of him. That is another reason why you shouldn't process late at night. You tell this fellow, "All right, now be a train." This guy has looked perfectly sane to you up to this moment and he says . . . And there he goes. You're out! Lease broken because they heard him three blocks away.

If you agree with the MEST universe, you're agreeing with this modus operandi. And if you agree with this modus operandi, then you can become the MEST universe under compulsion of agreement. Do you see that?

Now what happens to sonic? Well, you have him be a voice. It's easy. And any time it comes to your mind, flip in something hidden for him to be. That is, don't say, "Be something hiding in the coal cellar," or something like this. Don't worry too much about getting that broad about it. But slip in something like "Be a sound wave. Be a light ray." See? "Be night over London."

By agreeing with the MEST universe continually, you also pick up the compulsion to hold off anchor points, to defend, to protect, to get in there and fight, to keep terminals apart, to criticize, evaluate and flounder around like mad, and never find any peace of mind, but find less and less and less peace of mind, until you find your entire environment is falling in on you!

Oh, he liked that. "Gee, yeah. That's good." See?

You can't hold those anchor points out there anymore. The horrible joke is there were no anchor points to hold out there.

Now, differentiate. Don't get a consecutive story going. Differentiate very well.

But this is — this by the way, as a highly generalized solution, has been tried many times. There are many people who have come up in the last few thousand years and said, "All is illusion, all is illusion, all is illusion, God is good." And they buried them, too.

Beingness is perception and so he's going to be able to perceive better.

The agreement with the MEST universe — well, you had to know what you were agreeing with before you knew whether or not you were agreeing with it! Well, that's why we've got a map. We've got a good map. And therefore, it really isn't dangerous for you to approximate the MEST universe. Not if you know how the MEST universe works. Not if you know what human behavior is and what energy behavior is in relating to it, then it doesn't become dangerous even vaguely, to play along with any part of this. You can do anything you want with it.

Your role as an auditor, then, is not being expressed near so much in terms of how adroitly you can handle 865 new techniques which I just invented which you were beginning to wonder if that wasn't your role as an auditor. Your skill really doesn't have to lie in that direction. Your skill lies in handling people. What is the adroitness? What level of case can you reach? That's how good you are. And what shape are you in? That's how good you are.

Just because you have a bottle of milk sitting in front of you is no reason why you mustn't drink the milk, you see? If you have a bottle with "contents unknown" sitting in front of you and you say, "Well, am I going to take a swig of this or am I not?" you're in the same frame of mind as most people are with regard to MEST: "Should I own it or shouldn't I? If I do, what'll it do to me?" You know, big doubt, uncertainty.

Because of these things you could look around in life, you can under-stand it a lot better. Therefore you can do a lot of things. You don't have to sit down, then, and hold tight to some knowledge. You can relax. You can relax, get yourself into fine shape and you will certainly be able to understand people. If you don't know how to understand people, something of the sort, that's because you don't want to be people. That's all there is to that.

But if you know it's a bottle of milk, you can go ahead and drink it. And if you know it's a bottle of poison, you can throw it in the garbage. That's about all there would be to it in the line of thought.

I'll give you a little rule of the thumb about personal relations. You — sometimes you wonder about personal relations. You wonder, "Well, how in the name of common sense can I tell anything about personal relations?" And "I don't understand men" or "I don't understand women" or "There's some-thing going on." Preclears will be saying this to you. There's a piece of advice to give them on that that actually permits them to differentiate up to the time they get up to a level. They can differentiate amongst people and be perfectly happy about it if they can do this. They take three categories. There are good people, which is to say only people that are friendly to them, you know, interested in them — they're interested in. That's — we'll call good people, merely meaning they're good for the preclear.

But if you thought that there was always going to be something unknown about it then you would always be in the position of a man sitting at a table, looking at a bottle, "contents unknown," and you'd be trying to look into that bottle to find out what was in that bottle. Should you drink it? Should you throw it in the garbage?

And then there are the people who have a pitch, a colloquialism meaning they want to gain something by the association. You can count on the fact those people are going to use hidden influences and control mechanisms. They got a pitch, they're always figuring, so forth. And they start — and how can you identify them? They will almost instinctively start to work this "sympathize" angle. They're always the guy with the pitch. Sympathize: "You poor fellow, you work too hard." Oh, there's a thousand categories. "I am a good friend of yours." But what is the main characteristic of this fellow with the pitch or this woman with the pitch? "Others don't appreciate you but I do." That is the main — the main approach. That always is the approach. And sympathize about your hard lot. That's the guy with the pitch.

And that is what is known as a maybe. And a maybe is a double flow, or a controversion, to such a degree that an individual is hung up on it. And the anatomy of maybe is the anatomy of procrastination and suspense and duration, and all the rest of these things. Maybes dissolve because energy dissolves under the impact of admiration. You can admire anything that is enduring and it'll fall apart. Stop admiring my car out there!

And the third kind is guys who aren't interested and women who aren't interested. They're not interested. All right, if they're not interested in their job, they're going to leave something undone. You get uninterested around MEST sometime or you get around somebody who's not interested in you some-time and, boy, you'll wind up in more wrecked cars and under more pieces of broken glass, and so on. They're just not interested. That is the total test. They're not very interested. That means they might be very interested in other people, they might be very interested in other things, but to you they're just not interested. They don't interest you; you don't interest them.

Now, here we have then — we see this anatomy of maybe. "Should I drink it or shouldn't I drink it?" Now, what state do you find — well, let's be real blunt — what state do you find all of your preclears in? You find one in one peculiarity and another one in another one, but there's one thing that is common to every preclear, and that is he's sitting on the middle of a maybe. He has an uncertainty.

So they fall apart into these three categories. There's only one of those categories that's even vaguely workable, and that's the people who are good for the preclear. That is a friendly basis, no pitch. They're interested in what happens to the preclear.

Now, you could flounder around and you could resolve several uncertain-ties out of his life, and what do you know, he becomes more certain. And when he becomes more certain, he is more able to act. And as soon as he is able to act, then he is well. Now there, as far as you're concerned is — ever since we had Technique 80 (we have tapes of that here) we've known this is the case.

If he insists on associating — people who are not interested, you as an auditor can fall flat on your face simply by dramatizing this one: trying to interest people in life. And there's hardly a person here who hasn't fallen on his face trying to keep people going and get people interested in the future who aren't interested. And it'll break your heart. In the absence of good, solid, reliable processing you don't do anything for them. You can process them and do something for them, but don't try to do anything else for them because they're sick. They've failed so heavily with MEST that they're no longer interested. And I don't care what kind of a manifestation they're putting on — they like to be insouciant or something of the sort about it all and offhanded about the . . . They're licked. In processing you can do something for them.

If you could resolve a maybe, why, you were in good shape; or if you could just make him ram through some communication lines to some doubts. The second he'd run his communication lines out to his injured knee or some-thing of the sort, he was in communication with it, why, pow! he didn't have any injured knee anymore. You should test this sometimes just as a basic peg on which so many of these discoveries are founded. If you throw a communication line into some part of the body which is ailing and just insist that the line go there and the line come back from that part of the body to you — just insist upon it — you'll see pain blow up. It just — it just disappears at an awful rate of speed. And this is communication. So communication was important. I found out empirically that communication was more important than anything else.

Well, many an auditor goes by the boards in getting a preclear who isn't interested and trying to interest him in Scientology. Many an auditor, he just winds up in the soup. They're a problem in accessibility and therefore they're a case. All right, they're a case.

Actually, communication is more important than the maybe because the maybe would merely say, "Do I dare communicate with it or not?" That's all a maybe is.

So, I just make those finishing remarks on the basis of interpersonal relationships. You don't have to beat the drum very hard. But you should concentrate upon your personal presence. And your personal presence depends upon your ability to be anything. And that's all personal presence is. You concentrate on that level, get your own case up the line. You know this process and you know why it works. You can go back and at your leisure understand and know a great many things here about human behavior, stimulus-response mechanisms — all this various things. What is the associative restimulator in the environment? All this material is interesting, quite interesting. But the vital material of you as an auditor is to know and put into practice conscientiously this simple process of Mock-up Beingness, be able to carry it through, stay interested in it and in you as an individual. You as an individual are very — then very important to the process. Always the individual has been important to the process because he establishes better levels of accessibility. This is very easy.

So the fellow is in the halfs-twilight, the twilight of "maybe he'll communicate and maybe he won't communicate, and maybe he should and maybe he can't, and maybe, maybe, maybe, maybe, maybe," and there he sits.

You can use this now in groups. And as a group of auditors you can be processed by this a certain percentage of the time. You can process each other on this and you will find out your cases will come right straight up the line and you will walk right on out.

And if his mock-ups are bad and he can't see them, he's sitting on a maybe, but he's also sitting on "Do I dare communicate with it or not?"

Now what about SOP 5? Just as good as it ever was. And you had better know SOP 5 simply because it tells you the various things the thetan can be expected to do in the vicinity to his body and himself.

Now, we know basically that space — and you can test this so easily — space is compounded from just a viewpoint of dimension. So if you don't have a viewpoint of dimension you'd kind of automatically be everything, wouldn't you? Unless you were holding down an arbitrary dimension that you said nothing else dare occupy. The second you were doing that you were saying, "Something can hurt me." Now, you see the difference there?

But here's double terminals — were standing in your road. And the old man double terminal: Thetan steps out of his body, he snaps back in or he can't get out of his body at all. That's because the second he's out of his body, he's a double terminal. He might be able to get out of his body if you suddenly say, "Be on the moon" or "Be — be in South Africa." But if he steps out any-where in the vicinity to that body he's a double terminal.

A fellow, he just doesn't bother to take a viewpoint of dimension. If he did that, he'd get this funny feeling of "Gee, you know, I'm just everything. I'm a whole universe," if he just didn't take any viewpoint of dimension at all. It's a strange state of mind. Well, people won't let themselves get into that state of mind because this is dangerous. They know that the second they did that, everything would move in on them right now! They never make the test.

