He should have looked himself over, having done this trick, and wondered, what on earth had contracted — see, the other thing — had contracted his beingness at that moment. And he would find inevitably he had selected out something for randomity in that environment so as to make him interested in life.

He'd said after this — he says, "You know," he says, "I'm not going to be — I'm not going to be the scenery on a road, so I will be able to walk down roads and enjoy it. I'm not going to look around curves before I get to them so they'll always surprise me." That's the first thing a fellow starts setting up. He starts setting out blank areas so he'll be surprised by what's in them. And after a while, boy, is he surprised! He's shut down his beingness.

Well, he do — he remedies this, then, with a circuit. So your circuit computes on past data for future warnings and how to get around them. Data, data, data, data, data, data, data.

Now, it isn't that the data is unnecessary, very far from it. But there is most of the data, which one accumulates, isn't worth having. For instance, you could study for an awful long time — you could have studied how to make a pilot have a faster reaction time for twelve years, up to a couple of years ago, and you wouldn't have given him a second's worth of faster reaction time. I mean, there's a tremendous body of knowledge there which wasn't delivering the stuff. And you'll find this is the case with most circuits; they don't deliver the material.

Now, that is the test, then, of whether or not one's computer is working or whether one is thinking analytically: Is it delivering the answer? That's the — that's the test of any computer: Is it delivering the answer, or does it just keep on saying there's an answer without ever delivering the answer?

So that's a test of a circuit, isn't it? Because when we're dealing with a Case Level V, we're dealing with a circuit case. And everything said about, circuits in Book One, everything said about circuits in Science of Survival, this all applies, but here we know more about circuits than we did before.

Now, there are several tests of a circuit; that's the first one. This fellow have circuits? How do we find out if he has circuits? Is he worried about hid-den data? Is this hidden data worrying him?

Does he worry — somebody says, "You got a letter yesterday."

And the fellow said, "Where was it? What — where is this letter?" "Well, I don't know. It was mislaid. It's around here someplace." And he starts looking for the letter.

Well look, I mean letters aren't that important. And well, he looks for the letter, and he doesn't find the letter, and he gets kind of upset about this letter, and he says to the other fellow, "Well, what was — who was it from? I mean what did it have up on the corner of it? What did it have on the back of it? Did you notice what handwriting it was in?" Rrrrr!

That's a circuit, that's a circuit.

See, he's worried about a hidden communication. And now you build this up and you'll find out that the V is so worried about hidden communications that it's all dark, and everything out there is dark, and everything that there — where there's darkness there's a hidden communication in it.

So what do you do? One of the ways to resolve this is a very amusing way to resolve this (you can put this down). You can just have him mock up — and you understand a V can't mock up a thing; that's his test. All right, now, he can't mock up, but you have him mock up, out beyond that darkness and so forth, beings in the darkness who suddenly discover that this person they're near is Joe — whatever the preclear's name is, see — they suddenly discover that's Joe, and they get real scared and run away. Two beings facing each other, they — out there in the hidden darkness.

And then you have two more horrible beings being all set, crouching in wait behind a couple of rocks (this is all by concept, you understand) and have these two beings all of a sudden find out it's Joe! And then be very pleased and happy and step out into the clear, say, "Well, it's Joe." You'll be surprised what this does. What you're doing is double-terminaling out fear of hidden influences.

The most flagrant hidden influence, of course, is a snake. You walk along and there's Mr. Snake, and he's in the grass and there you step and there you go!

That's why a person, almost any preclear that you get when you first get hold of him, will have a blank area behind his back. That's because an enemy can step behind his back, so it's the dangerous area. How do you solve that? You just have two enemies step up behind the back, raise a spiked club, get ready to hit him on the head and say, "Oh, why wait a minute, wait a minute, that's — that's Bill! If we hit him, h000! What he'll do!" And have them run away.

And if he can't do that, you have a couple of enemies gathered together out there in the dark, and they've done something to Bill, the preclear, and found out afterwards it was him and they didn't understand that it was him, and they get very sad about it and kill themselves. Do that mock-up a few times and his fear of hidden influences starts going.

