At first you won’t believe it. Third afternoon… second afternoon lecture. December the 16th, 1952

On this second hour of the night lecture December the 16th, I want to talk a little more about various things.

The remainder of the day, as tempting as it is to talk about aesthetics and this aspect, we can perhaps leave that to later, to another commentary lecture. I’ve got to go on with Standard Operating Procedure, Issue 3… Issue 5, or we’ll never get through it. Somebody stuck me on a time track. You got me thinking about flows here during the intermission. And it was very interesting, just as a comment, that the statement that there is really no such things as a DC flow is a very, very strange one to make until he added the rest of it, and that is, „There is no such thing as a DC flow, unless you change your viewpoint as fast as the flow shifts poles“ – hmm.

And amongst them is Memory and Automaticity. Did you ever see a memory system? The way to remember people’s names is you see the person’s name, you see, across his chest and as you’re meeting him, and you’re very careful to get it right that time and then you write it across his chest. And then if the name was ‘Gorse’, then you point out to yourself the fact that he actually looks like a horse and this reminds you of ‘Gorse.’ So the next time you see him you reach your hand out and say „How are you, Mr. Horse?“

So that if you insisted there was such a thing as a DC flow, or a single flow, in order to get a flow at all and not change your viewpoint on it at all with the terminals, you would simply have to start putting up lower and lower potentials, which would bring one right straight down through the reasoning band, bring him down through the emotional band, and bring him down into the effort band and bring him down to matter, and maybe that is the cycle of action: An insistance on a one-way flow. Because flows happen to be a very aberrative thing and I’m going to take up flows here.

Man is internally evolved in trying to solve problems the wrong way to on the tone scale. More and more complexity reaches down as you go down the tone scale. More and more complexity exists in this so-called pyramid of knowledge. And you could call this pyramid, of combinations or complexities.

The Standard Operating Procedure Issue V has as its fourth step the following. This technique is really known as either relocation of anchor points or flow balancing.

Here we have this pyramid of knowledge – a cone. Let’s draw it as a cone and not be quite as mystic as some people have. And uh… let’s look at it here as a cone sitting there. And here is a datum – or two data – a dichotomy of some sort from which all other data can be extrapolated. Uh… and so we get these two data combined and then get an interplay of viewpoint on these two data and we get our second level of complexity.

Now, when you start talking about flows you are of course talking about terminals. And when you’re talking about terminals, you’re talking about a special kind of anchor points. And, as a result, when you go down through these various steps of Issue V Standard Operating Procedure, you find in Spacation that a person is able to hold a point quietly before him, if he can do that – hold this point quietly before him – you just go on with a complete Spacation and of course he’s out and pretty stable. And then you go on to Step One again and finish it off, or Two.

It’s all very simple, you see; there’s two data up there in Figure One here. And now we take all this data and take different viewpoints on it and we get a complexity of data which would be at Stage B.

Now, that… that tells you that this person has a terminal. This tells you this person has a… a flow potential which can be maintained because he can hold the terminal still, if you want to get to that, he can go in for the mechanics of electronics which require… which require first and foremost some place from which to postulate into a space in which can be postulated a flow, which must of necessity run between two or more terminals. And in order to get a flow running you get a… have to have a stable terminal.

Now we take all of the various viewpoints in Stage B and we take these and put them all together and evolve new information and application and other things and we get Stage C.

A fellow has to be able to locate his facsimiles. And the reason he has to locate his facsimiles out in space around him is not because he can’t postulate and locate newly, facsimiles – he can do that too – but because he’s accustomed to using his old facsimiles and they gradually caved in and he’s lost their orientation point. And he is trying to work on, oh, all sorts of things: flows between ridges, and, oh, most enormous amount of automaticity contained in this. And if he can’t locate his terminals anymore, he isn’t going to be able to get a flow.

And from Stage C we get Stage D – more and more complex. D, E, and we get down here, then, to this lower scale line, and that would be F. And this cone, by the way, actually just keeps on going.

Now that’s all very esoteric, but it happens to be quite oh… it uh… follows very easily. A person has less and less energy to the direct degree that they are unable to locate their facsimiles or hold a terminal still. And when you put this point out in space in Step Three, this is essentially an effort to cut down automaticity. You don’t have to know the electronics behind this thing, but there are electronics behind it and you’d better know that there are some.

Now… now let’s assume that this is the subject of mathematics. And without finding any of the common denominators, let’s pick up a datum or rule in level E out here – an X of some sort in E. And which way do you think mankind customarily goes to know more? Well, don’t all answer at once. The laws of flows tells you that he proceeds that-a-way down – with X. And of course, it gets awfully complex. It just gets grim.

It’s just sufficient to know that uh… the pc who can hold that point in space before him easily without a great deal of automaticity setting in is then capable of getting a good, solid energy flow. Why? He can set up terminals. And he’s doing this all the time automatically. And so we’ve got a… a situation there which is quite simple.

So that we start off with a subject at college with the valuable data that ferric oxide uh… ferric oxide when mixed with sulfuric acid – H2S04 isn’t it? – combined uh… boy, it sure stinks.

And uh… your next boy down the line is having trouble with anchor points. And that’s why the next step below „get a point and hold it still“ is Step Four and that addresses itself to anchor points and flow balancing.

Now we’ll go from there, and we will now evolve why it is… why it is that iron oxides are so subject to infiltration by sulfur. And which way will we go? We’ll go from ‘X’ down to the lower level, and to lower levels. And it gets more complex and more complex.

And it says right away, uh… if this fellow can’t hold a point still, then he’s missing some of his points. And he has his anchor points, probably, stacked out in his current lifetime childhood, and therefore he is trying to operate on these anchor points at some vast distance, and they’re no longer serving him as anchor points. So you’d better get rid of at least the most important anchor points on the case, which would be the anchor points in the proximity of the best beloved childhood home he had. The one he liked the most. The one he was accustomed to call his home and to think about in later years as the ‘pleasantness of childhood’.

And the first thing you know, a society specializes; it has to specialize. Nobody could know the same generality that everybody else knew so they have to specialize. Each one becomes a specialist and the reductio ad absurdum on this is for there to be a person in a whole science which is operating from this datum ferric oxide which when combined with H2S04 smells bad. But what do you know? That’s not the whole science. The whole science is ferric oxide. And there’s another companion science called H2S04. And we get specialists on these two lines.

And uh… that is, of course, the scene of anchor points. He’s stuck on the track, in Book One terminology. He’s parked there in childhood and everybody knows that everybody gets parked in childhood, and everybody knew it all the time and uh… so forth. They didn’t know why or how to free him, but everybody knew this anyhow.

We picked up somebody two generations or two thousand years earlier on the time track and we found out he was a chemist. We would find out he had to know the philosophy of alchemy, he had to know all the pharmaceutical preparations, medical chemistry, he had to know how to make iron. He had to know all of these various things, and he figured that all out because he had the highest common denominator that he could obtain on this and that was what? That was the fact that there’s earth, air, fire and water and when you combine them you get the most interesting things.

Uh… and the reason for that is… the reason he’s locked up on the track is he’s got a couple of anchor points. And then everything’s piling up on these anchor points, and the whole track is jamming in an effort to retain these anchor points.

Well, that would… that would be up there along about C, you see. And it’s not a high level.

So we get the most fascinating thing in the world. Now the… the… the… we get a picture of somebody maybe in his middle life, operating perhaps in… in Miami, Florida, uh… working on anchor points of his boyhood home which might have been in Brussels. And believe me, you can’t find anything in Miami, Florida, by orienting it against the anchor points of – Brussels. You can’t find a darn thing in New York City if you are… if your anchor points were in Brussels and your business was in Miami and you went to New York for a visit. You’d start to get losteder and losteder, and that’s true of these individuals below Case Three. They get lost very easily. They get lost very quickly. And uh… they get very confused about being lost, too.

Now supposing we wanted to really know more about chemistry? Some other science would have to come along with a higher level and suddenly tramp, or we could proceed on chemistry with – chemistry became so complex that an individual could study data for four years and not. even have a working knowledge of chemistry. And the way we would do that would be to start from an X and go down. Find an isolated datum in X, relate it to nothing in D – relate it to nothing in C and just say, „Oh, that’s beyond the realm of human experience.“ „All hands man the diving stations, stand by for a crash dive. Here we go for more knowledge!“ Now they should say, „Here we go for more data“ – more data – collection of data. Obsession!

So, of course, Step Four then really devotes itself toward tearing up the anchor points. You do that by getting a mock-up of this childhood home that he liked the most, and just multiplying it and dividing it and changing it and moving it front to back and around and putting it in yesterday and altering it. And that simple operation may itself stabilize him. That just might do that., at which moment you would go back to Three and so on. But there’s a lot more to Step Four than that. If you have a Step Four, you might as well do right then what is necessary before he’s a stable theta clear, and that is balance his flows, relocate his anchor points.

Now the reason why Scientology got built is because this basic pattern was appreciated and, willy-nilly, it was postulated that the place to go for the data was the simplifying datum. What data knocked out a whole compartment of former knowledge?

Now we could call this process ‘Give and Take’, or we could call it a technical name, ‘Flow Balancing’. And let’s call it both. ‘Give and Take’ is the better name because it says what it does, and describes the process.

So Book One, ADVANCED PROCEDURES AND AXIOMS, Theta Clearing. That’s… that’s all. I mean, here we have Theta Clearing – it’s a simpler level but still embraces all the lower levels. And this area here was self-determinism as the highest level. And this was here – examining what? Automaticity: The automatic interdependencies of survival as they work out and affect genus homo sapiens.

So, here we have what has happened to an individual that causes him to start saying, „What room?“ „What wall?“ „I can’t be in my head. I’m not even in my head.“ Uh… dispersal – negative space, if such a thing could exist.

And I won’t say we’re at Two data – yet – or anywhere near it. But we’re sure working hard. Now we’re getting there just fine and it’s producing results like mad.

Now we have all these various manifestations from Step Two down. The worse he is, the more he needs Give and Take Processing. It has several aspects. It is done very precisely. It’s done by formula. It is necessary because you have to do this in order to give the thetan back his memory. And the thetan without his memory is not in very good condition. And the rehabilitation of memory, then, is quite important.

But from any one of these levels D is explainable – anything in D is explainable, anything in E, anything in F – or any lower level is explainable from a good broad datum in C. Anything is explainable, then, in terms of human behaviour from C down if you have a datum in C. Anything is determinable in C if you have a good broad datum in B. Anything that is determinable in A, of course, would evaluate B, C, D, E, F – and so on. All right, that’s very simple, isn’t it?