So some very rough cases if you suddenly say, "Be in South Africa," they'll be in South Africa, suddenly, out of their body. That's far enough away so they don't get a double terminal.

There is an odd technique of simply letting go of what you're holding on to. You'll find the individual is holding on with great force on to various things in his body, and he knows that there's pressure there. Well, instead of letting him try to rub out this pressure, let him just let go of what the pressure is pressing against. You just sort of — it's just sort of a letting-go technique. It just sort of sorts it out. Well, you just stop his guarding, you stop his protecting. And what do you know, the second that he does this the pains go away. He just lets go of whatever is facing whatever is pressing, you see, because he's creating the pressure both ways. And when he discovers this, he thinks that something alien is pressing against him. Now, he doesn't even know that he's holding the thing which is being pressed against, and he doesn't realize that he's also the alien thing doing the pressing! And as a net result, he can get into a fine state of divided terminals.

But any difficulty you have with Theta Clearing is then the difficulty of the double terminal. It is not solved by double terminals particularly. It is solved by the ability to be many things. If the person keeps on having trouble with the double terminal, keep mocking himself up in front of himself. You can put that down. That's a good one for you to know. That's — you can go into that a long time. You keep mocking the fellow up in front of himself, mocking his body up in front of him, mocking up his body in front of him. And eventually the body will be sitting in front of him, he'll be sitting behind it. It's a long process, however. You just keep mocking up his body with its back to him, mocking up his body with its back to him, mocking up the body with its back to him. Just keep putting it there and if he does that long enough and he can stand the somatics — he'd get lots of them, he'd get lots of them, believe me — why, he'll eventually get it to a point where he can hold the body there and himself here. How simple? Nothing to that!

He says, "This is not me, this is me and I have to hold that off," and then he doesn't know that he is pushing that other terminal, pushing it in, and he's creating the pressure.

So, Scientology got very simple. What I'm giving you in these lectures, complemented by your understanding of self-determinism and whatever other things you had in those early Axioms, this other material — what I've given you in these lectures should be known to you and practiced by you. I can guarantee that we can't get much simpler than this in the standpoint of technique.

Fellow says, "I've got a terrible migraine headache and it just entur--serve me all — ." Why, he's the fellow who is holding the head in such a way that this pressure can come in and press against it. He's doing the pressing and he's holding the line so that it gets pressed against; he's doing both. And if you just simply ask him, "Will you please let go of the press-in?"

However, there are some further data which, simple as it is, integrates with the earlier data which is necessary for you to have, really, before you can go into what we call Standard Operating Procedure.

"Oh, I can't do that," he'll say.

Now in — you know there's been Standard Operating Procedure 1, Standard Operating Procedure 2 and so forth for Theta Clearing. Well, the reason why we had Issue 1, Issue 2 and Issue 5 and so forth is because we knew we were progressing up to a point where we could get a highly stable Standard Operating Procedure. And so it's true. And we — so we can call this, now, Standard Operating Procedure. And to differentiate between it and Standard Operating Procedure Issue 1, 5, so forth, you just say Issue 1, 5 for the others and this is Standard Operating Procedure, which puts it over the top of these other procedures.

"Well, why don't you let go of what it's pressing against?" This is a brand-new thought to him. Yeah, this is a hidden one. He didn't realize he was holding on to that, so he lets go of that, and there will be a sharp flip as the motion moves on through. He's let go.

Now, first and foremost in all this, you have, of course, the eradication of postulates — contrasurvival postulates from the mind of the person. Now, you understand at this juncture that we're not interested in the human mind. Funny, isn't it? We're not interested, really, in the human mind. The human mind composes and resolves problems for the survival of the individual. We stopped being interested in the human mind some time ago. We are interested in that mechanism, that beingness, which is capable of being anything and knowing it instantaneously. We're interested in that capability. We're not interested in thinking about it. The second we're no longer interested in thinking about it, we're not interested in this thing called the human mind, which is at best a rather good electronic computer. And the second we cease to be interested in it, at that moment we have recognized that we are not studying something which has to survive but something which knows it will just go on surviving from here on out. Now that was your border.

What's he done? He's increased his beingness by taking responsibility for the terminals! That's all. He said, "I'm these two terminals." He hasn't really let go, you see? He says, "I don't want to be the two terminals." But he reacts best if you just sort of ask him, "Well, just let go of them." In other words, you're asking him, "Don't worry about them," and sure enough, that blows up. Now, that's just a test technique, but an interesting technique because it demonstrates so forcefully the basic truth of what we're working with here.

A preclear or an auditor had to be able, then, to come up to a very thorough understanding of that factor. He had to be able to know, without any slightest doubts, that it was a matter of mort — immortality. He had to know, in other words, what he was composed of and what beingness he had and how he went on from there.

Now, here the fellow, he's under terrible pressure all the time in the area of his chest, and he's not only doing the pressing, but he's holding the thing which it's pressing against. And he's doing both of these actions so he's having a terrific battle with himself! That's real cute. He's having a terrific battle with himself.

When we had a technique that could tell him this, and tell him this not from the standpoint of education but by processing, we were there. And we're there.

Ran into a preclear one day, he said a thetan was attacking him. Well, that's fine, a thetan was attacking him, and it turns out to be that what was attacking him was the facsimile of their assumption of the body. They didn't want to be that thetan anymore, that's why they became a body, you see? So they didn't take responsibility for that area anymore, so they said, "It must be somebody else." And they were fighting themselves like mad.

Now, I'd like to call to your attention the mechanism which is known as thought. It's a very funny thing, you'd think it would take a couple of encyclopedias to run this down. It's probably going to take me years and years to write up anything on the subject and cover the subject adequately — behavior and thought. It's a big field. It's a big, complicated field. Skip it! The mind is something that poses and resolves problems. It observes data and poses and resolves problems relating to survival. That's all. It'd take years to really boil that down, and I'm going to do that. I'm going to take a little time off and go down and sit on a rock or something of the sort, and write all that up.

In other words, they're just — this reminds you of — you've seen comedies, comedies where the lights go out and everybody goes sock, sock, sock and then when the lights go on again, all the villains are beating each other up, and the comedian has gone up on deck someplace, something like that, you know. Well, the comedian in this case is the hidden influence. The hidden influence has always gone up on deck somewhere and left you in there fighting you. Actually, there isn't a flatter statement could be made. That's just what's happening.

But that's not very germane to an auditor. An auditor isn't even re — interested in this. Isn't that fascinating? He ceased to get interested in this at the moment when he had a technique which would take any postulate, computation or circuit out of the mind in a few seconds or a few minutes, selectively and at will, without restimulating the preclear. The second that he had this technique, then he could simply look at somebody and say, "This person has the postulate — he's running on the postulate, 'I've got — I've got to be helped' " or something of this sort. I mean, he could add this up, you know, just look at a preclear and say, "I wonder why this fellow is acting the way he is. Well, he's acting the way he is . . . He keeps telling me — he keeps saying all the time he's talking to me — he keeps saying, 'I want to be helped. Now, you've got to help me. And nobody ever has helped me. And somebody's got to help me. And you've got to help me." And we've listened to this about eighteen times in his conversation, and what do we do about this?

Somebody came along and said, "You better fight you," and gave you a good reason why, but he didn't tell you he was there telling you. And then he kind of slid away and you've gone on fighting you ever since, and you don't know that it's a comedy. It's rather a tragic, grim comedy when you see how far down the line an individual could go on fighting himself.

Well, we double-terminal — we match-terminal the postulate. That's a killer. That technique, that's just a killer.

But if you were to mock up the preclear punching himself in the nose time after time, he would eventually begin to laugh, because the truth of the matter is that's what he's been doing for just ages. He's been punching him-self in the nose continually. That's all he's been doing and that's all the pain and travail he has.

We can shoot a circuit, then, out of the mind with the — a much greater ease than shooting fish, because you have to have a gun to shoot fish. And all you need is some space out in front of the preclear, and he's saying, "I think I need help. I just know I need help."

It's very interesting, by the way, to get a preclear to look back over his track and see the number of things which have hurt him in life. You don't ever use a technique that evaluates and points out to somebody for some-thing. The hell with that! That's just phooey. That's going at it the hard way and the long way around and so forth. That's just no good.

And you say, "Well, how about you putting the thought over here to the right in front of you — putting the thought 'I need help,' and then facing it over here from the left, we put the thought again, 'I need help.' We put the thought 'I need help,' facing the thought 'I need help.' "

You just sit there and you keep asking him if this means anything to him or how does he figure on that or what does something else mean to him, and if you do that long enough, he'll go blow his brains out. So it's not that it's bad it's just going to take you a long time. It's just not a workable technique.

How far apart? You don't care how far apart he puts them. Eight miles, eight feet or eight inches. You just tell him put those two things facing each other, and what do you know, we have reality. Reality is agreement. We have two terminals. Then we have an idea agreeing with an idea, don't we? We have two terminals facing each other, so eventually and finally, my God, the fellow's gotten reality and agreement on the subject of needing help.

So where we have, then, a good technique — where we have a good technique is where the preclear fights it out himself and you just pitch in the suggestions of various things for him to sort of fight out himself. That would be a nondirective technique. That would be a — what's known as a permissive therapy. And the least directive, of course, a technique is, the better it restores the individual's self-determinism.

Only he doesn't figure this out. He doesn't even vaguely figure this out. He just sets up these two thoughts — one thought facing the other thought — and these two thoughts face each other and they just sit there. Well, they'll sit there for two seconds or they'll sit there for two minutes or they'll sit there for twenty minutes. He just keeps putting them up there as long as he cares to put them up there. And you just go on making him put those thoughts up there. Of course, he'll — at first he'll get the idea he's got them up there, then he'll get one of them thinking this, then he won't be able to get that one thinking this but he'll get the other one thinking this, then he'll get the one thinking it again and then he'll have neither of them thinking it and then he'll have one thinking it. All you do is you say, "Just keep putting them up there."