But what else starts going if you keep up that little drill? The circuits, because what are the circuits sitting on? Although pain and unconsciousness is necessary to knock them in, it's the hidden datum that's there. What's the hidden influence? The hidden influence! You could say about this universe particularly, "This is the universe of the hidden influence." The hidden influence in this universe is a communication line which is not visible. And that's a — that is the hidden influence of this universe.

So we get the hidden influence lying at the bottom of every thinking machine. If you wanted to build a wonderful thinking machine, you would have to build into it a hidden influence. That's right, if it were really going to perform automatically forevermore, you'd have to have it react when con-fronted with a certain kind of maybe. You know, any kind of a maybe is based on a hidden influence. "Was it there? Wasn't it there?"

You — there is a way to shoot computations on a case. By the way, this is the hottest way to shoot computations on a case I know. Is just ask them the last time they really weren't sure about a communication, or really sure about who it was, and they'll tell you.

Well, they weren't sure whether or not they had received a phone call. You say, "Fine, let's get the earlier time."

"Oh, earlier? Yes, yes."

"Well, let's get an earlier time than that, when you weren't sure whether you had or had not received a communication," and so on.

By the way, you can shoot them right on back down the track on this. Why? Oh, you pick up those hidden things one right after the other. You'd say, "Well the — gee, these maybes are quite interesting, and why is it that we suddenly pick this up clear on back to about three years of age?" Well, that's because you're going down the basic run of the middle of the circuit, see?

The unanswered question, that's what makes a bullpen, you know? Everything related to this unanswered question ever afterwards gets unanswered. For instance, if somebody told somebody a joke when he was five years of age and it went into one of these bullpens — maybe, maybe it was funny, or why was it funny, or maybe it wasn't funny; he doesn't know why — and you'll find that joke will actually flash to the surface during your auditing. Told to him when he was five; he's now forty.

That's been parked in what you could call a bullpen. That, by the way, is technical nomenclature used in these big electronic brains. They have standard banks and bullpens. And the bullpen is where the data waits to be answered. And so these bullpens, however, are all based on this (in the human mind) on this hidden datum. There must be a hidden datum there of some sort. If a fellow could find the data, he'd be all right. So after this, he — this keeps going on this subject.

So when is the last time he wasn't sure he received a co — whether he did not — whether there was or wasn't a communication? That's the best way to state that. When was the last time he wasn't sure whether there was or was not a communication? In other words, a hidden communication line.

The next thing is, is all right, you're still worried about that. Now what are you unwilling to be? See, communication — be — I mean it's the same — same breed of cat. What were you — it must be that if you are worried about a hidden communication in that bracket, then you must be unwilling to be something. Now, what are you unwilling to be?

This, by the way, is how you would shoot a V's computations. You'd just shoot them out through the roof with a shotgun this way. "What were you unwilling to be at this point?" "Oh, I don't — I don't know, I don't know. Well you see, the data concerned my job. And — and — and I didn't ever know whether the boss did say that to Miss Finks or not. Maybe she did say it to him and maybe she didn't, or maybe it wasn't said to Mr. Finks. But Miss Finks thought it . . . I don't know, to tell you the truth! It is just a funny thing. It was all that morning there was this cold atmosphere around the office and somebody must have said something because a little later on some-body referred to the correspondence in a way that I knew somebody had said something."

Here we go on to a real full-blown Case V; see, this is wonderful. This is beautiful! This is actually about around Case VI en route to becoming Case VII.

Here's a beautiful, "Did somebody tell a story about him or didn't they?" He doesn't know; he'll never know. What's he unwilling to be? That's the point. That's the sudden question you ask him. He was unaware — he couldn't figure out about the communication, so he was unwilling to be something. Well, he thinks this over for a long time, and he tells you he was unwilling to be fired. So you have him be a fired person. Just mock up a fired person facing a fired person and have him be this mock-up for a while and be pleased about being fired and what do you know, the bank blows on the subject of that type of data.

Shoot the circuit. What's he unwilling to be? And you'll find that there are two basic things he's unwilling to be: One is a ridiculed person and the other is a betrayed person — to have his anchor points pulled out and held, which is ridiculed, and pushed in and held, which is betrayed. Those are the two kinds of people that are undesirable, and all other categories really fall into those categories. Whatever pattern the anchor points make, that makes the kind of person. But it's betrayed and ridiculed are the basics on these circuits.