But the resolution of your low-toned case which is sitting at ‘I’ on the smallest and last end of the cycle within the cycle, DEI… you know, right down there at the bottom, you’d find a ‘desire to be dead’ right down there, and this person is two steps below that. They desire to be dead and they can’t even die, and they’re raving mad at the same time. That would be the lowest level of that. And a little bit higher than that the guy who can’t have anything, who wants everything and has to hold on to everything he ever had.

Uh… remember I showed you early in this series, this gadget. And here was one datum known and over here was ALL data known. Looked like a circle, this thing here in Figure Two. And we went this way for inductive logic, and we went that way for deductive logic. We took lots of data… lots of data and brought it to the inevitable conclusion. Which was also: If we took all the data in the plane E and we assembled it all and we put it all together and everything else, why then, by George! what would we find? Well, you might find F but boy, you’d never find D. That method, then, requires a two-action. You’ve got to have inductive and deductive logic.

Now, unfortunately, we’ve solved the capitalist. I… I… as a matter of fact, I wasn’t going to give up this technique, but I see so many bright and shining faces before me that are unwilling to admit defeat and there isn’t any reason why I should cause you to do the extra 80 hours of auditing on the Five, Six and Seven that you would otherwise have to do. So let’s be big-hearted today and let these, too, into Valhalla.

You’ve got to reach for an inductive, almost intuitive datum, and grab it. And then dive – hit the deductive level, take all this data around here and see how it… how it works: Does it fit? Does it fit? Does it fit? Yeah-yeah! Fits? Okay. Fits? That’s good. Uh… and uh… deduce, then, from this that, hey! three pieces here don’t fit. Well, I’ll be a son-of-a-gun! We say C is too complex a level for operation, because we’re got three data in C.

Now there are people… there are people who have a great certainty that although the number of steps we have here are Seven, that their case sits at Eight. And as Herr Doktor Noiga has stated, „If we had a Nine on the chart, they’d be sure they sat at Ten.“

And after that, we’ve only one choice and that’s to at least try and find out if there’s a B level which will include everything in D and the three data. See, everything in the B level to include everything in D and the three data. And so we’re very, very happy about the whole thing and we say, „Eureka! We’ve found it! We have solved the riddle!“ Wait a minute. Ahhhh – C. There is a level of C. Oh, no! Well, all right. Let’s look through all the data of C very happily now and let’s find out if there’s any data in C that isn’t evaluated by this beautiful new datum which we have in D. Oh, no! There’s 12!

And as much as one can find randomity and interest and amusement in this extreme opinion uh… and as… well, as hard as these people try to stay the way they are, in view of the fact that I’m very tired of auditors coming around and telling me, „He just doesn’t WANT to get over his aberrations, that’s all that’s wrong with him.“ In view of the fact that I’m tired of that and these other considerations, uh… I wanna… I’m forced to give you this technique. I was going to save it. I was going to save it and uh… at the end of track on the preparation of Scientology, which by the way is not my end of track, but this has got an end of track somewhere on the track. Uh… you… you can’t go on for the next 85 billion years in the MEST universe saying, „Yes, yes. Well, now I tell you. This is the way you do it, auditor.“ It can’t be done. No randomity; you get the static.

So you say, „Well, all right. There can only be, then, working on this theory, a level called A. Now let’s find out if everything in A resolves everything in C because we’re now interested in C, you see? Oh, boy! Does it! Oh, it just cuts it down to shreds.“ And we look at B and we say, „Just look at B… Oh, no! Two data in B aren’t explained by A. Don’t tell me that there is another level above this. Well, there’s gotta be. Why the hell does a postulate produce so much effect. The preclear simply says, ‘Wog’ – and it’s wog. Why? Why? What’s this potentially about locating things?“ So we wobble along with that; actually it’s… it’s such a slight wobble that you don’t quite perceive that it’s wobble. You… you say, „Look, uh… we’re just solving everything in sight and everything’s fine and we… we’re solving homo sapiens. And he’s going along real good.“

Why, uh… I’m going to have to give up this technique. I was going to save it, though, and have it put in a tomb, see, and then mock-up a body like this and have that buried in the tomb too, you see? And then people would… – people would be able to go by when it hadn’t solved their cases or something. And they could say, „Well, there is a technique in that tomb, but unfortunately it is written in international Morse, a dead language which existed in the middle of the 20th Century and nobody can decipher it. And uh… they got the first two or three words out of it and it was something like uh… Gaitah, uh… Gaitah, and uh… we finally figured out that what was meant by that was you… you hook up this guy wire tower and you hooked up a boom for the preclear’s head, and got the thetan out with… with something else they used to talk about in those days which was „auto-magnetism.“ I thought that would be a very good joke.

And every once in a while somebody brings up flows and then say, „Flows uh… yeah. Anchor points? Fine.“ One gets a sort of a spooky feeling: Theta has the ability to locate terminals – postulate and then locate terminals in space and have them flowed between. And every once in a while you say very grandly – you have to get up above the level of energy to work – or. are you just working in a much finer level of energy than anyone is capable of perceiving? And is there an upper strata above a postulate? I don’t know. But there’s that weird datum. We’re using that datum. We’re working like mad with it. It’s just wonderful. We’re just getting there lickety-split. Poof, we have a… then we haven’t got two data at the top.

But however… however, when I think of these fellows having to go on any further along the track in all this agony, and I think of your agony as an auditor in trying to solve their cases, why I take pity on you. But I… I want to know that in this one you owe me a favor. All this other stuff is yours for free, but this one you owe me a favor, because uh… I didn’t have to give you this one; the other techniques work.

Now I’m very adventurous to label these ‘A, B, C, D, E, F’ nuhh-uhh. Where I have „F“ should be called „A“ and that’s probably, where we should be operating from right at this moment. But ego prohibits that. And so we are here, we’re working with this apple that’s supposed to be a circle here. Uh… and up toward two data. We know that two data form the MEST universe. Why do we know it? The doggonest way of knowing that ever turned up. From the weirdest field – no field. A completely original geometry called dimaxian geometry by Buckminster Fuller – little old Bucky Fuller one day said, „How do you fill three-dimensional space?“ and he worked and he worked and he worked and he found that it was filled by… it starts with two. The basic unit of three-dimensional space must be, therefore, two. Why? Because we’re talking about s… filling a solid of space.

I… I may need a favor one of these days at the rate the rumor line goes. They… they have a special rumor-machine. It’s hooked into an ENIAC that is kept at Massachusetts Institute of Technology and has some of its branch parts at Bell Labs in New Jersey, uh… and this turns out rumors at random. And uh… and these rumors are picked up and they apply to anybody. You just put anybody’s name on them, you see, and you’ve got a rumor. And it’s quite a scientific accomplishment.

How do you fill that space up? What’s its pattern? Well, three first has to be two: There’s an outside and there’s an inside. Because it can’t be a point because a point doesn’t have any dimensions. And we have to have a dimension to start filling space. We can’t say, „This is a point,“ when it… a point is designed and defined as something which doesn’t fill space. So we have to have an outside and an inside to the point. It doesn’t matter what… There’s got to be an outside and inside to that point and it’s got to be of some tiny dimension in order to do the next thing. Stack it with tetrahedrons. And you go all around that point and you’ll find yourself fitting in tetrahedrons.

But one of these slots got stuck and started to deliver everything that it was manufacturing into the middle of United States and it kept coming out that – one of the stampers on it got stuck too – and it kept coming out „Scientology.“ And I’ve got to write a letter to Massachusetts Institute of Technology or some of these other organizations and ask them to please turn the machine off for a short time until we get the rumors sorted out and get them properly distributed, because they’re jamming and contradicting each other.

And then what do you find? You find this fits in with octahedrons. And then what do you find? It fits in with tetrahedrons. And what do you find? That fits in with octahedrons. And what do you find? Tetrahedrons-octahedrons- tetrahedrons-octahedrons. Whew! Triangles, triangles, triangles. And that’s how you fill space.

I understand that today I was jailed by the FBI uh… for uh… inciting uh… I don’t know, a veteran to go into a foreign war or – I… I’m not quite sure what it was. Oh, yeah! For not being a Communist, or… I don’t think that… because my party card is in good condition. I belong to everything: I’m a Democrat, a Republican, a Socialist, a Communist, a ‘I will arise’, uh… Birmingham Burying Society – I’m a member of everything, Baptist Church – I’m for everything too.

A-R-C. Cycle of action. Four sides: M-E-S-T. Fascinating, isn’t it?

So, uh… these rumor machines get to work on this. And uh… one of these fine days you, as an auditor, may get some preclear up to a level where he doesn’t believe each rumor which is handed to him, because your preclears get very confused when eight or nine of these rumors are handed to them in a group, from the same source, each one contradicting the last. And the having to believe all nine almost splits their skull open. And when they fall into the category of a Step Four or Step Five or Step Six, or Step Seven case, of course it does split their skull open. And where this is an easy way to get the thetan out, it gets the carpet bloody, and so forth.

I just suddenly, one day… I’ve been working along this line and all of a sudden Bucky Fuller had invented out of whole cloth a geometry on this silly line.

And it’s not a recommended process: Blow him up by feeding him rumors.

So of course as long as you adhese to energy and particles you are going to have this dichotomy: triangle, four-side, eight-side octahedron system. I mean, you’re going to have flows, in other words, positive, negative, and so on, as long as you deal along with only three-dimensional space. As long as you fool with space that’s what’s going to happen.

So uh… when we get into this uh… Gita Processing here uh… – I actually hate to give you this. I mean, I… I do. I do… I… I… it’s uh… well, it spoils something. It spoils your… your randomity, but there will always be… Voice: We don’t want it. LRH: You don’t want it?

But does something exist above space? What is this… this thing that doesn’t fill space but makes space? We have to say ‘thing’ because we’re communicating in the MEST universe. What is it? We don’t know quite where the top is. What’s the roof? Well, we’ve got the roof on the MEST universe. Ho-ho, that thing went by hours ago, days ago, years and years of havingness ago, actually. It really went by the boards rapidly with Step Four, Standard Operating Procedure Issue Five. Because that licks flows, because it starts out by the basic thing that gives trouble with flows which is an object which is the product of flows. And if you can handle the objects, the next step is to handle the energy that makes objects. And you can handle the energy. It’s very easy to handle the space in which to make energy – there it went – BOOM!

Voice: Don’t bother.

But we’re out of that, but where are we? Well, a fellow can make his own universe, and there’s lots of ways to go about making it. And a lot of guys can get together and do this and there’s tremendous aesthetic appreciation; there’s t… tremendous goals, enormous sensations, that you’ve never even vaguely experienced. Really you wouldn’t dream they existed.