Now, the only thing that's been injured is his idea of his self-determinism, and if that's all that's been injured, then you'd certainly better not introduce anything that cuts him back down again. He's just fighting himself, that's all.

Now what happens in the misbehavior of any terminal pair? If you get a pair of terminals that misbehaves? They want to go around in a circle, some-thing like that or they want to jump up and down, they want to do this. They want to do that. What do you do with these terminals? Your preclear abandons them and puts two new terminals there. Every time a terminal misbehaves, abandon it and put two new there. Simple, isn't it?

And you ask this fellow, all right, all these points in his life when he got into real trouble, and if he were going over this meticulously and you had all the data, you'd find out that he started each one of them. He has become in each case the effect of his own cause.

Now, where the fellow was unable to get any kind of a mock-up or any-thing of this sort, he had to be able to handle things in terms of concepts, didn't he? You've heard — there's a lot of V's, VI's around. They can get a concept but they can't get a mock-up. Is that right? Well, they can put concepts up on the wall and solve their case. And the next thing you know, they're getting mock-ups like mad. Right away, I mean very soon.

You say, "Well, who else had something to do with this?" And the truth of the matter is nobody else! And it's the weirdest thing why this works out this way, but it works out this way with mathematical precision! It is a ghastly thing for a man to suddenly notice this! He just wasn't enough of things in order to keep the ball rolling. He limited his beingness for one reason or another, and when he limited his beingness for one reason or another, he was in the soup! He was no longer willing to be something!

So what kind of mock-ups would you use? What kind of postulates would you try to run out as an individual? What kind of postulates?

Well now, he might have had good reasons why he was no longer to be something. The — actually, he could have worked it out and said, "Look, I'm evaluating. I'm going to concentrate what I am doing over here, and I'm going to let that go." He can certainly expect to be kicked in the teeth by what he let go, because he simply said, "I'm no longer willing to be it" and it's going to kick him in the teeth. He's going to be in bad shape because of that.

Well, I mentioned one the other day. Unfortunately, it's not the most workable postulate in the world. But you could put up, for instance, "Postulates must endure. They must have duration." Now, you could put that up facing that thought.

Well, sometimes, even when he knows this, he says, "Well, I'll let go of this thing anyhow and take the consequences and go along the line and finish this up."

Is there any picture there with these? No, there's no picture. No picture at all.

Actually, that's the story of most any man. He has abandoned something because he felt he should in order to give time and beingness to something else. And the society is pretty well rigged, the chips have been stacked, the cards have been cold-decked against him, so that actually the society itself was forcing him to make such evaluations and abandonments.

So this would be running postulates. And you'd better run them this way, because they just evaporate. The whole chain of them evaporates. As long as the person's had these, they just evaporate. That's all. Of course, he'll get to worrying about it and he'll find out they won't stay up on the wall and he — or they won't stay up on the other side of the wall or wherever he's got them and they keep disappearing and he keeps putting them back and he — they say it to him but they don't say it to them.

But it was he who made the first choice to be the thing which he is now going to abandon. And it's only because he made a choice to be it that he later abandons it. You see, he couldn't abandon something he never wanted to be. Nobody ever forced anybody to be anything. They just think they did.

Now, do they say it in words? No, you're not interested in words. He hap-pens to be this lifetime and he is speaking this lifetime, let us say, English. If he's speaking English in this lifetime, believe me, he hasn't spoken English forever.

Well, what's this — what's this that's sort of going along, and making these people so confused then? They really cause their own grief. And you, by the way, you could set up an entire school of processing and so forth which would — simply said, "Man is the cause of his own woes," and when the pre-clear comes in, why, you say, "All right. Now you did that. All right. Now weren't you willing to suffer for it?"

So what do you do? You get the concept and the feeling together so as to combine the thought there as it would have been felt or known as a thought rather than as a language.

And the fellow would say, "Well, let's see . . ." And you could point this out and the next thing you know, why, you could have some terrifically successful thing going, because it would be a sort of a nasty, mean way to operate and your preclears would feel you must amount to something if you had that much right to insult them, and you'd probably be terribly successful. But anyway, anyway — the . . . You know, get them to confess. Anyway, when you — slow fuse.

Now, for instance, we could put the words — you see, don't get this down into repeater technique. You can run the whole first book out of a guy. I mean, you can run — take everything in the first book and shoot it out with this Matched Terminals Postulates.

When you have — when you have a preclear before you, you are certain, then, of this: He's fought himself to a standstill. He — you can put that down as — when that guy, no matter what, you see, you're liable occasionally to get tipped over a little bit about a preclear. You're liable to get passionately enmeshed in his existence. The horrible things that have happened to him and the awful betrayals from which he has suffered are such that your sympathy gets elicited, particularly if you're sitting in the same kind of a chair in the same position as he is.

All right. We get here then "It's very bad" — by the way, that's a good one to run: "It's very bad" or "I must be agreed with" or "Nobody approves of me" or something like that. Anything like that. And you could say that in words. But let's take "It's very bad." Now, what — how would you say "It's very bad" without using words? Well, you — there are a lot of ways. You could say, 'Ah-ah-ah-ah." Or you could say, "Neeooum-um-um-um-um." Or "Uuhh!" See? I mean, there's lots of ways you can have that thought "It's very bad" facing the thought "It's very bad." See how you would do that?

And you're liable to kind of forget where the roof is and so forth, and that's one — that little phrase — you put it down on your desk blotter or some-thing of the sort and take a look at it when you look at the preclear.

Now badness is blackness. And so therefore, if you got two black patches — one black patch facing the other black patch — you'd learn an awful lot of interesting things. Then the preclear would say, "Well, I don't know if those are my black patches."

Anything that's wrong with him, he caused it. Any fight that he's engaged in, he's fighting himself.

"Well, to heck with the ones you've got there, then. Put up a couple more black patches."

You can write it down as a horrible condemnation that this preclear's worst enemy is himself. And what do you know, people throw that as an insult at people. It happens to be the truth! No one has any real enemy except himself when it comes down to this.

"Well, I don't know if those are mine, either."

The more you work on this, the more the macrocosm appears to be the microcosm — the more you work on it. So where we have a preclear who is in a sad state of affairs, he's fighting himself. What's that mean? That means that he has (1) been something which he now does not want to be. See, he's had to — assumed a terminal and then abandoned a terminal for something bad to have occurred. You know that, as the first — just one glance, that he's a man, isn't he? He's alive, isn't he? Well, that's — follows as truth; he's abandoned a terminal which he's had now — which he once assumed. And that he is fighting himself.

"Well, put up a couple of new ones."

And that applies to a psychosomatic. He's holding on to what is pushing him. And by the way, all you have to do is get him into communication with the area, and he finds out he's holding on to it, he'll let go.

And finally he'll say, "Yeah; those are mine."

Now, these are not terribly workable techniques, though. Why? Well, it's a funny thing about techniques, very funny. I have, well, I have a rather critical eye toward techniques. I generally look over what I dream up and label a technique. I generally test it. I know this is not customary amongst men but I have that peculiarity. Waste my time maybe, but I do that.

Of course, well, how can you tell a black patch from another black patch?

And I have found that in techniques, I have found, that there are techniques which you would think were just wonderful. I mean, you could sit down and you would be scribbling along and you'd be thinking about something, maybe working on a preclear, and you'd all of a sudden think of this gorgeous technique! Theoretically, it can't miss. It is the most marvelous technique!

Well, the point is, you can't. So you just put them up there until it's dead certain that they must be yours. Nothing else would have been putting up blackness up there except you.

Well, of course, it would be kind of embarrassing if you tried it on a preclear, because you might find it wouldn't work, so the best thing to do is not try it on the preclear. The best thing to do is write it up in a book and get it published by the Fairhope Herald, or something.

Well, all right. Now, you could code it like this: You could put up the symbol zero there with a black patch facing the symbol zero with a black patch. And you would have what? You would have "It's bad to be nothing." You see?

And there are lots of these techniques. And just — I, by the way, I probably know five or six hundred of them; they don't work. That's all that's wrong with them.

Now, you can work this out in any one of a thousand ways. It isn't even particularly germane how you work it out. But I'm pointing out to you that they are not words that you're putting up there. But you can put up just the phrases. But you could put "ah-ah-ah" facing "ah-ah-ah." And sure enough, the first thing you know, why, you say, "You know, my mother wasn't a bad person" — the fellow would be telling you.

But, for instance, I'll give you a technique right now which is the most beautiful technique you've ever heard of. You'd just — you could just swear, I could tell you tonight, I could tell you, "Now, this is the highest echelon technique you will achieve. And this is the highest echelon. This happens to be true, this is the highest echelon technique. And this is what you'd better know and what you'd better practice."

Now, that's shooting out postulates because postulates are essentially made up of these two things: concept and a feeling. Of course, a postulate is even clearer or higher than a concept or a feeling, but you can get them at that level and they are only aberrative at that level when they get into concepts and feelings. So you can — you can put a concept and a feeling together, facing a concept and a feeling together. Is there — is these things visible? Do you have a picture? No, you don't have a picture and these things are not visible to the pre-clear. He can do this out of the blackest darkness you have ever heard of. He can just blow. Now, you see? So this is what's called matching postulates.

And you'll all go out of here and you'd get a lot of preclears, and you'd try to run this and you'd try to run this, and you'd try to run this, and you'd say, "Well, damn it, it's obvious that's the technique. Why doesn't it work? It's so obvious that it's the technique!" You all — you're all going to agree with me in a second.

What is the genus of thought? You know — we haven't much time to finish all this off, but we can say, "Well now, let's see, we're going to take the next eighty thousand years and talk about nothing but thought." Well, let's take the next eighty seconds and describe it completely and adequately.

This technique is you process out and concentrate on this fact: The one postulate that is back of the trouble with all postulates is the only one you process out of the preclear, and that is, "Postulates must endure!"