So the hidden datum, the hidden communication that he doesn't know about and he can't be sure about combines with these other two things, which is to say, the ridiculed person or the betrayed person. He's unwilling to be something. All right, that's the story. That's the basis of all these circuits and all these computations.

You find a circuit case going around; you can shoot them out with a phrase sometimes, but you'll shoot out every case in the bank if you want to fool around with this. Now, it's not necessary that you fool around with this, it's necessary that you understand that a V shouldn't be sitting there figuring. That V should be being. A V should be being, not figuring.

And you let a preclear run himself, and he'll figure, figure, figure on every data that he runs across; every datum he encounters, he'll figure. What's happening in that case? He's running on a self-auditing circuit which is self-auditing some other auditing circuits, and he has a royal time. He gets a long ways, he does.

E-Therapy, for instance, was a circuit auditing a flock of circuits. I under-stand there's somebody in Poughkeepsie, or something like that — Pesthouse, I think his name is — he has a technique which reverses E-Therapy. It puts the circuit — it puts the pc outside the pc as a circuit, auditing all the circuits of the pc, and getting them all to run automatically. This is very good, very good; it'll pr — a lot of business for the insane asylums. But we don't happen to want any business in the insane asylums; we're trying to close them up. I have to write him a letter and make him understand this more clearly. He evidently hasn't gotten the point. Maybe he has an uncle that's in charge for him, but I don't know. Anyway .. .

There you see the idiocy of most self-auditing, because it's a circuit which is based on a hidden datum trying to find a hidden datum. And brother, more hidden data will come up.

The problem of research was made peculiarly difficult because every time one turned around, he would find himself having to figure something which was just set up to figure in case there was something there. I mean, you'll find yourself going down more blind alleys, and winding up in more nowheres and wondering, "Now, why do I keep thinking about this?" Well, the reason you kept thinking about that, you run into a circuit. All right.

The hidden datum; looking for the hidden datum. There must be a mysterious, hidden datum which would simply blow everything up. Yes, there was a hidden datum. What is the answer to this? That there is a hidden datum. Now, there's a lot of this data isn't circuit data. But we get this coincidence of that. And you must remember this when you're auditing a V, and I'm only wasting this much time to impress upon you the fact that you have to stay in communication with him, because every time you take your finger off of him, he'll figure, figure, figure, figure, figure, figure, figure, figure, figure.

He'll come back to the next session — if you haven't done anything right with him, or something of the sort, if you haven't really got him crushed, by the time he comes back for the second session, what's he going to do? He'll have eighteen sheets of typewritten paper, all single-spaced on both sides and it will be the computations on his case.

And he's figured out "It's this. And it's his father's — his — no, it's his — well, it really is because it's school. I mean no, the head — no. That didn't have anything to ... Well, he's — he's got — and there was this aunt and he knows he's doing a life continuum on his dog. And his dog — and — and but just a — but of course, that couldn't have been it. And — and couldn't it be true that God and forgiveness really was at the bottom of all this anyhow? And — and ..." You know.

That's a circuit, that's a circuit: "Got to find the datum; got to find the datum; got to find it, got to find it, got to — pant." Well, it ought to be there, I mean, "dumm-dumm."

Well, all right. Let's punctuate that right afterwards. What's insanity? Well, it's the same thing that starts these circuits. Have you ever seen a hid-den datum? The person is too often ridiculed and too often betrayed, and lying below the too often ridiculed and too often betrayed is the hidden datum type of thing in the MEST universe. And that is to say, the guy is going at sixty miles an hour and he turns the curve and he hits a log right across the road — crash! There's no log belongs there. That's a hidden datum, see? And after he gets knocked out, he comes to and he can't remember if the log was across the road or not. But he knows something happened, and then he wonders what he did.

For instance, I audited a pilot one day who had bailed out over Kiel, Germany. I got this kid out of his airplane and solved his case. He had for many years been trying to get out of an airplane. And every time you audited him, he'd sit there with his face all screwed up and he's pressed back by the wind. And he sat there for a little while, and I ran, oh, overt acts on a couple things and loosened him up, and all of a sudden said, "Were you ever in a crash?" Just routine, see, I knew something about his record. "Yeah, I was in a German prison camp for eight months, and so on." He'd bailed out. He never knew how he got out of the plane. So he spent all the time in this prison camp, figure, figure, figure, figure, figure, figure, figure. "How'd I get hit and how'd I get out of the plane?"