LRH: Good! Good! Good, I won’t… I won’t bother to give you that, but I’ll give you this other. Well, I want to tell you about this:

Once in a blue moon you might have had a dream about some beautiful music and then awakened to wonder what it was – something way back on the track some place – haunting thing – you can’t quite recall it. You recall that you REALLY appreciated that. You had a dream where you really appreciated some aesthetic of some sort. That’s a vague shadow of how heavy and how high and how heady an aesthetic is.

Now the hero who… this is more important data. We’ll forget about that other one.

So, what have we got? We have… We’re not up to Two data. There’s a big adventure above this level. But it’s safe this far – completely safe.

You’ll find many preclears in this kind of a condition (it says right here). Did you ever hear of uh… winning much better than winning? The way you win much better than winning, is to win while wounded – it’s used in every novel. Uh… the hero gets wounded just before he finally knifes the villain in the back which is a heroic act because he’s the hero. And you’ll find many of your bodies playing this role. The hero who plays the game while wounded – if he’s really a hero. And this guy will come in and he will be winning, vaguely, just because he’s… and he comes in… and… and he… the only reason he comes in to see you is so that everybody will know now that he was wounded but he was winning anyway. It’s just to make the game tougher.

Now you have two purposes: One is, we solve this on the operational schedule, all is simplicity. We assumed that all was simplicity. The answer was basically simple so where did you go to find the answer? Not into further complexity. And whenever you, in doing research, start to grab up a datum that isn’t explanatory of any large field of action, and then dive into further complexities as the only direction to be taken – beware. And any time you see somebody adding up to solve some vast riddle, this business of a complex theorem to evolve complex theorems, just by test here and experience so far, there’s something wrong with it. If it’s complex, it’s wrong.

You’ve put more restriction on yourself, see, than uh… anybody could possibly stand, and then still win, and that increases the nobility and the glory and the purity of it all. And this comes under the heading of, you’ll find a lot of preclears under this heading, ‘the glory of being restricted and still winning’.

And the MEST universe proves that completely, because the random data at level F is horrible. What’s down here? We’re working as in Figure Three, perhaps, between a ‘NO wave length’ as an interaction with ‘ALL motion’. And that could be that there is an understood and not yet contactable, existing all motion thing which is as remote from the MEST universe as the ‘no motion’ thing of theta. The MEST universe produces a mockery of all motion in pretending that these cross entangled vectors of chaos are a complexity and all the complexity there can be of motion.

A lot of people who spent half the last war in hospitals and so forth, were solely there because I swear they saw the bullet coming and they just moved sideways and into it, you see. So that they could win and be wounded at the same time.

The MEST universe is not very dense and it’s not very fast. So that we’d have all possible vectors; we would have a complete density.

Now another item. Uh… the greatest pretense there is is the pretense that it is not all pretense. Pretending that it is not all pretense. That is the biggest pretense there is. And you’ll find everybody, more or less, doing that. They’re making sure that everything is real instead of actual. And they’re… they know darn well they’re pretending.

So theoretically we would proceed from the angriness of space to the relative density of a heavy object made out of gold. And we would have run the MEST universe equivalent of ‘no motion’ to ‘all motion’. And that would be the dichotomy that we are operating with. Something that doesn’t move operating with something that does move. And that would be the dichotomy.

You start cracking this, you’ll get that feeling off of ridges ad infinitum.

Well, perhaps there’s a much bigger dichotomy, and that is the complete zero, ‘no wave length’ thing which is interacting against an all motion’ thing which would be inconceivably more complex and yet well ordered, than theta. And maybe the MEST universe was trying to proceed toward this ‘all motion’ level.

Now we’ll go on to some other things here. Well, you said you didn’t want that technique.

I’m telling you this for two reasons. I want to explain automaticity to you; and I want you, in operating with preclears or in research data, to give some credence to this theory that the direction to go is toward basic simplicity unless you think you have discovered the identity of an ‘all motion’ thing. And the next big advance on this line probably would be in the identification and better description of an ‘all motion’ thing – possibly would be. Lord knows what it would be.

Voice: Who said that?

But we have ‘motion’ against ‘no motion’. The gradient scale of ‘motion’ against ‘no motion’ makes up our tone scale, it makes flows, it makes all sorts of things. Actually over here we get, in Figure Four, we get a potential uh… terminal A operating against a lower terminal B, and they don’t have to be very much apart to produce a current – there’ll be a current between those two things. You can measure it.

LRH: Did somebody?… Oh, nobody said that? I must have been getting… I must have been getting a backflash on the side. Voice: Well, we’d like a chance to… disagree with it. All right, that’s pretty good. He’d like a chance to disagree with it.

And yet those in Figure Four are maybe a tiny little bit apart. So your dichotomies can be unbelievably small and still produce results. There’s… anxious communication and not quite so anxious communication would make a dichotomy and would create a randomity in a communication line.

Well, now this will be mimeographed up, but I’d advise you, uh… in view of the fact that I haven’t spoken to the management about that, to take down some of these steps. And this is really Step Four. He mocks up his childhood home in order to recover those anchor points. He puts it under control by turning its colors, by moving it in various ways, by putting it behind him, ahead of him, around him. And finally by putting it into the past and then mocking it up again, and getting a lot of them. And then he sits this thing in various locales where it couldn’t possibly be. He puts it in Washington, he puts it in London, he puts it in Birmingham, he puts it in Scotland, he puts it in Ireland, he puts it over in uh… New Jersey, he puts it in Alaska, he puts it in China, and he gets it carefully oriented there each time. And then puts it into yesterday and puts it into last year and so on until he’s really blown those anchor points up.

Somebody would say, „My God! Get the ship off the rocks!“

Now there’s some refinements that he can do on these techniques if he’s pretty good and you’re working a higher-toned preclear for this and you find ones that are lovely. Just take all the anchor points you ever had in the MEST universe. Now connect each one to the next one. Now connect those lines all together. Now turn them upright and have ‘em run into the sky. Now bring them down and condense them into a ball. And oh… now put that anchor point where you would like to have an anchor point. Now that’s an interesting little variation on that, but that is not Give and Take Processing.

And the other fellow is saying, „Well, we have two seconds to get the ship off the rocks!“ You’ve got an argument.

Give and Take Processing becomes so excessively easy on you that any girl who is even on the lower band or kid that is on the lower band – he’s giving everything up, he’s unstable uh… abandonment, runs away, fright easily – homo sapiens. Or the fellow who is chunky and big and beefy and so forth, and is holding on madly to everything and won’t let anything go away. – Life is very serious for him. They’re your rough cases because they’re your lower toned cases. And that applies from cases from Three down.

All right. Now you want to watch that. And the second part… the second thing I mentioned is the preclear. The preclear – his answer is basically simple. It is not multiply complicated. And any time that you err in the direction of complication of symptoms you are going to err into a long time of auditing. If you pay any attention to complex and changing symptoms, you can just be sure that you’re operating at F or E or D on this preclear. So at no time let Mrs. Smythe come in and tell you how badly smitten she is, because… because you’ll learn this sort of thing.

What’s wrong with them? Well, the same thing’s wrong with them that deprives them of their memory. And I’m going to give you, as I told you in a little earlier lecture, a whole rundown on memory.

The first day she comes in… the first day she comes in it’s because her children are such a trial to her and if she could just get along with her children it would be all right. And the next time she comes in, she’s written you a long note and explained how it was all her husband and it came to her in a flash that her husband compared unfavorably or favorably with her father who was a splendid man and so on. And you’ll decide, „Well, I guess I’ll work on that a little bit and get this case straightened out before we start it rolling.“ But the next time she comes in she will have a nice long dissertation on the subject that it really was food. It didn’t have anything to do at all with her father, but her father bought food and… but it might have had something to do with it. But that wasn’t really it. It was food. It was the fact that she was forbidden food when she was a child and that’s what really aberrated her. And you’d say, „Well, we’ll do something with that.“

But this process, I will tell you, just as a process and whether you ever remember anything about the memory or not is beside the point. I’m simply going to read this off:

And she comes in, now, the next time with 18 typewritten pages, a young manuscript, and she tells you how it wasn’t food, it wasn’t food really. Uh… the whole thing had to do with a memory which just came back to her in a flash and that memory consisted of having… actually having attended a funeral when she was about one year old and she remembered it ever since, and it frightened her so, and that’s what colored her life and she’s got it all figured out. And how she figured it out? She’s actually built a little cone for you every time. She’s tried to find the highest common denominator, instinctively, of her case and tried to blow it to pieces by showing you all the places this thing interacted and was complicated.

„A pc who can mock up his childhood home and bring it under control can regain many anchor points. He is then able to remedy his main difficulty: Too much loss, too much havingness.“

And when you look at this, you’re looking at, one: something which has to a large extent broadened our knowledge considerably; and we’re also looking at any preclear we ever looked at. Because what is essentially true in a thetan would be essentially true as a pattern for the universe or universes in which he dwelt.

Sounds non sequitor. It won’t, but I’ll give you a rundown on this.

All right, now you start operating with E and F – eeeooow! Just follow the Auditor’s Code, be courteous, cut off her chatter, put her in… on the meter, get an assessment according to Create-Destroy. Let her talk once in a while if it seems to make her feel a little bit better, but just for social reasons. Get that assessment, get her two inches, two feet, two yards, two miles back of her head. She can’t get there? Okay. Have her put out a beam and push that forward. Fo… she can’t do that? Have her hold up a point. „Oh, well. All right, now let’s see. Let’s uh… let’s mock up the first home you ever lived in. Okay. You got that? Oh, well fine. Now let’s take that and turn it green, let’s put it behind your back, put it under your feet, let’s put it over your head. Now let’s put a new turret on it and let’s put it over to the right. You got that? Good. Let’s put it over to the left.“ You say, „How are you getting these things?“ „Oh,“ she says, „just thoughts.“ You say, „Did you get a picture?“

„The pc finds it necessary to take hold of everything and thus lose nothing, or he finds it necessary to give everything away in order to hold at a minimum his own body.“

„No-no. I used to imagine pictures a lot when I was a little child but… I don’t any more.“

„The Four’s basic trouble and the basic trouble in any case from Two down is the necessity to obey MEST anchor points and to obey MEST flows.“

So you say, „All right. Now can you get a picture? Let’s see if you can really get a picture uh… a picture of the old homestead or the old cow barn of whatever it was you were raised. And let’s get that old… old thing and… and let’s turn it upside down – you… you’ve got it? You got it?“

If you were to run ‘obey flows’ as a concept, an individual would practically cave in because it’s all over the track. He’s supposed to obey flows; he’s supposed to obey perceptic flows. He’s supposed to obey flows of speech; he’s supposed to obey electronic currents. He’s supposed to obey all these things. And „obey flows“ is his basic difficulty.