Thought derives in this fashion. We have the idea that there is such a thing called a hidden influence. One dis — understands there's a hidden influence the first moment he discovers there is other-determinism. Other-determinism must then be a hidden influence. He never completely understands that there's anything around except his own — his own anchor points. So every-body else is his anchor point. Isn't that true? And all houses in this world and all planets and everything under the sun and under the stars and under the galaxies and under the blackness and under the roof in general would be just anchor points of his. They're nobody else's. But all of a sudden he finds out they move unpredictably. The second they move unpredictably he concludes there must be a hidden influence.

And you think that over for a moment, you'll get the idea there, "Of course that must be the only technique, the only thing wrong must be that: postulates must have duration." Now, you could come up bright and smiling, you know, and hand out this technique to some poor guy. And he could go over here, and he'd just beat his brains out! There's nothing going to happen, just nothing. It's the awfulest blank you ever wanted to look into.

Now, worse than that, he has the idea that an anchor point has moved but he doesn't know whether or not it has moved. So right away he's on an indecision. Maybe there's a hidden influence there and maybe there isn't.

I know hundreds of techniques like this. For instance, somebody came out and he said, "Well, the trouble with everybody is," he says, "they haven't seen the light. So what we've got to do is just make them see the light." Well, of course, if they make them see the light hard enough, they'll get them into an electronic. But it's a — but it's a beautiful technique. It sure puts people into apathy and you really can control them. Anyway!

You want to shoot the human mind to pieces and the mind of the pre-clear so the preclear becomes very happy and very cheerful, all you have to do is find out the first time that he ran into one of these big maybes. One of these real big maybes. And you will find the genus of his own computation.

The next — another technique there — there are lots of these things. You'd think that this technique would come right in on two terminals, and so forth. You feel that all you had to do is process out all the loneliness an individual had, with two terminals, and all you had to do was process out all the loneliness and he'd be all set. Phooey! Nothing happens!

And this is what is known as computation. Shooting the computations out of a case is very interesting. Shooting the postulates out of a case is a little bit different than shooting the computations. I point that out to you. A computation and computing, in general, is aberrative and you will find the preclears who are worst off do the most of it. All right, let's then find — they, by the way, they get to a point where they do figure-figure-figure-figure-figure and they're not figuring on anything. They're just disassociating utterly on their figuring, only they know they've got to figure. And they just get awfully disturbed on it.

So, it's not — it's not good enough to be theoretically perfect. That's not good enough. You can be theoretically perfect, your mathematics can be utterly without flaw, and you can be so far off home base that you'll want to go find Newton and the rest of the boys that invented these mathematics and shoot them dead.

What is this? This is the manifestation of trying to find the hidden influence which will resolve the maybe. "Was it my anchor point or wasn't it my anchor point?" or "What did happen to it?" or "Did anything happen to it?" or "Is it still there?" Now, that's the — all those various things. In other words, we're talking now about something you heard about in Technique 80, which is, simply the overt act — motivator mechanism.

For instance, I just gave you that example, postulates must endure. That's obviously — out of that, then, must come terminals and space and energy, and that's why the MEST universe goes on and on and on, and obviously this is all there is wrong with a preclear is postulates endure. You'll find him worried about this, too, by the way. You'll go up to somebody and you'd said, "You know, I tell myself something and it comes true, and I do it. And I do it days later sometimes, and I don't dare say anything to myself because I take myself literally and I do it." Well, it's obviously number one psychosis. Only it won't process.

Of course a person does overt acts and gets them back because he thinks he's done them to his own anchor points. He's been fighting the battle of his own anchor points ever since he was around. He has not been fighting an interpersonal relation battle, because he has never admitted to himself there was any other determinism than his own.

All right, once in a while, by the way, you might — you might high-pressure some preclear into springing himself just by giving him that one. You can high-pressure him too into springing himself if you tell him "Now look, all that's wrong with you is — all that's wrong with you is you read advertisements and you believe them."

Why? Well, he could be anything, couldn't he? So therefore, anything he could see, he could be. And anything he saw, he was. By definition, anything he saw, he was. Because that was space. He could be space because space was beingness, and if he really got some space out there and he was that space .. . So naturally everything he saw was his own anchor point, isn't it? Now, that's very — as a matter of fact, that's the way he figured because that's the way he's built.

And he would say, "You know, that's true." Oh, he'd feel very reverent about that time. You'd say the — "You read advertisements, and when you were young you read advertisements and these advertisements worried you. And we just process out of you all your advertisements that you've ever read, and you'll be well." And if you told him hard enough, he'd get into a state of hypnotically believing he was well. That's kind of different, you know, from really being up there. All right.

All right. He gets to something: "Was it mine? Wasn't it mine? Is there a hidden influence? Isn't there a hidden influence?" So he comes along one fine day and he finds out that — as he walks in the house his mother suddenly slams a drawer. And he says, "I wonder which one of my anchor points she put in that drawer. I wonder what she put in that drawer. Did she put anything in the drawer?" We don't get a chance to look for about twenty minutes but — and by that time Mama's been in that room all the time and one goes in and he takes a look in the drawer, finds out what happened in the drawer. No. No, there's nothing in the drawer. "Well, what did she do with it? Did she put anything in the drawer? Didn't she put anything in the drawer? I don't know whether she put anything in the drawer or not. But certainly — she certainly acted rather secretive. I wonder what she was up to." He doesn't know.

Let's get back to this other now. What — what then establishes this technique? What establishes whether it's true or false? Well, it's whether or not it works on a lot of preclears. That's what establishes it.

And you — therefore you can sum up any hidden influence or any computation simply under that basis: It is founded on "I don't know." A person is computing in order to find out, therefore the basic on any one of those things is "I don't know."

And do you know that there's techniques right above "mock-up beingness," and techniques right below "mock-up beingness," both of which appear to be more workable. But it was because of empirical tests of this whole range of techniques, see? There could be techniques of the echelon of lines, techniques of the echelon of terminals, techniques that had to do a little higher up with postulates. "Why did you have to have ideas in the first place? What are your originality," for instance, and so on. And "What about putting out anchor points and bringing them in again?" And the — "Where did you get the idea to do that?" You could go over this thing, you see, and you'd get lots of techniques that would lay out each one along this line, and then you could do something about solving it.

I don't know what? Well, one of the things that theta does is tie — tend to locate energy, matter, in time and space; tries to do that all the time, wants to do that. Certainty, it thinks, depends on his ability to do that and as a consequence, it — also, by the way, its highest function is the creation of energy, matter, in space, and creation of the space and location in that. Therefore, when something is not located, the — a thetan becomes very upset. It's not located, and when you — when he's got to locate it, but he doesn't even know whether it was there to be located or not, believe me, it — he doesn't know. So the first thing on the line is the hidden influence. Well, why — you can find out, as an auditor, "All right, let's see, when's the first of these hidden influences that showed up in your life?" You don't have to call them a hidden influence — "When's the first time something happened in your life you found out you didn't know?"

Well, where did it work?

The fellow says, "Oh, I guess I was about fourteen. No, no, wait a minute, I was about ele — no, I was about sev — no, well, you know — I — I — here's . . . You know, I was in Sunday school one time and they kept telling me about — no, there's an earlier one than that."

Well, the fact that it worked right there at the point of beingness showed up the fact that beingness and communication were the same thing! It was just this fluke that it showed up right there where it did, and it processes right there. It doesn't process any higher and it doesn't process any lower.

In other words, he's running on the easiest — the easiest hole to fall into. It's the hole of: is there something there or isn't there something there?

Isn't that sad? Completely cut the throats of all future investigators. But they're going to come around and give you these techniques. You're going to hear about — all about these techniques just below that level, and all above these techni — . I've got them threadbare, looking for something.

And all those things are riding right in present time. Why are they riding in present time? Because they have never been solved. So nothing has ever been put anyplace, nothing's ever been located. And he didn't know if it was there to be located and he's still trying to solve this. And that is the basic of a circuit. And the circuit continues on and accumulates data and accumulates more data and things keep falling into it. And is this another hidden influence or isn't this a hidden influence? Well, you can ask about any circuit.

Because look-a-here, it's obvious that everybody has to have lines. How does he get anything? Then it's very obvious, then, that if he has to have lines, the MEST universe is making him use sound, and that's not a — that's not a thetan communication line. So if the MEST universe makes him use sound, and he's really supposed to have an anchor-point communication line, obviously this error, then, would be the error you would process. And what happens when you do that? You'll find your preclear wound up in the grave of every ancestor he's got! You haven't got time.

All right. Supposing it were true. Supposing it were true that your mother put away something. What are you unwilling to be? You see, it just would fall across in those two categories. He's afraid of something about this because he's afraid to be something. He doesn't want to be something. What doesn't he want to be? He doesn't want to be a betrayed person or he doesn't want to be a ridiculed person. A betrayed person is one who is — suddenly has all his anchor points smashed in, and a ridiculed person is one who has all of his anchor points stretched out and held.

Well now, you've got Admiration Processing. You've got admiration/ sympathy, and we can give admiration/sympathy to this fellow for being so dead in so many places, and so forth, and what do you know, we just find him in more graves. And he gets sadder and sadder, and there's more and more psychosomatics turning on.

And if you want to get yourself a beautiful reaction from a preclear, you just have the preclear mock up somebody — and this is a technique — mock up somebody walking in and picking up his body (mock-up) and walking way away into the darkness and holding it there. And boy, will that preclear get upset! You just — if he doesn't the first time, have somebody do it again. Have this same person. Have his mother come in — and, by the way, run this on double terminals — have Mother come in from the right and left and pick up the preclear's body. See, two bodies, two mothers. And they go away more or less in the same direction walking parallel to each other. And take these bodies way out into the dark and hold them there. And the preclear will start to get pretty doggone nervous! He's trying to get this — he's got the idea of these many times in his life when he tried to get something back that he'd lost. Of course it goes dark. Of course it goes dark when one has lost something. In order to see something there has to be something. Isn't that true? There has to be space and there has to be something in the space to observe, which is an anchor point, which makes any object he beholds, whether a large object or a small object, an anchor point. So there has to be something there and all of a sudden there isn't something there so it must be dark there, mustn't it? Then there must not be any space in that area so naturally, you just get the idea of having lost something, get the preclear with the idea, "I've lost it." And everything will go black in front of his face. He'll just pick up all these times when somebody has carted away his anchor points. What did he have to look at? He had to look at anchor points. If somebody took away his anchor points he didn't have anything to look at, so naturally it was black.