And I put him through it several times, and all of a sudden he said, "You know, there it is. Yes!" And bing! all of his worries went up in smoke.

He found out how he had reached forward and grabbed what lever to pull what canopy off. And found out how he had gotten his ripcord out. Whew!

What's insanity? Well, that took a hidden datum — not know — plus what, plus what? Pain! Betrayal or ridicule plus pain. You'll find that a fellow who has fallen a considerable distance and has stopped suddenly without even completing the fall believes himself to have been ridiculed. He didn't fall to the ground, you understand. He hung by his suspenders from the tree branch or something of the sort. You see, right away that's funny. That's ridicule. That means an anchor point held out that he can't get back. All right, that's ridicule and the other is betrayal.

So what do we have as the basic on this, then? We've got just that point, just that one point we're looking at there — pain, hidden datum. Pain and the hidden datum.

Did you ever see somebody smash his finger? Did he dance around? When you ran him back through that incident, you found him pretty con-trolled all the way through it. Well, what happened to all his frenzy? He buried it. He buried that, and he buried it quick because that's insanity. He didn't know how he came to hit his finger. As a matter of fact, the moment he was dancing around, he hadn't really realized that he'd hit his finger. His mind had gone out on him with pain, shock, see — pang! And for an instant, he all of a sudden shakes his hand frenziedly, you see?

That frenzy or the control and suppression of so much frenzy that one is completely just frozen in place is insanity. The frenzy itself or the aspects of that frenzy which go down, of course, to apathy, which is itself, you might say, sort of a motionless frenzy; it feels awful bad, apathy does.

Real apathy is kind of sticky, you know. It feels bad. You don't — don't monkey around if a preclear tells you he's running apathy; you just keep on running the apathy, and you get it on out because it really is bad. He could go way down. And if you suddenly betray him while he is feeling that apathetic by suddenly pushing in his anchor points or talking to him wrong or not being sympathetic or something of the sort, he can spin practically. But what is all that? That's just a mixture of pain, that's all. So you get pain plus a hidden datum, you've got insanity.

Every psycho you've got down here, then, has simply lost control during a moment of pain and is over a hidden datum. Then we look along — we look along his track and we find out people were mean to him and people betrayed him. Years and years later he spins on this; he goes insane.

And we look for his wife's departure from him to have been the course and saw — cause of his insanity. Well, as a matter of fact, you audit his wife's departure or the departure of women in terms of mock-ups, or make him be a departing woman or something of the sort a few times, and he'll snap out of it. That isn't because you've hit the base on it.

And what do you know, the — this eating on sex. This, you know, this eating people, it's fascinating to bring that up. It sounds so non sequitur here. I've mentioned it to you before. Before they got the symbolized eating called sex, why, they ate bodies. A big punch in death — there's a tremendous outburst in death. It's quite interesting. Degradation, by the way, is having gone through the process, having been eaten.

Well, anyway that's — there's pain there; there's agony! And when you get this thing mixed up with sexual activity, it makes a very interesting case. No wonder Freud was so death on sex. Well, let's just — let's just not much worry about that. We find out that there was a lot of agony in this. We're not interested too much in that — his being eaten, even, because what do we find is the base of it?

We find the MEST universe is the base of it. We find the sixth dynamic is all we're interested in with this character; that's all we're interested in — the sixth dynamic, we're not interested in the second.

We go back to this and we find out that he was in an automobile accident when he was ten, and he's still sitting in the automobile accident worrying about his mother. He's half-unconscious; he hears his mother speak out. He thinks he caused the accident, because his mother said, "You caused the accident." She said it to the other guy in the other car, see?

And she's — or he said something quite rationally; he was actually making some noise in the backseat about a half an hour before, and while they were on this trip, and his father said, "If you don't stop making that noise, you're making me so nervous, we'll have an accident." And they have an accident, and he says it's his fault, see?