„Yes,“ she says, „I’ve got s… some kinda grey dim, dull-looking shape out there.“ You say, „Is that the house?“ „Yeah-yeah-yeah, it kinda looks like it is.“

Now all right. He gets down to a point where his only actual anchor points are bodies, and the only objects he cares about, really, are bodies and things associated with bodies. Think of that for a minute. His anchor points are bodies. This guy is sort of hanging off in a negative space aspect and looking around, and there he has a body. And uh… he orients everything where this body is, and everything is kind of blurred out and beyond the body. But up close to the body he can…

Take it from there. Unless they can’t move it after they see it; unless they are just so terribly incapable of the tiniest point of the gradient scale you get to. Nothing happens. But try to take it from there, because you have hit the lower level of automaticity, for this case. And by handling this case with the whole process of Four, you can then get back to a stable point. And with a stable point you can then get back to something resembling uh… space, and when they got that, why, you might have to go back and do some more Four. Don’t be surprised at that, but at least try to clip them out of the head. Now there… there’s your process.

You don’t believe this? You know… I mean, you… you don’t… you don’t… you don’t get the impact of this and when I say when he perceives his body and when he knows his body, and when he’s using his body as an anchor point, I mean just that! And if you don’t quite see that, how many people in this room felt that streetcar motorman go by this instant? Nobody. That’s within your perceptic area. Nobody tasted the workman’s lunch box that was on that streetcar. Not a single person here.

What are you doing? Then, you’re coming down the tone scale with those steps. You’ve thought perhaps… but if you call this a tone scale – it’s really not a tone scale. There isn’t any reason why ‘F’ couldn’t be at ‘20’. That’s playing very fast, and very horribly fast – a very fast game. It’s very complicated. That’s Indians gambling with uh… these knuckle bones, and they pass them from hand to hand and then they turn up to be in the buffalo hide outside the tent, and so forth; a complicated game. That’s somebody who’s playing at it being a very simple game like blackjack and beating you all the time for some reason or other. That’s uh… that could be all sorts of complexities, played with rapidity.

As far as the… the wall back there is concerned, none of you have had any tactile on that wall for a long time now. Some of you might have felt it.

Your tone scale is essentially a gauge of speed per scope, and this isn’t. This is a gauge of complexity of knowingness. So, this is not ‘40,0’ really. It doesn’t have to be at all. There could be at one of these levels, you see, that existed all the way along.

Uh… very few of you would… would uh… I’ll bet you nobody has felt the… the silkiness of that tie in looking at me – if you’re obviously looking at me. That’s within your field of perceptic experience. Just looking at something is not really experiencing it. That’s a sort of a ‘Let’s draw back and be coy’. But there are very few of you here who haven’t felt the beating of your heart or your lungs or the warmth of your body or the position of your head or your face. And that is the limit of experience in a body – and that’s pretty narrow.

All right, let’s take a look at this, then, as Standard Operating Procedure. And you’re just simply getting the simplest way you can hit it, and then a little more complicated way to hit it, and then a little more complicated way to hit it, and then a little more complicated way to hit it, and then a little more complicated way to hit it, and a little more complicated way to hit… you have A, B, C, D, E, F, G.

Therefore, that anchor point which is the most reliable is the anchor point which lies within the limit of experience and which is the limit of experience. And a true anchor point is the limit of experience. What are my anchor points? „Well I haven’t got a lot of points out there,“ you say. What… what are my anchor points? Well, my anchor points are actually the boundaries of what I am experiencing. That’s my space.

Because brother, that fellow there at the bottom is really complicated. He’s so complicated he isn’t going to let go of anything. Or he’ll give you anything: You can’t make him hold anything. This… this character’s maybe in a hospital or something and has chronic – as unlovely as it may seem – chronic vomiting or chronic diarrhea – colonic trouble and so on. Just got to give everything. Boom! Boom! Out! Bang! in all directions, you see? Could be.

If you’re in the MEST universe, you’re living on borrowed space. So you just simply… you… you would throw out your limit of experience and this would be the limit of experience. And that would be your anchor points. But you’d experience everything out to the limit of the anchor points to the degree that you know that your mouth at this moment is wet.

Or this character is the other kind of a character – if you get them to put their purse on the chair instead of grip it solidly to their stomach, you’ll advance the case. You’ve got one present time object to leave them, and they’re holding everything else, and objects and words themselves are lower level. There are tests as to how well a person’ll do this. How much is an object… how much of an object is a symbol?

You know, that might give you some kind of an idea of what it feels like to be alive. That’s not said sarcastically. I… that’s the first… first… first time I’ve had an adequate communication phrase to describe that feeling of ‘being aliveness’, you know? You go down the street, and… and the whole street is alive from side to side. That’s it. The bricks on both sides of the street are in a sphere of experience. That’s how big you are; you don’t talk to somebody, you experience what the person is experiencing. And that’s communication. And that person then experiences something aesthetic or extraordinary just to demonstrate to you that he is experiencing.

You’re say… you’re singing, „Yankee Doodle went to town, riding on a horsefly.“

You get an interchange, then, which is the… It is the up-tone level of what talk might be – speech. Speech is trying to tell somebody, „I and you are experiencing. We’re co-experiencing something or other, or we’re discussing the co-experience of something. But just by speaking, we are co-experiencing, and by speaking, you see, you are saying you’re alive and I’m saying I’m alive. And we’re demonstrating it by keeping up a communication flow. Now this is very simple.

He stops you and he says, „Oh, no, no, no-no! It was a pony.“

So, what do you… what do you do on a higher level than that? You communicate by experiencing what the other person is experiencing at the moment. That only gets to be uncomfortable when a fellow gets to be very very shy and when he’s so unethical as to be burying all sorts of memories and experiences, and he wants to hide things and he’s not strong enough to hold and protect himself and other things. He has to be pretty strong in order to have a completely wide-open front door, wide-open memory bank and so on.

And you say, „Well, okay. Uh… and he stuck the feather in his hat and called it Macaroni.“

Then somebody comes along and steals something out of the memory bank, he has to be strong enough to say, „Zzzzzap!“ and take it back and put it back properly in the memory bank. Or make something new to take its place. Or play an awful good joke on this fellow by getting ahold of him and making him take five more.

And he’ll say, „Well, macaroni, you know, was uh… a… a… an English slang word at the time which meant ‘a dandy’, a swell, and uh… that’s why he used the word.“

That is what we mean be ‘experience’ and that is what we mean by ‘communication’. You’ve had no adequate technique to reestablish this, and you’d better reestablish it in terms of „What is my sphere of experience?“ Well, my sphere of experience is the boundaries of my own anchor points, really. You see, there could be primary and secondary anchor points. There’d be anchor points which denote the space in which I own things, or have things. There is… the anchor points of that space which encloses all things, which I am not necessarily experiencing. And there would be the boundaries of what I am immediately experiencing. And those would be the primary anchor points. Any others would be secondary anchor points. And the only reason you’d ever have those secondary ones out is so you could find, once more, what you had, that’s all. That… they don’t even become very important.

You’re not doing anything. You’re singing a song. This guy is so troubled with those things. You know what he’s doing with these things? When you let… when you let them drift out and you let them go, he’ll pick them up. It’s a fact! He… he does that. He picks them up.

That’s part… the horrible part of this universe is, is the less you need something… the less you need something, the more valuable it is. The less you need something – actual, it is. I mean a fellow who doesn’t even vaguely need anchor points has the doggonedest strongest anchor points you ever ran across. I mean, these anchor points are stretched out about eight light- years in that direction and ten in this direction, and there’s some havingness over there about 20 light-years back. And he could go and find those things just bang!

So, as you get down here, you have more and more objects, that’s true. But along about this level in here of C, you’ve got automaticity setting in, but very heavily. And it gets wusser and wusser and wusser. And you want to make sure what that preclear’s doing.

Any moment he knows everything that’s going on if he has to anywhere amongst them, and uh… his immediate line of experience is maybe a couple of hundred feet – just because it suits him not to experience anything further than a couple of hundred feet.

Now I’ll ask you a nasty, dirty question that is somewhat in the vicinity of how do you hold your tennis racket? Where do those buttons come from that your people are wearing in those mock-ups? Where do those buttons come from that they’ve got on their clothes? You get a person and they’ve got clothes on, and the coat’s buttoned – where’s the button come from?

Here on earth, of course, a person has contracted his experience sphere (new technical term for you). His experience sphere is contracting continually until – what is it? It’s a body.

„Oh, he just got it.“

Therefore his primary anchor points are in the limits of the body. So bodies mean an awful lot to him. And you take anybody below Two and take his body away from him, or threaten to take his body away from him, why, he can’t do a thing. He… he knows, with the body gone he knows nothing. And sure enough, although we can turn on that E-Meter and find out that all the facsimiles are there regarding all sorts of existence, uh… co-existences going on at the present instant, uh… all sorts of facsimiles that represented some sort of past existence and all that sort of thing, for a fellow to remember any of these things very directly and say, „Well…“ Or a couple of fellows could be yarning along and accept each other with complete confidence and truth. The fellow says, „Well, I remember there at the Battle of Hastings uh… we had a fellow name of Bilk and uh… uh… he was, I think, a lance corporal. And uh… yeah, he was a lance corporal. And anyway this fellow… and the captain’s horse…“ and a big anecdote goes on.

„Oh, yeah?“ That’s automaticity. „Now you… you mock up this dog. Where does his hair come from?“

And the fellow says, „Yeah. Yeah, yeah. I knew a fellow once that knew this fellow Bilk. Yeah, that’s fine.“ I mean, that could be ordinary conversation – if you had direct memory on these things.

„Well, he’s just got hair!“

Well, why haven’t you got direct memory on them? Because you haven’t got a body to orient the facsimiles by. And if you haven’t got that body with which to orient the facsimiles, you haven’t got those anchor points, so therefore that experience doesn’t exist. You’ve just got a picture of it parked someplace and you can’t get ahold of it because the anchor points there… So… And furthermore you wouldn’t have enough capability of re-establishing anchor points to just recapture and uh… view the experience with complete actuality in the absence of pre-established anchor points. You’d just go back and pick up all the old anchor points. And you experience it in that wise. And that’d be very simple then.

„No, no! He didn’t ‘just got hair’.“ Where does his barker come from, if he barks? Woof-woof! Did you make him a throat? No, you didn’t. So you haven’t made a dog. You’ve made an automatic picture of a dog that was behaving because you have automatic circuits which have trained you to mock up in such a way that a dog looks and acts like that. And so you just mock up the MEST universe equivalent and you’ve taken the MEST universe for your automaticity.