What's happening? These darn communication lines are popping open. He was smart, he had them shut down, and you're going to be awful dumb; you're going to come along and open them all up. Don't stand below a lake of ink and open the flood gates!

Furthermore, he actually has a whole mechanism of anchor points. He has billions of them that he generates. Now, Homo sapiens has forgotten these and he pulls these around and still uses them, but he's forgotten them. And your Operating Thetan, the person that you're trying to fix up and so on — what you're trying to create — uses these things almost wholly for his perceptions. He uses these things, he works them to death. And what are they? They're like a whole mass, like a whole cloud around him. He can manufacture them, he can turn them any color he wants to. There are just billions and billions of them and they're all little tiny anchor points or big anchor points. And he can throw these out to any distance and perceive in that space that he's thrown them out to. And after he's thrown them out to a distance he can pull them in and hold them close to him again. In other words, he can arrange these or adjust these in any way, shape or form.

Now you'll say, "Well, all this preclear has to do is to get rid of all of his blackness and teach him how to handle blackness and naturally his occlusion will go away." Well, obviously, obviously that would happen. Only it doesn't happen. He takes all the blackness that he had stacked up in the room and he puts it out in the front yard or something like that and then the next day, why, he's going to blow his brains out. Why? "Well, the blackness is now in the wrong place." So you put it back in the room and he's happier. So you see, that wasn't a technique.

If you want a V to be really surprised you just tell him, "All right, now let's put out your anchor points and pull them in again."

It's — well, we're right on the groove, right on the line when we say that beingness is communication and that one can communicate only with those things which he's willing to be. And one fights or is afraid of only those things which he is not willing to be. And therefore, one will not communicate with those things which he is not willing to be. He will simply fight them. But this collapses his lines on them and he finds himself becoming them. That person becomes those things of which he is most afraid. Isn't that grim.

"What do you mean?"

You'll find anybody — you'll look over the cells in teeth and that sort of thing. And they've really got postulates in them; it's kind of spooky. You'll find out the one thing that they're just frightened to death of, why they got those anchor points way in, just one thing: They're afraid of being a mouth.

You say, "Well, there's a little cloud of particles all over you. And just get that idea. And you push them out and you bring them in."

It is a universe which is driven together by terror; an emotion of terror of the like of which one has never really seen, unless he's got really down there and looked at it. You can say, "What in the name of Christ could every-thing have been so afraid of to have pulled in its anchor points this hard?" Your immediate assumption would be, "Gee, there's something really terrifying!"

And he says, "You know, I can do that. That's very peculiar." He says, "You know, I can do that. My God, there's visio around here." And then he isn't very surprised at all, he says, "Yes, I can do that," just as though he could do that all the time.

Yes, there is. There is the terrification of being afraid of being afraid. They're afraid they'll be afraid.

You see, he's playing a joke. It's a grim game. He's playing a joke. He's just pretending he's hiding so that somebody won't come along and pick up his mock-ups. He won't pick up those beautiful scenes he's got around. And he's saying, "Look how old and shabby and no-good I am and look how — look how thoroughly entrenched and dug-in I am. And I am so thoroughly entrenched and dug-in that I haven't got any facsimiles for anybody to steal. I've got no pictures. Not me! Mm-mm."

You go around to little boys and you ask them what are they mostly afraid of and they will tell you a lot of objects, but if you really want to get down there and ask them real quick, they're afraid of being afraid. Now, if you're afraid of being afraid of something, then you'll become afraid of some-thing and can get into a state of terror about nothing.

And you tell him to put them out and in, he gets a feeling of fear. And you tell him to put these anchor points out and in again and he'll get another little feeling. He'll say, "Well, all right, it's not so bad. But I can't put them down." Of course he can't put them down. His anchor points have been stopped by planets time after time after time. So he puts them down and brings them back up again and what's he got? He says, "Yeah. I can put them down. What do you know, I can put them down."

And what have they gotten into a state of terror about? What was there to be afraid of? Well, afraid of the idea that you might be afraid. And if you're afraid enough of being afraid then you'll become afraid, and if you become afraid then you'll — can be afraid of becoming more afraid; and then you'll become more afraid, and you'll get yourself up into a full state of terror and pull in the anchor points real tight; and you'll get smaller and smaller and hold on to what MEST you've got. And you'll organize it and you'll work harder and harder and get more and more logical and more and more logical and more and more logical and then you'll do nothing but work, work, work, work, work with no admiration whatsoever. And that's the cycle.

Of course they go through anything. MEST doesn't stop them. He can see through anything with these anchor points. He can match up any kind of space he wants with these anchor points. What are they? Just a cloud of particles. And he throws these things out and the second he does that he can perceive. That's the only method the thetan has of perceiving. So don't forget that.

It's not a very, very difficult thing to understand how this would come to pass. So, we have then .. .

Now on your I's who have very good visio when they come out of their body are simply using these anchor points so well and so easily they don't know they're using them. And the people who see less po — less well aren't using them well. And the people who don't see at all aren't using them at all.

By the way — by the way, that's another one of these techniques, you say, "Gee, you know, that's a good technique! You just process out the fellow's fear of being afraid. Yeah, it gets the whole line."

Is this then a subject of facsimiles? Is this then a subject of visio? Is this then a subject of sun's rays, particles off the environment that are going to hit your nostrils or something of this sort?

No, it doesn't. I'm sorry. It's another one of those dead alleys that is probably going to appear in some doctorate thesis someday. Anyway We have this, then, "afraid of being afraid" as observable, but not reach-able because that's the reason techniques don't work. It obviously could be there, but it isn't reachable.

The problem of perception is the problem of anchor points. The problem of communication, as I've said in these lectures, is the problem of space, is the problem of beingness. And that, of course, is the problem of energy and the problem of objects. It's also, then, the problem of time.

Try and process a postulate sometime directly as a postulate and you're not going to reach it by flows, you're not going to reach it in any way, shape or form. It's buried in ridges. The second you start to get the thing, you start to work at it, ridges start to flow in all directions and so forth, darnedest things start to happen when you start to dig up by force some of these things like "afraid of being afraid." You know, it's sort of booby-trapped. What's the right way, then, to go into this hall? Well, you get this. This is quite obvious, then. You get "fear of being is fear of communicating." A fellow's perceptions are bad, so therefore his fear of being is bad. Why is his fear of being this bad? Hah, let's take it backwards.

Now, he has a little anxiety. He's afraid he's going to throw himself out of time. If he throws himself out of time, in other words, he gets too well connected someplace else, he's afraid he's going to lose contact with the MEST universe. So your V is going to have a hard time. He's going to hold on to that body like mad. He's going to hold on to his body hard because he thinks that's the only thing that's keeping him into this universe. He's afraid he'll fly off again. And he still has his home universe. His home universe is his collection of made facsimiles and anchor points. And he's still packing it up; he's still hiding it; he's still got it in his pocket. He isn't going to let you see it and he's gotten to the point where he's hidden it so long that he doesn't want to see it anymore. Unfortunately, it was Fac One that turned this off. That's why Fac One was so hard stressed way back there. Fac One.

Why is his fear of being bad? Because his perception is just terrible. His perception is so bad that he doesn't know what it is he's trying not to be. And we get into this dizzy spin of the fear of the hidden influence.

How do you get rid of a Fac One? Well, double-terminal a camera grinding at itself. Why don't you double-terminal the people grinding at themselves? Well, that's because they're not the sixth dynamic. What you're interested in is the camera and the sound waves. Sound waves are hidden influences. They're not anchor points, nothing of this sort.

The hidden influence! "We all know there are hidden influences." Now, here's another one you can say about any preclear who comes in and sits down in the chair and gets processed. You can say this about him: He knows there is a hidden influence someplace.

Mock up the thetan facing the thetan, putting out a flow of particles, though, as sound and trying to match up as sound, and all of a sudden his sonic will turn on. The only way he ever hears is by a little stream of anchor points, not by sound waves.

When this gets terribly bad, you get your advanced states of paranoia. But you don't have to look for the advanced states of paranoia. Just stop this fellow driving this bus out here and say, "Do you think there are any hidden influences in your life?" He'll look around, "Well, I don't like to mention it but as a matter of fact, the manager of this line has had his eye on this job for his son-in-law for a long time. Ahem! Of course, I haven't any evidence of this, you understand."

This universe is a big joke, but this universe was a big mystery. This universe has methods of perceiving and hidden influences in it. If it has hid-den influences in it, then it is — gives you something that has to be under-stood. And if it's something that has to be understood then you're in a bad way, because then you can only — you can think about it. It isn't something, then, you understand. It's something you can be. Can you be parts of this universe? Boy, I'll say you can.

Well, you'll get one of the reasons why he's holding that job down so hard. Somebody is liable to occupy it. And yet — yet he's never checked it up, but it so happens that the manager doesn't have a son-in-law.

So then, what is our subject here? Our subject is how we put in and out anchor points. That's the end of it. Is it the subject of how we think? No, it's how we perceive. That's it.

There's always something like this wrong with the hidden influence.

Now philosophers dow — back down through the last few thousand years have been beating their brains out and taking hemlock and everything because they couldn't find out how anybody would perceive. They knew that if a tree fell in the woods then the barn caught fire or something of this sort. You remember that. If a horse said, "Neigh," and there was no horse there to hear him, would "Neigh" have been said? If a tree fell in the woods and there was no rabbit to hear the tree, then the tree didn't fall in the woods. Or was there a sound? No, there couldn't have been a sound if there was no ear to hear it. Now, this is balderdash. I mean, typical philosophic bunk. Wonderful.