It's blame, his fault! He has to deny and thereafter distrust himself on such a deal, and that's an interesting computation, by the way. Denial of self; that is the most dangerous crime there is. You say, "I didn't do it" when you did, and you're done for.

Now — or denial of your right to lie is also interesting. You'd think that it would be the other way around, but no, it happens to be that if you — if you preserve your right to lie at will, you're all right. But if you have to protest too honestly all the time, so on, you've agreed with the MEST universe, and that's all wrong. I'm not then advising lying as a matter of course, but you shouldn't be stuck with lying to a point where you deny that you have ever lied.

You start saying to yourself, "I am an honest man. I have never told a lie." Boy, that's the biggest lie of all, and that's an agreement with the MEST universe, so it's quite aberrative. All right.

Now, we'll go into this — go into this V, then, with our eyes, you might say, wide-open, where the V's are closed tight. What's the — what can you count he's sitting on? He's sitting on pain. He's got the lines shut to it. He is successfully dealing with it by cutting communication with his pain. There is a frenzy in this case, and he will descend rather rapidly down to Level VI if you do what? Run too much Admiration Processing on him. He'll go down to VI, then you process him on VI and he can handle it successfully and come back up to V.

But theoretically, you could just run admiration, being pleased with things, and so forth, often enough where you would make this boy feel he was spinning. By the way, this V probably never will spin. But he'll start feeling like he is spinning if you open up too many lines indiscriminately on him.

So we rather walk lightly on techniques which have to do with admiration and that sort of thing. I can give you some of the techniques to supplant this.

But let's ask, "Why is he a V, and what is he doing?" He is a V because his anchor points work in reverse. He doesn't know this and he isn't aware of it yet. He'll find it out in the course of auditing that when he sends his anchor points out, they come in, and when he sends his — pulls his anchor points in, they go out.

How do you get this man to operate his anchor points, then? You tell him to pull in his anchor points, and sure enough, they'll go out. He'll all of a sudden will get a lighted area around him. Will it stay lighted very long? No! Because he's suffering from light starvation. That is just as good as food starvation. The body is suffering from light starvation.

This person has led the kind of a life which has caused him to be inside when he wanted to be outside and has starved him for light. And as a consequence, he has followed the horrible cycle of the MEST universe.

Now, let me give you this cycle in just a breath. The cycle is the thetan makes it — that's first — the thetan is capable of making it and makes it. And then he gets into associations with other thetans who also make it, and he interchanges whatever it is (light, in this case) with other thetans. He's down to 50 percent there, you see? Then he may get around to a thetan who makes most of it, and then he becomes dependent on that light.

Or he gets into the MEST universe and starts to depend on the MEST universe for light, and then the MEST universe always follows this cycle: desires it, enforces it, inhibits it — DEI is the cycle of action. That goes along with start, change and stop. At 40.0, you have, you have desire, and then you have below that enforcement, and below that you have inhibit.

So the fellow starts out by desiring, then has to have light, and then can't get light. Now, if you run GITA on somebody, Give and Take, you will find this: That on a lot of the quantities you present them with — if they're fairly low on this scale — a lot of the quantity you present them with, they will have to waste before they can consume them. They'll have to be sure that they are wasting them before they can consume them.

This tells you about welfare states, for instance. They're no responsibility and so forth; why materials get wasted in them.

Indigent people who know they can't have something, also know it doesn't exist. And you could present them with gallons and gallons of milk, and they would actually have to empty it into the gutter — gallons and gallons of it — before they'd become satisfied that that was milk and drink it.

Now, you start doing GITA with milk on people who have bad teeth, and the first thing you're going to find out is, is you're going to have to have them pouring this milk down the sink and throwing it away, and doing all sorts of things with this milk except drink it. And then the next thing you know, why, they get to a point where they could give it to a starving baby in the house if there were ten gallons of it. They can get a mock-up, then, of the baby drinking this thimbleful of milk. All right. And you solve that scarcity and all of a sudden, we find what? We find that the preclear can take a gallon of milk when it's the last gallon in the world and there are eight babies starving for milk in the house, and have him mock himself up drinking it. He wouldn't do that, but he's capable of making the mock-up by now. All right, so we have scarcity, and there is the cycle of scarcity, and everything is scarce for a V, mainly light.