So, anchor points, and bodies and things. Now a person much less uses corners when he becomes aberrated for anchor points, the corners of spaces than he does the things in the spaces. For instance, you orient this room ordinarily with this platform, or that table, or this white board up here on the wall, or those seats – not by its corners. And of course those seats and the white board and the platform and the table are just objects. They are of the least possible importance where it comes to orientation, because anybody could fool you with them. They could kick this platform over many inches, and move that board over many inches, or lower it many inches and shift that table around – without your beginning to notice it.

Now even if you put pink bows on this dog, green ribbons, purple hair, anything else – sure, he becomes your dog. But he doesn’t become a wumperjump! No, sir! You’ve got to build a wumperjump! And you’ve got to have practically all the automaticity out of the bank to get a good wumperjump. And you want to know what a wumperjump is – well, build one. They’re very complicated to build. It isn’t that they take lots of time to build, but the difference in automaticity is not ‘save time’. It actually takes longer. A person is operating much more slowly on automaticity. It’s taking him longer to mock up this mock-up, really, compared to how fast he can think. He’s thinking so slowly that it’s taking him longer than he could if he built the thing. And there’s no reason why he has to use the MEST universe for a pattern.

But more important than that, you might notice that in relationship to your seats and each other; but they could shift those anchor points called the corners out there three, four feet, if all these other things remained constant, and nobody’d ever even notice it. Move them in, shift them out; they… they could have been going… these anchor points up here in the corner actually could have been going like an accordian all during this lecture and I don’t think anybody would have seen it.

It’s all right to use the MEST universe for a pattern. You can do it for a long time. But one of these fine days, you’ll say… you’ll… you’ll say, „Oh, ~ could put a lot of chartreuse people with green bows and… and orange-colored sidewalks and so forth, and this is the Universe, and… Oh, what am I building this universe for?“ You’re building an automatic universe. Your mock-ups might be very good – there’s nothing wrong with that. You’re on the way up, but you’re not out of the level of automatic mock-ups yet.

The importance, then, of the object as an anchor point denotes a fairly low action in perception and experience. Object becomes the anchor point. Instead of just putting out anchor points, the fellow looks for an object to be his anchor point.

Unless you can put together, piece by piece, a wumperjump which is a totally original idea. It has nothing to do with the MEST universe at all. It isn’t just a scrambled MEST universe: He doesn’t bark with his tail or… or… uh… pant with his ears, or something of this sort. He would be an operating, functional beast of some sort, who you probably had a purpose for.

One of the most confusing anchor points there is, then, is a body, because it’s in motion and it’s an object. This almost drives a baby batty. He looks at Mama, and Mama is on her way this way and off there again that way and she’s someplace else. And when he thinks of ‘home’ or he thinks of the room or something of this sort, he thinks of Mama. She’s a more valuable object.

Do you know… did you ever see… did you ever see an engineer get engrossed in a plan? Drives their wives mad! I mean, their wives come in and it’s eleven o’clock and he’s got to go to work in the morning and there’s paper spread all over the dining room table, and it’s twelve o’clock and she’s lying there in a cold bed in the dark and… and it’s one o’clock and it’s two o’clock and papers still flying around. And she comes out and says, „Dear, it’s two o’clock.“ And he says, „Huh?“ „It’s two o’clock in the morning!“ „Oh, yeah! Thank you very much. I will have some.“

Anything which has already been conquered by life is more valuable than those things which have merely been molded by life. Anything which has been animated by life is more important to a living thing than those things which are merely molded by life. And therefore bodies are quite important. Live things are more important than wind-up things. They have to be imbued with life before they become valuable. And as a consequence a valuable object has now become, in our aberrated preclear’s state… frame of mind, an… an object has become an anchor point.

He isn’t doing automaticity. He’s working like mad. He’s thinking every minute of the time – brrrrrrrrr! – and he’s carving himself out a piece of plan of some sort or another, and he… he occasionally will throw into it pieces of the MEST universe electronics, because they’re handy and other people build them. Or he’s working it out on the basis of he has to follow gravity because there is gravity and… and his isness – he’s building in the world of the real instead of the actual, and so he has to make these compromises.

Therefore, let’s take the most valuable object around and call it the anchor point, of course. Solved? No trouble at all. Except complete and endless confusion from there on because the anchor point will then up and die, it moves around, it disappears. Look at a child: A child gets frantic when Mama and Papa disappear over a long period of time. He’s lost his anchor points. He doesn’t have anchor points in the corners of the room, because he doesn’t feel free enough to pervade this room and experience it in any way… And… and he… he isn’t putting out anchor points of his own. His disability in this is… is terrible.

But if you were to take that boy on a full inspiration to build the trinnerbugs that go on a yumperjump! – zing! You’ve not seen anything like that much interest. Yet he’s just all super-concentrated burn up the highway. No… it’s really, it’s really fascinating.

And so Mama disappears for the afternoon; the afternoon then is completely lost. If somebody came along a few days later and asked this little boy, „Johnny, what did you do the other afternoon when your Mama was gone?“ he’d say, „I don’t know.“ That’s right: He… he’d lost his anchor point. In one way he’s trying to get away from a lonely and painful period, but the more pertinent answer is the fact that he… How does he know? He didn’t have his anchor point.

Now it’s been so long since anything like that was ever called – I mean, any person was called upon to do anything like that, he says, „Oh, no! I couldn’t possibly be original. After all, there isn’t an original thought anyplace – originality and imagination, even at its best is just a reformation of things which have been thought before. We know, over in the English Department where we teach our short story writers that it’s all been written before. And there are eight dramatic situations and there are 36 ways to use paper. And all of them apply to stories except some of them, and uh… we’ve got it all formalized and all the way you get a plot is to get a plot genie. Because everybody knows that all plots are basically similar and they’ve all been done before.“

Now you wonder why people believe what Mama tells them. Now we get this horrible extremity: A communicating anchor point without which one is not only lost, but is not fed, not clothed and, in short, lost in terms of all havingness. That’s… that’s… that’s just the end of track as far as the baby’s concerned – the disappearance of Mama.

You run into one of these automaticity characters and he’s liable to throw that at you, if you happen to be in the field of the arts – yeah. That is like Rubicon’s uh… famous portrait of the Stixburger. You just… just painted a picture of the town hall. It’s always ‘like’ something. He thinks in associations, not in aesthetics. It always has a comparison, and it’s always been done before – creative imagination.

Now this is true of a child who has been with his mother as little as two or three weeks after birth – and then loses her. It’ll really… it’ll show up on the child. It really will. Of course, Mama’s been the only anchor point this body had… the GE had for months. And naturally we just swing in there on that, and it just continues. And then all of a sudden Mama isn’t there anymore.

If you’ve ever walked upstairs and into the high tower of creation out of practically whole cloth, not in contest with the MEST universe, but just absorbedly in creation of something of your own and something new, you don’t throw the hair on it – zoom! No, you put it on, hair by hair. And you do it so rapidly and so swiftly that actually it goes on – zoom! but you didn’t put it on, zoom! You didn’t say, „Alacabam-hair!“ No, you didn’t. You took hair and you put it on hair by hair and it went brrrrrrrrr – all the hair’s on. You get the idea?

The process which we were talking about, then, peculiarly fits everyone from Three down. And in just reading this over…

So, it becomes very interesting. If you want to know how far your preclear’s down tone scale on automaticity, ask him rather snidely to think of something completely original. And he’ll say, „Oh, no!“ He’ll think it over for a moment and he’ll say, „Now, let’s see: I’ll think of a road that goes in corkscrews. Yeah, completely original.“

„A pc who can mock up his childhood home and bring it under control, can regain many anchor points. He is then able to remedy his main difficulty: Too much loss; too much havingness.“

You say, „It’s a road, isn’t it?“

I’ll go into that.

And then he’ll finally think up this terrific, horrendous thing and he’s just… just worked on it and he’s thought about it and thought about it. And when he comes over, you say, „You know why that isn’t original? You could tell me about it in MEST language, couldn’t you? And you had a name for every part. You wouldn’t be able to tell me about something completely original.“

„The pc finds it necessary to take and hold everything, and thus lose nothing. Or, if he finds it necessary to give everything away in order to hold at the minimum of his body, he does that.

„Oh,“ the guy’d say, „I’m going to have you shot!“

The Four’s basic trouble is obey MEST anchor points and flows. He feels he must obey them, not originate them.“

What’s automaticity? What’d be a gauge of automaticity? People have been in the MEST universe using energy of the MEST universe’s, using objects made by the MEST universe and space made by the MEST universe so long that they think they have to copy only the pattern of the MEST universe – three- dimensional space, things with wheels. How did the Aztec get along? Everybody knows the Aztec didn’t have a wheel. What did he have? He did have a wheel, by the way. All the child’s toys you find down there uh… in the old ruins, and that sort of thing, have wheels on the little carts and that sort of things. And then somebody comes along and says they didn’t have a wheel in the civilization. Every kid in the Aztec society was dragging a… a go-cart behind him with uh… wheels.

Now, this main trouble, as I was explaining to you, is that bodies are used by him as anchor points and are communicating anchor points. And these bodies, being ambulant, make it very confusing. Thus, we have him holding on to bodies as hard as he would ordinarily hold on to anchor points.

Anyway, uh… they didn’t have horses, though. That we’re very sure of. I guess it was that Cortez that was on it.

And the confusion between these two, bodies and anchor points, is at the root of the Three, Four, Five, Six and Seven’s inability to have enough space to exit into, to exteriorize into. His lack of space, which is to say, his lack of anchor points, and his tremendous havingness with regard to objects, stick him. And you find him stuck in his body but thinking he’s outside of his body, but maybe he’s never been in his body. He’s in negative space. And this gets very arduous to him. He gets very upset about this. When you suddenly say to him, „All right. Be two feet back of your head,“ he’s got the idea he’s never been in that head in the first place. He knows he’s really not ever been in the head, somehow or other, because… cause uh… well, he’s kind of the body and he’s sort of holding on hard and he’s doing a lot of things. But uh… well, he can feel all through the body and that to him is a grasp of reality, and actuality too. He confuses the two. And quite in addition to that, it’s his only anchor point.

So when we look over the scale of automaticity, we’re looking over, as we look over automaticity, Step – as far as you’re concerned – peaks – 2, 3, 4, 5, 6, 7. Every single step contains enormous automaticity. Well, what are you shooting for? You want to know how far you’re shooting? Well, I hate to do this on this graph, because it would be puzzling if it slipped back afterwards, but up here at the top are some dotted lines and these dotted lines have to do with… these dotted lines have to do with a s… a coincidence. And where these two dotted lines marked uh… ‘Edgar’ and ‘Joe’ coincide, above the chart is the level from A to that point above the chart, which is B.

The body goes around and finds anchor points for him. Without a body and without an identity he wouldn’t have an anchor point.