Now, you'll find other people; you'll wonder why they are so successful in life and yet why they're so hated. Be running a bank someplace, something like that. They've always got a hatful of hidden influences to hand out to people — always got a hatful of them. They say, "Well, I was talking to the board of directors the other day, and the board, well, that matter of the divorce you had, they wondered whether or not that . . . Of course, they didn't say anything personal about this you know. (People don't say anything personal about this really. They don't mention it very loud, they mention it quietly once in a while and — but always behind your back.) But they decided that they weren't going to renew your loan. However, however, out of my influence, well, I was able to prevail upon them to give you a ten-day extension and so forth."

You'll find this in the books of the philosophers as they go over it and over and over and over. As a matter of fact, Bertrand Russell, who is a very good boy, in his last book is covering this whole theory of perception just exhaustively — and exhaustingly too, if I may say so — without getting any-place. He gets the idea that if you could perceive the universe, then the universe is there.

Of course, the funny part of it is, there has never even been a board meeting, you see? It's just complete, complete balderdash. This person has always got a hatful of hidden influences. That is the single, worst, solidest, best method of making people go down to a flyspeck in this universe, is the hidden influence.

That is an unjustified conclusion. That's not justified. Just because you can perceive something is no reason it's there. You put a mock-up out in front of you, you can perceive it, can't you? Well, is that any reason it's there? No. "But it is there," you say. All right, you said it was there, it's there.

Now, then what would be the worst hidden influence? If beingness and communications are so important and if they interlock, then the worst hidden influence would be a hidden communication, wouldn't it? Now oh, if you could convince everybody that there was a hidden communication someplace, they would go mad! And so they do. Try it sometime. Try it sometime.

So what's this boil down to then? This boils down to the highest echelon of computation would be postulates. I say it's there, therefore it's there. I say there is space, therefore there is space. I say there is light, therefore there is light. Get it?

Tell somebody that is perfectly sane, well-balanced and so forth, and say, "Well, I got a letter this afternoon, mentions your name," and then shut up. Don't say another word! They're sunk!

And how do you say those things? You say them with words? No sir, say them with anchor points. Say it with anchor points.

Sometimes people try this with me in organizations. They start sending through to me a very selected line of letters, you see? They say, "We received two hundred letters today, we're sending along one of them to you." It's a terrible letter, it's just horrible. So that leaves you wondering, "What's the other hundred and ninety-nine say?" Well, they would never send those to you for this reason: the other hundred and ninety-nine are good letters. Anyway, that's driving in a person's anchor points.

Now, you'll find your boy sitting around in the doggonedest collection of bric-a-brac and booby traps and theta traps and so forth. He's afraid some other thetan's going to get him. He's afraid somebody's going to come along and steal his facsimiles. He's still afraid the cops from the early track are trying to pick him up for stealing all the facsimiles he stole on the early track.

One of the best ways that this can be accomplished is to infer hidden influences.

And by the way, he's hiding some beauties, just but gorgeous facsimiles.

Now, as I told you earlier, there is the black cloud and the white cloud and the vacuum. The vacuum is always a hidden influence.

Fantastic. If somebody in Hollywood could see these things and film them in Technicolor they would — they would just think, "Boy, we've really hit the top of the aesthetic band," you know?

What is there about this confounded thing called a vacuum? If some-thing has nothing in it, then it is more powerful than it has something in it, and you're just talking about a vacuum, that's all you're talking about.

They're stolen. And they think cops are after them. Your preclear who is a criminal, who thinks the police are after him, who gets sick, who throws up at the thought of being arrested and so on, he's worried about — he's worried about the facsimile police. It's just as — it's just as ridiculous as that.

You get near that thing, and it will pull away from you any MEST you've got your hands on. It's a vacuum. Nature abhors a vacuum, they used to say.

You give him the idea "The police are liable to raid me." Just give him this postulate facing this postulate: "The police are liable to raid me." You know that that V is liable to practically go through the floor? He's liable to get sick at his stomach. After a while he'll say, "You know, I wonder why I'm worrying about this. I'm afraid they'll find out about the facsimiles I've stolen. Nobody cares about a facsimile? What am I worried about the police for?"

Actually, what do you know, the physical scientist found this out a long time ago, but it wasn't applied to anything else: If you were standing in front of a vacuum and it were pulling the packages out of your hands, why could it pull the packages out of your hands? Because there was pressure behind you where there was something. Get that misdirection? Why is it that a vacuum works at all? You have a vacuum in a thermometer tube, and the tube obviously pulls, mysteriously, all this stuff right up into the tube, and it's a vacuum. Why, heck, that's the way all thermometers work.

Well, of course, there's a better reason he's worried about the police. It actually isn't that — quite that light. What they did, really, was to take, in Fac One, and just cave a guy in by making him fight a terminal. They gave him a camera for another anchor point. And of course, every time he tries to use anything like this, he starts fighting it and it'll move in on him. And it's — they gave him all sorts of odd ideas and they — he got the idea then he wasn't quite sane. That's very interesting. You run that double terminal: "I'm not quite sane" facing "I'm not quite sane." And rrrrrrr, that's laid in with Fac One.

You say, "That's terrible. I wonder how on earth this comes to pass?"

Now we're not interested in whether this stuff is credible or incredible. We're not interested in anything serving it beyond this point. Once you start to use these anchor points and process with these anchor points you are on safe, solid ground, because as far as the anatomy of a thetan is concerned, that's it. We're not even interested in what the anatomy of this universe is. But we are interested in the anatomy of a thetan. The anatomy of the thetan consists of a viewpoint with a whole bunch of anchor points. And you handle those with anchor points. You tell him put his anchor points out and in. He'll say, "I got this black all over my face."

Well, it comes to pass not because the vacuum is pulling up anything into the tube, but because there is no pressure in the tube, but there's pressure outside the tube which pushes.

Well, you say, "Put it out and in. Out and in. Out and in."

Now remember that about the hidden influence: It is not any pull that nothingness has. It is always a push of something, always a push of some-thing. And that something is not invisible to the preclear; he's right there with it. It — he knows all about it.

He's liable to tell you a lie. He's liable to say, "I've got something or other here and it's horrible and it's very bad."

You just say, "Well, why don't you just let go of the thing?"

And you say, "Well, put your anchor points out and in against that horrible, bad thing again. What is it?"

"Oh, I couldn't do that."

"Oh, it's black." He says, "It's very black."

"Well, why not?"

And you say, "Well, put it out and in again."

"Well, I'd never get any more." You 'see, scarcity. Scarcity. "I'd never get any more of this." He's in a bad way.

"Oh," he'll say, "it's terrible. It's real bad."

But he's afraid of becoming a hidden influence. What's a hidden influence? A hidden influence is nothing. The hidden influence in this universe is nothing.

And you say, "Well put them out and in again. Out and in again." "Hey, what do you know."

You'll find out readily enough when you start processing beingness out of a preclear, you'll find out all of a sudden, by the process which I will give you, he will recognize something. He'll say, "You know, there's really not — there's really not an object which is I." This will come to him as a little bit of a surprise. He'll tell you this; you don't have to even give him a clue. "There really isn't anything that is I. I don't have a form. I don't exist, really, except as I ... Gee, I'm only trying to be things; I am not anything." And he gets real upset right about that point.

All of the sudden the curtain of blackness — a protective coating — falls off of the thing and he's standing there looking at the facsimile of the most beautiful bird he ever saw. And he'll start to cover it up real fast and say, "Well, I'm really not interested in this." He's betrayed himself into displaying to himself the beauty of his facsimiles. Isn't that interesting?

Oh, I'm sorry, he is something, he is something. He is a capacity to create. And if you want to know whether or not a capacity to create is worth being, look at the pure joy there is in the field of creating arts. If you've ever seen anybody absorbed in anything, it's a painter with a brush or a kid in a kindergarten with a crayon. Oh, boy. So that's not a little thing to be at all. And that's what he is. He is a potentiality of creating something. He is the directive, creative urge and instinct. He's nothing in terms of matter but he can create any quantity of it.

Now, they — he does have facsimiles that are bad, and they do affect him. But once he finds out that it isn't a question of all facsimiles being bad, then he starts to get a little bit interested and he'll suddenly start controlling them.

So he all of a sudden tells you with horrible feeling that "I can't — I'm not really anything!"

Well, what is the basic mechanism of control? The basic mechanism of control is a present time drill. And the present time drill has to do with leading out or smashing in a preclear's anchor points.

He's looking for the reason why. I mentioned to you a little earlier people all come along and they want to know the "reason why," and the reason I got bogged down originally in this whole work was I knew there was no reason why for all this. Couldn't find any reason why.

Now, if you'll give a preclear some kind of a process like this: Here we have out here an anchor point. We give him as an anchor point, let's give him a cockatoo, a beautiful white parrot. And we'll say, "All right, now that's an anchor point. Now have somebody come along and take that cockatoo and smash it into your face." And just — you just make him do that two or three times. Now, by the way, you double-terminal this. You would have two cockatoos, you see, and have two people come along and smash two cockatoos into his face. And that way he gets space, otherwise, you're working in one-dimensional space or two-dimensional space. And it's not easy to work that way. Let's work in three-dimensional space. So we get a smash-in and a hard smash-in of this character and we get the preclear with the feeling of having been betrayed.

Well, to hell with the reason why. When you say, "reason why," this says logic, you see? And what's wrong with your preclear is he gets logical. See? Your "reason why" is based upon the fact that there is prior cause which makes me an effect, and the fellow is always pushing himself up the time track from cause and is never being cause.

Now, we get him — and have him (somebody) pick up that cockatoo then and hold it way out. Two terminals, you see, out there. Just hold it way out. And he gets the feeling of being ridiculed. All the rest of the emotions run off on this.

So the highest thing a thetan can be is cause of creation, cause of creative instincts, cause of creative beingness, cause of motivation.