So, he will have to waste light before he will accept light. So every time he puts out his anchor points, he's so light-starved that they disappear on him. Of course they disappear, he's light-starved. His engram bank, his lines, everything else just go shlurp! and they soak up all that light, and do it so fast that you're not going to be able to turn light on around him enough, and you'll just open up these lines to undesirable things. So you just ask him to start wasting light. Just don't bother to tell him to start taking it in, just tell him to start wasting it.

He'll find out he can waste it after you push him a little bit. Yeah, he can get the idea of leaving the lights on in the house; leaving the lights on in London with nobody in London during daylight hours, and he can waste light.

You'll find something interesting will turn up. You'll find out that he's been abused by the sun. He's been in the tropics; he's been sunburned; he's had sunstroke; he's had heat stroke; something on that order so that he has had to fall away from light.

Furthermore, he's had a profession which has kept him out of the light, and there's your V. He's got to waste light before he can get light. All right.

He thinks himself incapable of manufacturing light, because every time he tries to throw light out he gets it in his — he gets the anchor points back in his face. Also, you see, this man has lost too much. But you say, "Lost too much? Lost too much what?"

"Anchor points."

"What are anchor points?"

"Particles of light." You see, he's lost too much.

Now, when somebody tried to take something away from him, he thought that they stretched his anchor points out. They didn't. When he reached for the object which was leaving, he pulled his anchor points in. The anchor points are in reverse, and they blanketed him. Now, this makes him also feel he's protecting himself and using these anchor points for armor. He does — he's under the delusion also that he can't make anchor points. He has to depend on something to make anchor points. Well, all right.

How does this come about? How does this come about that the V gets light-starved, anyhow? I mean, how can a man be light-starved? How can a thetan be light-starved? It's a very funny thing. You'll find the body of a V is much more light-starved than the thetan. And you can actually process the individual with a process I'm going to give you without solving light starvation. But you must remember this in this particular case.

In all of these cases, we have two techniques which will sound to your ear to be the same technique, but they're two distinctly different techniques. One is Matching Terminals and one is Double Terminals.

Matching Terminals would be putting a person facing a person; the same person facing the same person. And Double Terminals would be getting two communication lines parallel. Do you see that difference? You — takes four people to get two communication lines. So double terminals means you mock up four of the same person or two of one person, two of another person, in such a way as to give you — as to give you four terminals with an identical line.

You mock up, for instance, four of the same woman facing — two pair facing two pair, or facing in from the corners. Or you mock up two wives, identical; two husbands, identical; facing the two wives. And what will appear? The communication line, the hidden lines, will appear because you've got a double terminal on a line. That's simple, isn't it?

I mean a double terminal would simply give you — I mean a matching terminal — matched terminals would simply give you two terminals facing each other with one line, and that line is invisible. That line is the hidden influence in this universe. The line is invisible. You can't see sound. You can't see photons. You can't see air. The vital things are hidden. You can see a light source and you can see it hit, but you can't see it en route unless there's dust in the air, or something like that.

And that is a line and this is a universe of lines and these lines are hidden. So we do a double terminal. Let's say we take four women, all the same woman. We mock her up four times and have a pair facing a pair. See, we have two women facing two women side by side, making a square there, and we get the line between the two facing each other, so we get two lines.

And this is the only way, you see, we'll get a double terminal on a communication line is to have four terminals. Therefore, when you are working with a V, particularly if you're going to ask him to do any operation with regard to terminals after he gets a little bit better on a mock-up so he can barely get one, you make him work not to get two mock-ups but to get four mock-ups. And the reason why you got to get him with four mock-ups is his trouble is no lines.

And you will just mock him up — get him to mock up, mock up, mock up, mock up, mock up and even though you ask him to put a line in there, his perceptics are going to get worse and worse and worse. Why are they going to get worse? Because perception depends upon a line. And you're not rehabilitating lines, you're rehabilitating terminals when you're just telling him to get matching terminals. To get two terminals, you're just rehabilitating terminals. Well, you can — you could rehabilitate terminals on a II, but don't try it on a V. He could more easily get two parallel lines, which are feeling good, than he could get two terminals, two people facing each other.