All right, you’ve got room for improvement on your preclear. The main trouble that’s happened, is people have a paucity of imagination. And this is going to outrage you about your preclear: You’re going to say, „What happened to his imagination?“

So you’re suddenly asking him to shoot the moon in a grand way. And the guy says, „NO!“ And you’ll find practically anybody that will do anything to trap a thetan is from Three down. And your people from Three down do not necessarily, by far, operate in this direction. But a few in this category will go to extraordinary lengths to make a preclear intensely uncomfortable, to upset him, invalidate him, evaluate for him – particularly the last. Almost anything.

They’ll tell you something very interesting one day. They’ll say, „You know, I had an adventure.“

And, uh… the job on a Three, if you were to directly address theta clearing and were to assist this way and that was his goal, he would just continue to go down in tone, down in tone, down in tone, down in tone. Unless you had these processes to keep picking him up, up, up, up. Because he would recognize basically that there was considerable truth in what you were doing. And he wouldn’t be able to face that truth. He’s well below 0 on the sub-zero tone scale as a thetan, and his whole beingness rebels at something he cannot accept readily.

And you’ll say, „Yeah, yeah.“ This person’s operating pretty well. They can lift their arms outside their body and so forth.

But with a technique, of course, which makes him spot a point, if he can spot a point, mock up his home and the remainder of this balancing technique… well, he’s all .right. Because… then you get down to Five, and you get control-dot. You’re picking up his reality. Something or other is happening… something is happening all the time to him, right along the line. And he is perfectly content to sort of greet the idea of a theta clear as quite unreal and probably not applicable to him. But he’ll go along with it because you seem so interested. And he’s liable to have a very patronizing attitude toward it all. And he’s liable to just dote on telling you failures, too – depending on where he is. You see, these steps don’t place a man on the tone scale.

„I had a big adventure and I… I tell you, I was… I was down at the grocery store…“

They put these people uh… the condition… other things place him on the tone scale and we haven’t gone into that. So, you get a great variation in there.

„Yeah“ – you wait.

Now, „The process consists of causing him to take in, in the order given below, large numbers of things. And by bringing them into his body, condensing them and then sending them out. This remedies excessive holding to articles, facsimiles and old sensations.“ Now that’s mock-ups.

They feel very coy about this whole thing. And they say, „… and the lady who was putting apples in a sack, and I took one of the apples and I just kept it rolling a little further away from her. Oh.“

Now if he can do the old home and handle the old home as a mock-up, no matter how poorly, how thinly, with what degree of struggle and unreality, if he can do that, he can do the rest of this process. Because this requires no great exactness in the construction of a mock-up. And the… you’re making the mock-ups do exactly what every object does in flows in his vicinity, as I will show you when I finish this.

This would be on the order of taking Dan Patch and putting him to an old ramshackle – not even a steel, but a crooked stick plow. This would be somewhat on the order of grooming up a potential Hispano-Suisa with solid gold wheels, body, brakes, all chromed over on an aluminum frame or something, that looks in the sun enough to blind you utterly, and somebody uses it… somebody uses it to smooth out the brims of hats in a hat shop. And that’s going to appall you. Here… here’s this whole universe staring this thetan in the face, just begging… just begging him to „let’s do something interesting.“ They roll an apple a little bit further.

Now, when the preclear must give up everything, you know, lower the ‘I’ – inhibit – part of the scale, they have to give up – abandon. You know, one fellow holds on and he’s sometimes quite beefy and some fellow is very thin and he’s got to give away everything. Now, people who are on that give-away are in a highly propitiative level most of the time. But you understand, of course, that this… the inner cycle of a big cycle. You got a grand cycle. But this fellow who is trying to hold on to everything may be up there around 4 – homo sapiens. And another one, trying to hold on to everything – uh… pardon me. He wouldn’t be trying to hold on to everything at 4.0, he would be holding on to everything at Three. Excuse me.

Now if you’ve done that, your preclear… here’s the trouble with your preclear. His level of automaticity at ‘A’ is so far from that desirable end of what we will mark ‘B’ and put an arrow on it way up, that they can only copy ‘X’ and if you get them up a little bit, then they’re ashamed to copy ‘X’ but they can’t feel that they can do new ones. So that’s automaticity.

And uh… the fellow at 1.5 is trying to hold on to everything in a similar way.

And you see that in somebody who gets… oh, very rapid. I mean, he mocks up a little man – „Get a little man. Got a little man? That’s good. Get another little man. Fine. Got another little man?“ Brrrrrr! „Oh, yeah! I got a lot of little men.“ „What are they wearing?“

But the person at fear is trying to give everything away.

„Oh, they’re all wearing little green jackets.“ I’ll bet you something: I’ll bet you they’re not wearing ‘em behind their backs. It isn’t just the omission, it’s where did he get the pearl buttons. Where did he get the admirals’ epaullets that he mocks up. He takes a pattern from the MEST universe, so much experience, and then he covets this pattern and when he makes the mock-up he just recombines all these patterns – bong! – and he’s got the thing.

And now we go right down below fear and we find out a person in grief is still desperately trying to hold on to everything. And right down below grief, before we get to apathy, we have a flow there, a dispersal rather, where he’s trying to give everything away again.

Is it his? Well, he’ll feel it’s enough his to be completely shocked by the fact that he actually owns something. He’s made this admiral stand on his head and he’s got the admiral wearing garlands of flowers in his belt buckle, or something – anything – his admiral. He’s as proud as punch of his admiral! He isn’t going to really take any pride in that admiral at all- or any real interest in that admiral at all. There’s too much automaticity in the admiral.

And when we don’t… we don’t get into the next emotion below that until we’ve gone through that give-away. And then we get into apathy – one level of apathy – which is hold on to everything again. And then it sinks into a flow and dispersal emotions which aren’t named where they’re trying to give anything away again.

So interest and automaticity are to a large degree similar. And when Hollywood begins to grind out motion pictures with the same plot… They used to be, just in the cheap westerns that you always had the baddies and the goodies. And the goodies chased the baddies and sometimes the baddies chased the goodies, and there was always the weenie, and it always wound up in the end with the guy getting the girl. They used to be corny enough to ride off into the sunset like they do in modern A pictures. And you wonder why the public stays away from ‘em in droves. There’s not enough randomity – it’s too much of a complete grind pattern, pattern, pattern, pattern, pattern. Too much entertainment being made and not enough originality. Somebody tries to make a, quote, ‘different’ picture, and everybody says, „Well, probably won’t box office.“

So you „see, whether or not the fellow receives these things in or sends them out again isn’t spotted by his place on the tone scale. It’s just this manifestation.

I made a serial one time that… that’s… that’s… that’s uh… made history. It made history because it only cost two hundred thousand dollars to make and it made one million, seven hundred fifty thousand dollars at the box office, and it was the worst serial ever made. But it didn’t lack in randomity, because after I put the plot together, it was… it had a lot of randomity in it. They decided that the last half of each of the reels, or something like that, ought to be rewritten by somebody else who needed a screen credit, and without reading my script, he rewrote it. It was really random. And then they had a couple of extra stunt men they didn’t know what to do with, so they just threw these stunt men into various places in the picture. To this day, if I walk into Hollywood, I could walk into so-and-so’s office down there, an agent, and they’d look at me blankly for a little while – I have worked on fairly decent things, once in a while – look blankly for a while and so on. And then, „Yeah – that’s right. Yeah. Um-hmm. I know, yeah-yeah! 1,750,000 dollars box office. That’s right! Yeah, that’s it! Yeah, sure! We can put you to work! Let’s go over to Paramount and see what they’ve got to say!“ Humph! That’s a fact! Just the box office. They – never looked at the film. Nobody’s ever analyzed that film to find out why it did that. It defies analysis. It’s… it has no plot! It doesn’t even end with the same characters it begins with. Its confusion was so wonderful people had to keep coming back to the theater to see it time after time because they couldn’t believe it.

But if he is fairly strong as an individual, and he has fallen into one of these ‘hold everything’s’, he is liable to be fluctuating between a ‘hold’ and a ‘give away’, or a ‘flow in’ and ‘hold’. And you don’t care where he is. You just start with this process and you take a look at him and just make an estimate: Is this person in propitiation, or is he trying to. is he trying to give everything, or is he trying to take things.

And yet to this day, if I made… Jimmy Fiddler… Jimmy Fiddler is kind of behind the times. He said I was working in Hollywood in a column a short time ago. But if I went down there tomorrow, that would be the only thing that I would possibly work with – o… on that basis. It’s got nothing – just nothing.

Now, uh… that’s all you establish. And then you make up all these mock-ups, however unreal, at a distance from a person who is trying to take things and you have them move into his body. And then you mock up duplicates for all of them, and have them move into his body.

Uh… that tells you quite a bit on something like that. And they wonder why they’re staying away in droves from the box office. They think they’ve got to be a this and a that.

And once in a while they won’t move into his body. So how do you hold this? You… you get a mock-up and then you make him turn it red, and turn it blue, and it’ll jump in, jump right into his body – Boom! Almost an automaticity. And you’re using that automaticity and putting it under control.

I imagine the Greek theater was finally just ready to fall in. The entrepreneurs and the promoters and the theater managers were having a bad time and their shoes were getting pretty thin, and I imagine the actors were fishing out of garbage cans before the Greek theater was finally finished. I’m sure that’s true, because they departed from randomity and went on a pattern. And you never saw anything as stylized in your life as Greek theater in the last days of Greek theater, and the public stayed away in droves.

Now the next thing that you… you do, uh… he’s got e mock-up and it won’t move in. And he turns it red and turns it blue and nothing happens. Make up another one and another one and another one and ano… and bing! The last one will jump in, the next one will jump in and it’ll just run off Brrrrrrrr! And he’ll have them all in.

Interest alone carries a person down the track of the MEST universe. So interest alone is all that carries your preclear up the scale as a thetan.

Now, when the fellow is trying to give things away, you might have somebody who is taking in, as I said, various points on the scale, but you’ve got other people who are propitiating, trying to give away. And every time he mocks up anything it disappears. And you’ve never quite traced, „What happened?“ You look over there, he… he mocks up something something then… then – gone. And he’ll mock up something – gone. You say, „Where are these things going?“

And just in case we missed that, interest alone is the only thing that carries your preclear up the track toward a higher level of beingness. He has to h… be interested in what he is doing and he has to be interested in a potential will-be, will-do, or will-have, in order to improve himself even vaguely. And if you step him outside, he hasn’t got any personality; he left the personality in the body. He doesn’t feel like he has any identity, he… he feels all this, he’s very upset about it, and you wonder why he won’t improve and why he isn’t improving? He’s got no reason to improve.