What's sympathy? He's getting sympathy for it automatically if he's got two cockatoos of the same size — two cockatoos of the same size in the same plane, then the cockatoos are sympathizing with each other. And if they're two cockatoos of the same size, then they're agreeing with each other. And that is reality — agreement — and that's sympathy. And he is looking at them, so that's admiration. And you have just run the whole package off by using what? Two terminals. Two terminals and having them pushed in or brought out.

He is motivation! But when he says, "I am not anything," he is saying, "Nothing existed before I exist, which gives me a form I don't have any further responsibility for." In other words, he's in the optimum condition, There is no more condition more optimum than "I am what I create myself to be at any instant." That is really optimum. That is too juicy. That's too wonderful. Nobody could be that! And yet, that's what every thetan is!

Now, you'll have other people doing this to the preclear and the preclear doing this to other people.

And he said, "And there's no reason why." He said, "Nobody came along," he suddenly realized, "nobody came along and gave me a top hat and said, 'You are now a top hat.' And that's what I'm complaining about." The fellow's complaining — the fellow is complaining because he is not permitted to be an effect!

"All right, you mock up two little boys. Now you mock yourself up walking in and picking up — that's from two sides, see — picking up a picture from the little boy and then carrying them way off and holding them." And you know, one of the most saddest feelings will come over him. Boy, that's really an overt act! He took somebody's pictures.

He's complaining because he's being permitted to be unlimited cause. That's a heck of a thing to complain about, isn't it?

What's the most overt act you could do then? It would be to make some-body have bad pictures and take away their good pictures. And that would be a real overt act. What's the basic overt act? Hurting somebody? No. What's the basic overt act? The basic overt act is turning beauty to ugliness or evaluating things as ugly.

So there is a goal on the line. What do you want? What do you want to make? What do you want to create? What effect do you want to create? It's just yours — wham! There isn't any more than that.

That says what's the most aberrative factor in this society today would be the art critic. That would be him. That's the dog, go shoot him. Go steal his anchor points. Only he hasn't got any. He's running the dramatization "Art is bad. Art is bad. Art is bad. That fellow's art's bad. Somebody else's art's bad. Somebody else's art's bad." He's just dramatizing, that's all.

I mean, you've said the most superlative superlative you could say when you say somebody — somebody is the potentiality of directed creation.

And the way you steal people's facsimiles is simple. Oh, there's lots of tricks. Any kind of a trick you could think of would be how one interchanged facsimiles. And so you say to this fellow, "Art is bad."

He doesn't need facsimiles to remember anything. He doesn't need energy. He doesn't need terminals. He doesn't even have to communicate with anything if he doesn't want to. He's cause.

And therefore he says, "Well, I guess I don't think the picture's so good. It hasn't got much sound or anything else in it." And feels sad about it. And when he gets real weak, why, then you pick it up and walk off with it. See? You get the — get the . . . That's what an art critic does.

And look at cause up there at the top of the Chart of Attitudes and you will find that cause goes along with a lot of other desirable things. They're all about at the same band, and all those things exist up there at that band. All right, enough for that.

Anyway the basic overt act — and the basic is that, is the theft of the picture — and the basic . . . You know, this stuff — if this stuff were born out of theory I would say, "For God's sakes, how incredible!" But it happens that this stuff happens to be born out of empirical data gained in practice. That's what this material is here. This that I'm telling you is the workable side of it.

What keeps him from being that?

I'm telling you what seems to be, then, from an observation of preclears and work.

"Oh, there might be a hidden influence."

All right. And what's the most aberrative kind of a postulate then? Would be an opinion. The most aberrative postulate would be an opinion.

"Oh, what kind of a hidden influence?"

And why can't somebody recall his childhood? Well, he can't recall his childhood . . . You want to — want to show a preclear why he can't recall his child-hood, you have Mama coming in from the right and Mama coming in from the left and they pick up his body and they carry it off and they hold it. And then Mama coming out of the darkness from the right and the left carrying the body of a little ugly, warty, horrible toad or something and pushing it onto one. Double terminal. Mama walks in and pushes the toad's body onto him. Then Mama picks up one and — not the toad body, that's gone by the boards — Mama picks up one's body again and walks off with it again. Then Mama — you know, in other words, this and that. Or mock up one walking into the house with a stick and having Mama say, "Hm! That's bad!" When — totally baffled, here's this beautiful stick and Mama said it was bad. And you have to get rid of the stick. Boy, that's silly. "Well to hell with this old dame!" That's the immediate reaction. To hell with her. "I'll just hide everything I've got if that's the way this family's going to be run. They're liable to get ahold of my best, nicest dreams and facsimiles and smash them, that's what! So I'll hide them."

"Well, there might be."

Bang! There goes the whole memory of childhood. Because is there a memory there? No, there isn't. There's a lot of nice beautiful facsimiles here and there, and there's a lot of nice bad ones. The whole family has constituted itself as an art critic.

In fact, he might run into a vacuum. And everybody knows a vacuum pulls in. That's really the truth. "He might be a vacuum." It doesn't ever occur to him that he could mock the whole thing up again afterwards.

You come in with a rock. "Oh, that's bad." You come in and company's sitting in the room — the living room and you say, "Look at these — look at these old fogies sitting around here. No motion. No motion at all. Why, these people are likely to be dead! If you walk in, they're liable to die sitting there — no motion, so I'll just turn a couple of handsprings here on the rug and show them that you can get into action around here," and so forth. And so you turn a couple of handsprings out on the rug and knock over a glass of lemonade. Lemonade's easy to come by, glasses are easy to come by, rugs are easy to come by, he can just mock them up any time you wants, you know, and there's nothing to that — and everybody's mad! What are they mad about? Well, you're not supposed to disturb grown-ups. Oh, my! Grown-ups are a hidden influence!

So the state of your preclear is — actually can be graphed on a curve of the amount of ability to create which he has retained. The amount of action he can initiate is also an index. How much action does he initiate? How much is he willing to do with his hands? All of these various things are indexes.

Do you know most adults walking around today are so thoroughly parked in their childhood that they won't tell you this right off the bat, but they feel like children. They know they're children. They know they're little boys and little girls. They know they're not adults, but they're pretending to be adults. They think that's their basic pretense. Actually, their basic pretense is much more amusing. Their basic pretense is pretending they're being human. That's their basic pretense and they know that's just a pretense.

But the primary index is how much does he wish to independently create? What is his creational desire? Now, it gets better the better he gets. That is one index that is just as solid as the Rock of Gibraltar. That is one like the communication lag index. The creative instinct of the individual: What is this creative instinct? Your preclear gets as well as that is restored, and it is a beautiful little thing to work with.

Now, they'll get worried about this horrible feeling of pretense they have. Well, you can double-terminal out this feeling of pretense they have when they start running in on something like that. Or you could have "I'm pretending I'm an adult" facing "I'm pretending I'm an adult." You see? You could have "I'm pretending I'm human" facing "I'm pretending I'm human." You could have "I'm never going to put out anchor points again." And that seems to be the key phrase. That's what keeps him pinned down in the body. If he's never going to put out anchor points again, he's not going to push this body out anyplace, you see? So he's never going to get out of the body. Simple. The body's just an anchor point.

Because one day your preclear comes in — he doesn't think you know he's doing anything particularly — and one day he comes in and he says to you, he says, "You know, I always wanted to paint, and I bought a brush yesterday." Here he goes. You don't care whether he ever paints or not. That's a silly thing to do anyhow, paint. You get it on you, and so forth.

Now, because of double terminals and the face — the fact that terminals collapse, then he — the thetan walking out of the body creates a double terminal situation. Now, he's double terminal collapse, you see? You can see the two terminals discharge one against the other. Two terminals discharge against the other when they're put side by side, any time. Particularly sixth dynamic terminals. So you put them side by side and what do you get out of this? You get a double terminal discharging. And you don't even have to see the discharge. But it will discharge. And you can put up Mama facing Mama and all of a sudden the fellow is no longer worried about Mama and somehow or other by himself. So he's got a double terminal proposition there: Mama discharging against Mama.

But you have restored his creative instinct. Now, it is being directed toward MEST, you see, handling MEST and meshing the MEST around, and so on. Well, he'll even unfix from that and he'll get to a much higher level of creation. He wants creation with duration. That is the level of the painter and that level is way higher than any level there is out in the society, it's up there in the stars.

Now, you get the thetan who thinks he is mocked up just like the body — in order to control it — walking away from the body which looks just like him — you've got a double terminal, naturally. So of course you get the body and the thetan collapsing and the fellow can't get out of his body. Every time he makes a double terminal out of it — bang!

It's so incomprehensibly high to Homo sapiens that he'll stand around and look at a painter with his jaw dropped. And the painter, had a picture exhibited and thought well of and so on, this is way up in the stars, this is dwelling on the Olympian heights with the gods. And it's about I would say — I would say, oh, about a hundredth of the way up the Tone Scale you're trying to bring the pre-clear up; it's on its way, you see, we've really got it pegged. All right.

Well, you solve this, as I've said earlier, just by mocking up the body and mocking up the body and mocking up the body, particularly the back of the body, and just keep mocking it up and mocking it up and mocking it up until the thetan just says, "Well, what the heck!" It — there's no further discharge between these two.

Now, let's tell you some more about this hidden influence. How is a person pushed down scale? By being restrained from being. If he's restrained from being, he goes down scale. Then why and how do you possibly convince anything that could create or be anything that it should be restrained from being?

But you run the postulate out, "I shall never put out anchor points again," versus the postulate "I shall never put out anchor points again," and you will hit the prime incidents and hidden influences on the track which give this individual the impulse to compute instead of be.

Well, I tell you how you do this. This is ... You just tell him anything he's trying to be has gotten something hidden and it's bad. Something bad about it and it's hidden. And he gets convinced of this and so he doesn't want to be these things. And so he thinks he is hanging in on his privacy of him-self and he thinks that he'll violate everything if he ever steps out of his own head or steps out of his own nose or steps out of his own right ear or wherever he's saddled down to at the moment you start processing him. And he thinks that he mustn't do this and the reason he mustn't do this is because if he moved out any further he'd run into a hidden influence.