And what his starvation is, as I said, his starvation is light. Now, how does it come about that he has light? Is this because people haven't communicated with him? That's one of the things, by the way. He's lived with — this person lived with somebody too long who has a long communication lag.

He'd say, "How are you this morning, dear?"

"Well ... I don't know."

"Well, what's wrong, dear?"

"My head aches."

See, it's ruined him, just like that.

Now, let me show you, that communication lag, you see, is a lack of flow. And he's gotten so he waits on flows and waits and waits, and all it does is key in. It isn't this person that's making him a V. It's what? It's the fact that this person keys in his communication lack earlier. Light is a primary communication medium — sound — and these are lines. And anything the V is blank on, anything he's black on, he hasn't got.

You'll say he can't feel a somatic? All right, there's an absence, a scarcity of pain in his case. You wouldn't think that was possible, do you? But remember that a thetan — remember that a thetan would rather be anything than be nothing. And he would rather feel anything than feel nothing. So that your anesthetized character inevitably has too little pain. He can't experience enough pain! There you get sadism, masochism. All right. Now, here's the pain figure.

Now, what about sound? This V goes around and he says, "Be quiet! You don't know what you're doing to me! You could tmm-mmm-umm!" You drop a pin a block away, you know, "Ohh, ohh!" Well, now, what's this V — what's this V really got? He's got a scarcity, a terrible scarcity of sound.

What's he want? You trace back in his life and you'll find out that there was a scarcity of sound: dishpans dropping, cars running into cars. You — just question him for a little while, and you'll find out that when he was a little kid he used to take playing cards and put them on the wheels of his bicycle so in order to make it go this way or that. And he had four horns on the head of the bicycle and he customarily tied two tin cans onto the back of the bicycle seat so they'd bang on the pavement as he rode along. Yes, sir. And then he had to be quiet and be quiet and be quiet, and he got starved for sound eventually.

But you'll find much more pertinently that he's had to live by himself someplace and that way back on the track, he was in the great silence. He was out in space. That's why you get so many V's have a space-opera back-ground. Space, boy is it quiet! There's no air to carry sound. It's real quiet, real bad.

Okay. The — we don't look to those things to solve this. We just mock up things going off. And we mock up things going off for — so other people can hear them. We're going to waste them, see. He isn't going to hear them. You're going to mock up beautiful sights for other people to see, not for him to look at. You're going to mock up all kinds of horrible agony for other people to experience, not for him to experience. And we'll just keep on doing this.

Does he see the mock-ups? No. Are they appearing? Well, what do you know, they must be because they'll eventually solve the scarcity. And then we mock up sound: dishpans and falling, and buildings falling, and so forth. And you're going to have a picnic on this because it's obvious to you, for instance, running anybody who's been through heavy bombings, that they're highly antipathetic to sound, you know. Sound is bad stuff.

It wasn't the sound, it was the silence. Those long silences. Have they gone? Have they gone? Well, I whzeewww! Boom! Oh, they didn't go yet. I mean, that's the idea, you see? It's the silences.

You'd be surprised — you'd be surprised what a relief it is to turn loose with a whole battery of guns after you've been floating around in the mid-night black. I've seen crews practically empty the ammo boxes. You say, "What the hell are they shooting at!" "I said 'cease fire' five times! Number one gun is still going! What's the matter?" Boom! Boom! Boom!

Two things: nice big, beautiful ribbons of light going out there and all that beautiful sound. And yet these guys — I suppose at home, baby drops a diaper on the floor or something, and they say, "Why don't you keep that kid quiet!" Now, that's interesting, isn't it? That's scarcity of sound.

He's got scarcity of everything. Has he got a — has he got a somatic in his knee? Well, it's because he's scarce on knees. Bad eyesight? Scarce on light and scarce on eyes. Scarce on sights? Has he got a bad teeth? Scarcity of teeth. Has he got false teeth? Well, that's because there's just no teeth at all. Scarcity of teeth? How do you solve his worries about this subject? He could probably — make him grow new teeth, really, if you wanted to put your mind to it. He's got a somatic in his mouth, nothing on earth can get rid of this somatic in his mouth. Oh no? There's a scarcity on mouths.