Of course, you know where he is: You’re trying to do orientation. He can get a mock-up; you know exactly what you’re doing. You’re doing exactly this: Your single discernment necessary on this is, have you properly brought him to that point by making these other tests; is he really Four? And, when he makes up a mock-up and when he’s doing the old homestead, watch for this: Does it tend to fly and hit him in the face? Or does it tend to get smaller and go away? Every time he mocks it up, which? And the only reason you want to know this is because, do you get him to create in his body, mock-ups, and then push ‘em out in all directions? Or do you get him to make mock-ups out there and pull them in from all directions?

Fortunately, there’s enough automaticity in these techniques, and a little ra… very little randomity in your Standard Operating Procedure, and he won’t understand what’s happening to him until it’s too late, and he will run right up the line here in a very few hours of auditing to be a Step One. You don’t have any trouble till you get to Step One and get Step One finished and get him lifting fairly well. If you really get him lifting real good, your trouble start to be over. But he will go into a static. He is now a crane – he can lift things.

Now you put them in a body and they won’t move out. That’s quite a trick. You say, „Right where you’re standing now, mock up… mock up a… a beautiful young man. Oh, a very, very gorgeous young man. Now mock him up right where you’re standing.“ She’s telling this girl this, see?

Now, therefore, to get an operating thetan requires something of an aesthetic. How do you restore this aesthetic? Do you recommend to him spectator sports? That’s just more automaticity. He sits there and it’s all fed to him. Umm-umm. That isn’t the way to establish it. You just keep working him to work out automaticity out of his case, and the other restores itself automatically – negative gain.

And she says, „So-and-so,“ and nothing happens to this young man. He… he stays there! It didn’t go away, you see? That’s what you want to do.

So your enemy in keeping the preclear coming, is a thing called automaticity. Any time you find your preclear stalling, he’s satisfied. And he will be satisfied sometime at a level on the tone scale where if he were walking down the street as a thetan and he’s maybe doing something very constructive like counting the lamp posts, and he’s walking down it – and by the way, little kids will do this. So do thetans. They go down the street slowly, a thousand miles an hour and count all the lamp posts and idle at the corner. Uh… and uh… he’ll be going by something like that and he’ll get himself uh… a horse sneezes – cop’s horse at the curb sneezes – and he’s a horse. He isn’t just… he’s just interested. He just quit. He… he’s just quit. He hasn’t any… any further level to go. And he didn’t quit at a point where he was stable. He’s still afraid, he’s still dispersing, if he hit a trolly line or something like that he would get a shock badly. He runs into a ridge outside of his head, or something like that, and he gets an electrical punch instead of an energy punch – electricity being much lower on the scale. And this is quite beefy to him and it’s very upsetting to him. And he says, „Oh, no! I don’t want to be outside that head. I’d better be inside the head.“

So you say, „Put it out in front of you now.“ You’re not trying for the actual people; you’re trying for mock-ups. You’re not running facsimiles; you’re running built things in present time with live mock-ups, you understand. I mean, let’s not get facsimiles mixed up in it because the preclear who does this with his eyes shut at this level of the tone scale gets facsimiles, not mock-ups. So eyes wide open on that step. Eyes wide open on Four.

And you say to him, „Well, now all right. Let’s put a couple of thousand watts across the top of your head and a couple more thousand across it. Now get between them.“ The guy says, „What?“ And you say, „Well, get between these two bands of energy.“ „I just strung one…“ „Well,“ you say, „string two hundred.“

All right, it still doesn’t move out. She can’t move this young man on. Then two conditions exist. She either must mock up one out there and bring it in, or she just changes the hue, color and characteristics of this young man. And if she does that a couple of times, it goes Wham! It’ll go away – it’ll leave. And you say, „Well, push it way out there.“

„Okay“ – he’ll string two hundred. A band from one temple to the other temple of flowing energy. Actually, he can do that. It’s very high wave stuff – very high wave length, visible on an E-Meter but on nothing else practically. And visible to a thetan, of course – another thetan too. String another one out there and then get between them and blow it up. Oh, no!

Of course, that’s going way out there, and so she says, „Okay, I’m pushing.“ Now you say, „Mock up another young man…“ „Yeah – no, he’s not leaving either.“

First one will practically blow him all over his skull and blow him down through his feet. And then he’ll say, „Oh, I’m not hurt“ and with a little coaxing, he does it again, and he does it again and he does it again. And he starts to beef the thing up. Next thing you know, he’ll go over to find a lightswitch – bzzzzzt! Bzzzzzt! Bzzzzzt! Bzzzzzzt! What do you know? He just burned the lamp out or something. He’ll say, „What do you know?“ while you grope around in the dark, or you have to get out of your head or come in from sitting out there two thousand miles square up where you weren’t really auditing him at all, and you have to come in and grope around in order to get a new light.

„Well, make him blue. Make him green. Give him purple hair“ – anything. And uh… it doesn’t move out, make her mock up another one in the body alongside of him, and another one in the body alongside of him. And all of a sudden the last one she mocks up will go Wham-wham! and the first one she mocked up will go out too.

All right, what keeps him coming? Your interest of him can help. Your interest in him can help, and some knowledge of what he’s facing can help.

This is automaticity and you’re using it.

But one of the sorriest jobs you’re going to have to do is trying to coax him ahead, giving him a will-have enough to keep him going when he doesn’t have any interest in anything. Because he’s in a state of amnesia, his memory is shot, he hasn’t any real recollection or potentiality, he has very little energy compared to the amount of energy he’d have. And out of sheer boredom he’ll slide back into his head. So it’s going to be a continual contest on your part to establish some interest level which your preclear can lead toward and appreciate.

Why can’t a fellow get ahold of his facsimiles? And why can’t a fellow, no matter how hard he tries to get those facsimiles, why can’t he get them? I’m going to give a long talk on this as soon as this part of this lecture’s finished.

And don’t give him the whole package the way I’m giving you. It flattens people. I mean they sit in their seats and gawp at you sometimes. I’m giving you information. I’m not trying to lead you off into the blue or play Pied Piper with you. I could, believe me. It used to be my profession.

Or, if he doesn’t want his facsimiles, why can’t he get rid of them? It’s all answered in this.

And when we look this over then, we find out that the course from ‘A’ to ‘B’ pursues and follows and has a lag behind INTEREST. And interest has nothing to do with flows and is above the level of space. Conviction and interest are both above the level of space, but you never would have gotten the preclear to have gone into motion of any kind that led finally to the MEST universe, unless you gave him something in which to be interested.

And here’s the list of things that you do this trick with. You do them in this order.

Somebody came along one day and he was sitting there perfectly content, and they sold him something in which to be interested. And so he came over down along the line and the interest path which was demonstrated to him was guess where? In Figure 1, from Two data down to G. That’s the way that interest level led him. That isn’t necessarily bad. He just got less and less powerful, and less and less powerful and he could do less and less. And finally departs from really being terribly interested in anything, and he says everything is dull, and the next thing you know, he’s down there along about ‘G’ – homo sapiens. And he’s having a rough time. Life is arduous, he has to work hard. He’s got all these reasons why and so forth.

1. Vast numbers of the opposite sex: First in, and out.

What have you got to do? What’s your job? In theta clearing, you’re reversing track. And I repeat, the best way to reverse track is to get the devil away from automaticity. Just drill him, then, in the steps which constitute Standard Operating Procedure, more and more, until he becomes perfect and positive and less and less automatic in mock-ups and in the making of space – less and less automatic. When he makes a piece of space, he doesn’t say ‘space’. He is fast enough so that he actually picks up that space, puts it together and it’s real space and he… he’s got it tested and so forth, and he does it all, bang! that fast, see? He’s got a piece of space.

2. Now, the next one, vast numbers of friends. Just bodies that he labels ‘friends’, you see. They can be actual friends and will turn into friends.

Somebody else walks in and says, „Ahhhh! A vacuum!“ It can be that bad. I mean, then he’s doing something.

3. Bodies which might have been his own. They’re just mock-ups, you understand. You’re not trying to get the old… the old body. You’re just trying to get pictures of bodies, mock-ups of bodies.

Now a lot of the automatic mock-ups that you get and a lot of these responses that you get he can actually control are too automatic to serve. They might be brilliant in coloring, they might be everything else. They’re definitely your preclear’s, he’s definitely making… I’m just showing you that first he can get brilliant mock-ups and then it is above there – it’s automaticity. He’s got lots of automaticity in them.

4. Hordes of parents and relations.

You don’t try to weed the automaticity out. You just increase the control of mock-ups in general, until he can do the darnedest things with sensations and colors – things like that. And you get that positive.

5. Many graves. The girl who is trying to give away will have the graves flowing out. The girl who is trying to hold in will get those graves slapping her in the face so fast. And then all of a sudden she’ll say, „Wait a minute. There’s a grave there that isn’t snapping in.“

One pc we’ve got here who is doing a very fine job of… of mock-ups. It’s not that these are automatic and they are being done for him, they come out of some circuit. No, he’s just using patterns that he’s running automatically out and he feeds them into the mock-ups. They’re his – there’s nothing wrong with this. I’m telling you, that’s fortunate. Because if you don’t have that to reduce, you wouldn’t be taking him any place.

And you say, „All right, make another one like it. Make another one like it.“ Or „Turn it red, turn it blue.“ And if it’s still difficult, do both: „Turn it red. Turn it blue. Make another one. Make another one“ – Brrrrr! She’ll get all three of ‘em.

So, he… with all these got a black spot… he got a black spot that was really his. He could… kind of grey but he got a black spot. He could turn it on, he could turn it off, he could turn it on, he could put it any place. And boy, it was a real black spot! And probably if he’d enlarged that black spot and thrown it across some radio writer’s script – well, I wouldn’t mention any names uh… you… if he’d really worked on getting a black spot, he would have gotten to the point where this other reader would have said, „I must be going blind. My script has just turned the color of ink!“ – you see? Get that. Get a real black spot. And yet this preclear is getting very good mock-ups.

And what does she do with these, by the way when they come into the body? You can tell her to pack them down – pack them down real tight. And she’ll begin to feel like she’s exploding after a while. Or you tell her to make them go way away, with this kind of a case. Yeah, make them go further. Make ‘em just get out there and disperse.

Now this doesn’t mean that you have to get a black spot of that magnitude and that commanding reality and that commanding beingness and „I own it and it’s mine“ in order to have a mock-up or in order to have some certainty on a mock-up. He’d just come up scale, up scale, up scale; a little bit higher certainty, and all of a sudden he’d hit a level of certainty, that’s all. And that’s a level of certainty. This is a very high level of certainty. Because, that’s a gradient scale of knowingness. The more he can do that and the better he can do that, the more he will be interested. Why? Because interest is native to the thetan. It’s above the level – just above the level of interest and interesting – he’s nothing – he’s nothing.