You see now what a computing circuit is. It's "How can I figure so I won't have to be." And a fellow figures as much as he isn't. And a fellow is as much as he doesn't figure. That, of course, would seem to indicate then that the stupidest fellow would be the beingest fellow you ever saw. Well, as a matter of fact, you go around very, very stupid people and they really think they are. This really doesn't have anything much to do with intelligence. Intelligence is only the ability to recall data and add it up and put it back together again and figure.

You can actually measure your preclear's case level with his belief in a hidden influence. "What do you think is in this room that you don't want to walk out into it?"

But a thetan can figure so instantaneously, so quickly, that it really doesn't matter much, you see, about circuits or computations and so on. He can set up a mind any time he wants one, on any subject. That's no reason why he's got a set article called "a mind" which has to do, itself, all his figuring for him.

He thinks over it for a while and he says, "I don't know, there's some-thing in the corner." He doesn't say right away what's in the corner. He said, "There's something in the corner."

The art is "to be." And the question of beingness is anchor points. So you start working with anchor points with your preclear and you're going to get there. And you avoid working with anchor points and you're not going to get very far. You'll get quite a ways, but you won't get far enough. Because you want to change this person.

"What do you think might be in the corner?" Well, tell him to mock some things up in the corner, and he suddenly realizes there's nothing in the corner.

Now, in all other branches of psychotherapy there have ever been, they were addressed to the body, they were addressed to the mind. So are we working in the field of psychotherapy? No, we're not.

He's restrained by that shadow. In Self Analysis, this story about the fish in Lake Tanganyika and the shadows that go down to the bottom and — of the lake. The shadows are used as the bars which trap the fish, and the shadows could be called hidden influences.

I don't know whether you — then you can call this — you can't call this a religion, because a religion had to do, ordinarily, with some kind of an idol or a god or a devil or something of this sort. But it happens that we are working with the human soul. Because they've always called this thing the human soul. This is the guy. And they've called it "He has a soul" or "I have a soul" as though it's a separate item. That means he's no longer taking any responsibility for his own self. He doesn't — he isn't responsible for himself anymore. And that's his basic idea of existence. He says, "I'll be a body and then I will not any longer be responsible for myself." You see? That's a negation of responsibility which is enormous. And it's that bridge which you have to cross in processing. He's not taking responsibility. He won't perceive or use force. Hah! We again have anchor points then, don't we? So anchor point drill works that out too.

Now, darkness and nothingness are quite interesting. You can never quite trust something which has nothing in it because it might have some-thing in it. Same way with blackness; blackness may not be just blackness. It may be blackness and something else. That is why blackness closes in on so many preclears. It might be blackness and something else. But remember, he's as willing to use blackness as anybody else. He's as willing to use this modus operandi as somebody else.

But don't be surprised if in this process this preclear says to you, "I have a thetan fooling around me. He is attacking me." He's got some old mock-up body that he had which he's used and he's got that thing set up someplace or another, and he's not taking responsibility for himself anymore and he won't take responsibility for it. And you could get any kind of a human body to discharge as two terminals to a point where it would just disappear, except you're not going to get this double — this body of this thetan he keeps seeing around him. He'll tell you some of the darnedest things. That's not going to reduce until he accepts responsibility for it. Until he realizes, in other words, it's himself.

Once in a while, some fellow without very good sense gets going on the subject of "Well, I intend good and I'm going to use these things for good." I — some goof ball like myself. He'll run himself down scale at an awful rate of speed if he doesn't watch himself. Because he's suddenly abandoned 50 per-cent of things, just abandoned them, because he says, "I want to be the other 50 percent." He's immediately said, "There's 50 percent good and 50 percent evil and I'm going to be one of the 50 percent good." Now, he's down 50 per-cent. He's — he goes on down from there, see? He says, "What's good?" Then anything that's evaluated as good, he will become. Horrible state of affairs.

Now is it up to you to tell him it's himself? No, it's not. No, you just double-terminal it and he comes into the realization. All of a sudden he says, "That's the body they gave me in Fac One. I've never wanted it."

Now, you won't perceive what you won't be. That's obvious, isn't it? We've gone over this, over and over, and being is communicating. You won't be what you won't perceive and you won't perceive what you won't be.

So, of course, if you don't perceive what you won't be, you're wide-open to believe that there is a hidden influence in it. And the way you won't be it is because it has subjected you to that horrible thing known as betrayal!

And the track of any thetan is the track of betrayal. They have been betrayed!

There are two mechanisms you should know; one is the mechanism of betrayal, which is the knock-in of anchor points. One's anchor points are pulled out and then they are suddenly knocked in. That operation, when done exteriorly by somebody else is betrayal. And it gets so bad that the individual won't put out his own anchor points and pull them in himself because he's been betrayed.

And the other is being ridiculed. And ridicule is pushing the anchor points in and then pulling them out and holding them out. You can get out of any preclear the feeling he is being ridiculed by just saying, "All right, now get the idea you put your anchor points way out. Now they are being held out." He doesn't like that. He gets the feeling, the sensation of being ridiculed.

So these two things happen with the out-and-in workout of anchor points. In other words, out-and-in beingness, see, ridicule and betrayal. These are the two horrible things that happen, and that is their operation in terms of anchor points.

So if a person has been betrayed, then he won't look! One of the reasons he won't look is he wants somebody else to feel ashamed.

Now, I'll give you this little technique in passing. You double-terminal up all the people the preclear has had trouble with, just match them and just have them say, "We're sorry we hurt (whatever your preclear's name is)." And my gosh, what do you know, they just start disappearing into the limbo. Zongzong-zong! They just keep diving out of sight and disappearing and you get Mama and Papa. You get Papa mocked up double facing Papa, you know, Papa facing Papa and saying, "Oh, we're so sorry," or looking slightly toward the preclear, "We're — I'm so sorry what I did to poor Algernon." You know, the preclear begins to feel better and better.

He mocks up Mama doing this and he mocks up — you mock up family doing this and the dog's doing this and the car doing this and inanimate objects doing this and so forth, and gee, he feels better and better and better.

He's been holding on to these things to make people ashamed. So you just mock them up that people are ashamed and say, "Okay, Bud, you can let go of them."

Oh, he'll — he glories in this. By the way, he'll do this by the hour. This is wonderful.

You also mock himself up being ashamed of what he's done to others, double-terminal himself, you see? Only you'll find out he doesn't do that very much or very often.

And you can put that down as one of the techniques which you'll find yourself using. That is the technique of apology; that's matching terminals with apology. "We're so sorry." You could call the technique "We're so sorry." And you can just put that down; you just match these terminals, one facing the other, and you just have them fall away.

By the way, they do that, you see, and the terminals behave that way automatically. They start falling away from the preclear. You can match up Papa facing Papa and they'll — he'll be quite big at first, and you — the pre-clear will have a hard time getting rid of him. And all of a sudden all quite automatically, why Papa will be facing Papa saying, "I'm so sorry, what we did to poor Algernon" and swish. You mock it up again, "So sorry what we did to poor Al — " swoosh. "So sorry — " swashoosh! And he says, "Gee, this is fun." Whoosh, whoosh, whoosh, whoosh. Well, let him do it.

And he'll find that some of it's fantastic, some of the things you can get. Very often a person will want to mock himself up doing that, and he'll just continue that for a long time and then he feels very happy and you say that's that. Makes him feel lots better.

What this is, is just running out shame, you see, the overt act. It's just — he's been holding on to these things to make somebody apologize, so you just let somebody apologize.

Well, the reason why he's — because he is not going to put out his anchor points again, he's going to shame somebody else by holding his anchor points in, because what do you know about betrayal. The fellow says, "Look what they did to me." Well, if he's saying, "Look what they did to me," he's not going to be something else. He's going to sit there and say, "Look what they did to me." And these fellows are going around with these little purple flags and little facsimiles, saying, "Look what they did to me. Look what they did to me."

You see, it's better to be something than nothing, and people who have been betrayed are interesting, because everybody gets interested in an occluded case. They've been betrayed. All right.

Let's take a look at it. That — it's very, very amusing to you once you start running this.

Now, ridicule is something they don't brag about so you don't run this in very much. But they're still holding on to ridicule, but they'll generally be holding on to it because they ridiculed somebody else and they don't want to be in that category.

You see, in each case they were really ridiculing themselves. "Do not send to find for whom the bell tolls; it tolls for thee." Nothing to that. The reason why the fellow is saying, "I have been betrayed, look at me," is because he did it to me and he — you see? And "he" and "me," in this case, are the same thing. So he's saying, "me," it's better for me to be here as "me" as the betrayed party than to be this character over here that everybody despises, and so forth, that did the act.

Furthermore — this is totally mechanical — there is no admiration really connected with being betrayed or being ridiculed so nothing came along and admired it out of existence. That which is not admired endures. So betrayal endures. Nobody admires betrayal, much less the person who was betrayed, and he's the person who should admire it out of existence.

So you snap somebody's anchor points out and then shove them in real hard, that's betrayal. If you pull them out and hold them, that's ridicule.

If you put somebody on the stage, force them to be on the stage in a ridiculous situation, won't let them come off the stage they feel they have been ridiculed. Forcing people to exhibit, in other words, or be seen.

So, when we look this over, then, all control is effected by hidden influences and the hidden influence is always nothingness. The thetan is under compulsion to be something, and thus is afraid of being nothing because he believes it to be a hidden influence.

You keep a thetan from being — from what he is — by convincing him that what he is, nothingness, is a hidden influence.

Practical jokers are dramatizing the hidden influence. There are many other such instances.

Now, the only fear is the fear of becoming something. And what you've got to rehabilitate, then, is you've got to rehabilitate the ability to be, which automatically rehabilitates the ability to perceive.