Now, you look any one of these things over, and it appears that it must be that there was — there's too much of this sort of thing, so he's shut it off, and therefore you are dealing, really, with an abundance. Oh, there isn't any such thing as an abundance with regard to a thetan. He just can't have too much of anything. He wants to be the mostest of anything he can, but after a while he'll get into despair about it, so he'll say — says it doesn't exist.

I'm going to draw you a picture — I'm going to draw you a picture here of the time mechanism that runs a body in this universe. This is the sun and this is the Earth and this is the moon. Now, if we were to mock up this with a V, we would probably think, "Well, we'll just match this terminal, and you know, put the V facing the V, and saying they're short on light." Oh, no. No, no. You're going to have to double-terminal this. And I draw you a picture of a double terminal. That's a double terminal, see? We've got four, essentially. But we've only got two moons, we've only got two Earths, and we've only got two suns. All right, now that's four of them; we've got two suns, two Earths and two moons.

Now, we're going down here, and we're going to put this little figure here, and this is going to be our V. It's very interesting, he's just exactly in the same place; he's on top of Earth in each one. So here you have the two upper circles there, the sun; the two lower circles, Earth; and those two big circles, the moon; and with the V standing here on Earth — standing here on Earth in each case.

Now, I'm going to draw in the communication lines. Communication lines are from here to there, the force is against him and a communication line is from here to there, with the force against him. And the communication line is from here to here with the force against him, and with the force against him here.

You think that was all the communication lines there were — weren't you? Huh? You — look at this, here's these communication lines of the Earth below the sun, and there's photons from the sun coming down hitting the V; and the moonlight from the moon hitting the V, here. You think that's all the communication lines.

No, this chuckle-headed dope puts out beams. Actually, they're there, they show up in auditing. You don't have to worry about this but you'd won-der, "What are these things so solid for? What all — this guy — this is ..."

This guy has a somatic where he is pulling the sun. Now, why? I mean, well, it's just the fact that he actually has a loop up here around the sun. He's got a loop up here all the way around the sun, and he's got a loop over here all the way around the moon. And in here, he's got a loop here from himself clear around to Earth. And Earth's got a loop on him here, in each case.

Now look at that complex battery of lines. Look at those lines. There's the gravity of Earth. There is the sun. And what do you know, there's the gravity of the sun operating upon him. There's the moon — the gravity of the moon operating . . . You understand this moon and this sun working together raise tremendous tides. As a matter of fact, if rocks weren't so heavy they could be picked up by this thing, really. And don't think that a living being and that a plant and so forth follows that sun around. And nobody ever measured this before. I mean, we've had a lot of dopes in the field of biology, I'm sorry to say, or back — botany.

A lot — very, very dopey people. They must have been, or they would have discovered this with — before I had to dream up double-terminaling. This is fantastic that this — that everybody wonders, "What is this strange impulse in a little flower that makes it follow the sun around?" Well, it's sure a strange impulse! It's the gravity of the sun that pulls it around, of course. Isn't that simple? Honest, that's why a flower follows the sun.

If you don't believe this, set up some preclear and have him double-terminal this way. And get him, particularly just as the sun disappears over the realm of the world for the night. Urn-hum. What's he do at that moment? He tries to pull the sun back, of course. You'll find in the accumulated centuries of the body's development that it has built in tremendous somatics, tremendous somatics, on the idea of gravity and pulling the sun and pulling the moon. And talk about hidden influences, you couldn't see any of these pulls at all, could you? And you talk about a real hidden influence, listen, when that moon went over the head in the dark of the moon, it exerted the force of gravity on the preclear but it didn't give him any admiration, and so it didn't run its own somatic out.

So you'd get the preclear mocking up the moon passing overhead in the dark of the moon. And he'll say, "You know, it pulls my face." He does; he's just getting — don't tell him what's going to happen, just have him mock these things up.

And you take a V, if you can get him to mock these things up, you're going to have a picnic, a real picnic, because it practically pulls him to pieces!

Now, how do you get this mock-up? You just mock up Earth. Mock up the sun and mock up these, and keep putting them back, putting them back, putting them back, putting them into place, putting them into place, putting them into place.

But that isn't all there is to this Case V.