Next, 6. An enormous number of buildings and homes. And of course, that’s your mock-up there that you start with. And all kinds of castles and huts and – he… just make him mock up anything and everything. Do this whole thing for the whole track, you see.

So, it is of the utmost that he is led by interest. And any time he stagnates and it isn’t interesting, what is that a diagnosis of? You see that he’s not being interested, all of a sudden. It’s a diagnosis of the fact that he has hit an automaticity which needs resolving. That’s all. And the way you resolve it is just make him drill much more arduously and precisely with mock-ups. And particularly favor conserving mock-ups, making them persist, making them more complex and putting more perceptions in them.

Now, 7. Vast quantities of food.

Now in the field of sensation, you don’t think you’ve even vaguely entered the field of sensation with homo sapiens, do you? He’s only got 55 emotions or – uh… pardon me – uh… perceptions. (He hasn’t anywhere near that emotions – he’s only got five or six good emotions, maybe eight at the outside. They’re real heavy predominant, that can be felt easily.) Sensation is a wide subject and sensation is the parallel subject of interest and enters higher wave bands along the aesthetics than are entered by any other type of flow. And sensation itself can be, evidently, above the level of flow.

8. Enormous quantities of rainment. A girl with no appetite, by the way, is not able to bring food in. If she had food it would simply leave. You would put a loaf of bread where her head is, and the next thing you know she’d see this loaf of bread flying out behind her at a mad rate to a considerable distance. She wouldn’t be able to hold on to this loaf of bread. Or she’d be having difficulties handling it in a flow level. Enormous quantities of rainment.

So you rehabilitate sensation and you continue to rehabilitate sensation and you hit very early in the case and get out of this automaticity of using the MEST body to prepare all sensation for us. And how do you do that? You make him feel emotions from mock-ups. I gave you that drill early in these lectures – emotions from mock-ups. And you ge… ge… take the emotions from low scale up scale until he can vary the emotions at will in any mock-up and re-perceive it. Until he can vary any… feel the thing he perceives in the whole area around him. And then you get mock-ups which get the highest and most powerful sensations in them. First you discover to him that he can pick up directly sensations from the MEST universe better than he can pick them up from himself – from the body – himself; he can do it directly. And in doing it directly, you will find that he suddenly really sparks up. He doesn’t really need this body. He isn’t dependent anymore.

9. Vast sums of money in many forms, bills and coinage.

Because sensation and interest are levels, and if he can’t get sensation, he can’t get interest. The two interlock. And they follow all the way up the scale.

10. Great numbers of jewels.

And that’s how you lead a fellow into an operating thetan, is you just make sure that he can feel all these emotions and sensations, first from the MEST universe itself, and to make an operating thetan from mock-ups which are MORE real, which are QUITE ACTUAL and have a GREATER DEGREE OF ACTUALITY than guess what? MEST universe things. And that includes any sensation you can name, including the taste of pepper. And if you can do that, then your preclear is led right on UP the scale and he can always make things more complex.

11. Weapons and energy beams. A person’s gettin’ awful well off by this time, believe me. 12. Communications, like letters, voice, anything. 13. Emotions.

But things get simpler and more beautiful and more interesting and more intense and more concentrated and more able, the higher and higher he goes toward an operating thetan, and he’s led by interest and the keynote of that interest is sensation.

And 14, last but not least, Sensations. Get sensations flying in, sensations flying out and so on.

That does not mean that you’re trying to make just a sensation – hungry thing from him, because without some sensation, one doesn’t even know he’s alive. And for this thetan to know he’s alive, he’s got to be able to go down the street and he smells all the fruit in the fruit stand as he goes by the fruits and…

Now, „Each item is run in or out and then made to go in the opposite direction. It will be found that the pc will let the action continue so far, at which moment it is reversed in direction.“ In other words, you say, „All right.“ Now this fellow is just holding ‘em. You say, „Got all this packed in. Now we’ve got ‘em all packed in; now start them leaving“ and they go two steps. And he can’t move them a bit further, and they won’t go another step. He’s got eight billion women by rough calculation have been packed on this and they go two steps, the first layer, and that’s all.

Did you ever see a dog… did you ever see a dog out on a trip, and the dog’s got his nose out the window and the dog’s going „sniff-sniff-sniff – sniff-sniff, aha, aha, aha, aha – gee! Cows!“ He’s saying, „Cows and… and… and gosh, look at that barn! Barn full of… And there’s been a cat passed here and…“ Boy, he is interested.

You just make eight billion more women and pack them in. And the next time he can go four steps – pretty good. You’re gettin’ there. Now we take 82 billion women and bring those in practically singly, and then they start coming in flows, and lots of them, and so on. And then we start them going out. And what do you know? They go ten steps before they suddenly falter and start slapping him back in the face.

Well, you know that man has practically lost that? Not that he should pattern himself on a dog either, but a thetan can go past a fruit stand and he can get the sensation of every fruit there. And there’s more to a fruit than the sensation of smell, of taste – there’s just dozens of them.

All right, the girl who has got stuff going out, and so forth, wait till she can bring something in comfortably. And then make her start bringing these things in, ‘cause she’s gonna do what it says here.

And then there’s sensations of going into the library and feeling what all the people have been doing with the books and what they thought of when they read them – much more interesting than reading the books – there’s nothing in the books.

„Change and drill all mock-ups. Use them in a 360 degree sphere.“ In other words, don’t just process out to the front-back, above the head, below the feet.

So you’ve got all sorts of tricks and I hope you understand that. The road toward sensation, the road toward interest, is away from automaticity and toward being able to perceive from things one has made – all the sensation and more sensation than he was ever able to obtain in the MEST universe. And at one level of the tone scale, when you first start into this, when your preclear first starts into it, he’s pretty blind about it. He doesn’t know how bright even this MEST universe can be, how interesting. And he has just gone… drawn back from it.

It’s very funny, but blanketing starts showing up on that first one like mad. Angels start to fly up from below and down from above the second you start to mock up women, for a man. And for a girl, other kinds of angels will do the same thing.

He gets up into a level of interest that makes a little kid’s most intense moment look very pale.

Uh, „Continue the process, adding the items which the pc thinks undesirable.“

Now, I’ve talked often about regaining the feeling of the morning when you woke up early and the sun was bright and just coming up and there was dew all over the ground, and you were a little kid and you looked out and it was a new day, and you certainly want to be able to gain that, because you can gain that now, quite easily. Just use Standard Operating Procedure Issue Five, and remembering that we mustn’t let our preclear lag or sag at any time, because he’s getting things too automatic. Jar him out of it and push him on up the scale further.

Now, go on the reverse – instead of bodies he didn’t want. Now we’ve got the reverse. Because your fellow that’s holding is also trying to select out. And now you make all these enemies, bad communications, just the… the negative of that, and make these fly out away from him. He’s trying to hold in; now you go… enemies. They’re on their way out.

You think there’s a satiation to it? No, it’s only when he gets back in the rut of automaticity that there is insufficient interest to command his continuing attention.

Okay, now, „Items that think – uh… continuing the process adding the items which the pc thinks undesirable and send these, for a Take Case, out. And for a Give Case, in“ – just reverse ‘em.

„These would include enemies, harmful things, ugly and disgusting things as demonstrated by the assessment.“

And here’s your assessment suddenly showing up as tremendously valuable. You want to know what this fellow’s trying to hold on to. You want to know what this fellow’s trying to get rid of. And what he’s trying to get rid of, he’s trying to destroy. What he’s trying to hold on to, he will show up on the Create or Grab or Hold level. So you just… you can just take that as part of your assessment – these lines.

„As the direction for either a Give or a Take will eventually shift, the Give becoming a Take and the Take reaching a new level of Give, the process must be continued until the pc is simply, quote ‘cured’, unquote, of wanting, having, or not having.“ – not until. Mustn’t be continued just until that happens, but until he is splendidly lighthearted about the control and its possession.

Now you just… just BEAT this one to death! I don’t care how many hours you put in about it, because the number of hours it took in the past to free what we had at a level Four were a great many – there were 50, 80. You could easily put in 30 hours of this kind of auditing on one of these people with great profit, ‘cause this is just a technique.

Now let’s look at something else. What about the overt act? Every once in a while when he starts to run kind of sticky, throw thousands of women out there and start to have him pass around his body. And of course there are four flows, four pressures on every flow: The outflow, the restraint of the outflow, the thing that’s trying to arrest the outflow from the opposite end, and the thing that’s trying to inhibit the arrestment of the outflow from that end.

Now if you want a good gag, mock up a body out here; and now try… put a belt on it and try to pull it toward you. Good gag, isn’t it? All right, now this is the MEST universe. 180 degree vector: Now give it a push that way. Isn’t it interesting? All right, now get it trying to resist being pushed that way. Now get it trying to resist being pulled that way – and you’ll see this thing at work.

Now it works four flows out like that too. Now as these women or men all walk out from this pc, they’ll all of a sudden get out there so far and struck ‘em. You don’t know how to make them… go any further? All you have to do is put a big loop around all of them and give a slight tug – and they all go out further, of course.

And if they’re coming in too fast and you want to stop them from coming fast or something of this sort, just put a hook around the inner ring and open it up a little bit. Of course, they come in like mad.

So you can just govern these flows like you would handle puppets. And that accounts for and eradicates flows as an obsession, a compulsion, an inhibition or a desire on the part of a pc. And everything that’s wrong with a Three, really, a Four, a Five, a Six and a Seven is they obey flows, and MEST anchor points. And they thoroughly have anchor points mixed up with ambulant points – bodies.

Now that is the technique: That’s Give and Take Processing. And you follow this list of things with the preclear with whom you’re having trouble – don’t care how accurately he gets them, what happens to these things, whether or not he gets them into the past, what you do with them; it doesn’t matter what you… how… how good you do this process. Just do it well enough so that each time he knows he’s got them coming in himself, and he knows he’s got them going out himself.

And he’ll start to get very interested and very original about this whole thing. There’s things you can mock up when you say jewels, also things like medals. You can use a great deal of virtuosity.

And then there’s a whole list of hateful things which the Johnson Office wouldn’t permit me to write – used to be the Hayes Office.

And that is Give and Take Processing. Now you understand the theory of flows. We covered that earlier in the course. You just do this with objects. And not to run flows. At first he’ll identify with the flows, then he’ll merely associate it with the flows, and then the flows won’t have anything to do with it and you’ve sprung him up the scale and got differentiation and that is what you are trying to achieve with your preclear. And this solves any case that was tough beyond the level of One. Amen. Let’s change the reel.