Second hour. This is fourth night. Carrying on, now, very strictly, with processing.

Title of this lecture might as well be "Present Time." We have seen here that logic, that communication, that trying to stop motion, trying to start motion, so forth, (particularly the opposite sex), tie in to be very strong processes.

We have seen, additionally — and maybe not as clearly as you will in this hour — but the sixth dynamic is the best target that you can hit. You've seen that pretty clearly and you'll see it much more clearly.

Now, how do these things tie together? Why? What? Well, let's take present time and consider present time in terms of beingness. And we'll find that communication and beingness are the same confounded thing. Now that's very, very interesting, and would appear that I am closing a couple of terminals much tighter than they could be closed. But it happens to be true that communication and beingness are the same thing. And when they cease to be the same thing, a communication line results — the line, a communication line, then.

And you'll see these things in auditing, by the way. They're not anything very strange or esoteric or something of this sort. They're as quite as solid as that light cord, and when you process them with some admiration, they start to swell up like a sponge. And the next thing you know, you have your pre-clear with large masses of white energy all around in front of him, and he doesn't quite know where they came from. You wonder where this energy is and where he's stuck — he's stuck in present time. You've just blown up an enormous quantity of black energy into white energy, and it swelled up on you. That's all that happened.

You — very often you'll get these boys — they'll get completely glassy-eyed, they'll see all kinds of things right in front of them and they get all sorts of weird ideas as to what's going on. Why? It's just because of communication lines — not terminals, not facsimiles, but lines.

A line looks like a yellow ribbon — long, long, wide, yellow ribbon. Now, you don't have to tell your preclear that; he'll tell you about them. You'll see them yourself, not because I told you. A line is a secondary stage — tertiary, actually. There's beingness.

Now what — why is it, then, that communications and beingness are the same when communications are at optimum? And why is it that communications, when they are not optimum, become a line?

Now, we could do this, we could say: There's beingness, there are terminals, there's a line — order of evolution. The gradient scale in this universe has space, terminals, energy. All right.

Those anchor points I mentioned — you just tell this V to keep throwing out those anchor points and bringing them in, throwing them out and bringing them in, masses of anchor points out and in and all of a sudden he says, "This thing over my face is Grandma." That's communication.

You've discovered an old closed terminal. There was terrific affinity between two people, and they occupied approximately the same space as far as their thoughts were concerned. And then one of them died. Well, some-thing happened before that happened. You found that the — somebody stretched the terminals apart and this is your evolution of loss when it's very aberrative. Evolution is a very simple evolution.

Let's take a case here of a daughter and a father. And the father's very fond of the daughter, and the daughter's very fond of the father. And the two of them just get along just dandy, and they occupy almost the same space. You get the idea? They see the things from the same viewpoint.

There isn't any space, anyhow; you might as well just kick that out the window. They're just — it's an illusion. And it's a good illusion. The GE holds this space out here like mad. Boy, is he fixing terminals hard! But when we're dealing with the thetan — it's very easy for you, for instance, as a thetan — if you're operating well — to be here and take a look as Lord Nelson would see the scenery from his statue. This is no trick. You see, you might as well have the statue here, or you be there — it doesn't matter. If your communications are good, you just simply project your anchor points from Lord Nelson's nose, and then you will then see everything Lord Nelson would be looking at if his statue could see.

Space and location here in the MEST universe, you see, isn't any different from any other definition of space. This space isn't peculiar. It just happens to be fixed more solidly by the GE, and you are accepting the GE's viewpoint, so you see the same space that the GE sees. And in order to see what the GE sees when you're outside of the body, you've got to have a very high affinity, so that you can very easily be GEs to get the same space viewpoint.

I just — you can go over that several times. It doesn't sink in exactly yet. But you see, there really isn't any space for a thetan, unless the thetan puts out anchor points. The GE is making the space. Now, it's nothing at all for the thetan to go on perceiving this universe if he's in good shape, but he has to be able to be bodies easily. Then he sees the same universe. Otherwise, he's making one of his own.

This is the illusion of space. It's an idea. And it's a very fixed idea on the part of a great number of things that are in agreement with one another. And they're all so solidly in agreement that you have an identical space and an identical time stream. And that is life on the cellular form — cellular, molecular level. And you have this, then, as a — with a fixed idea of this space.

You want to be in this universe, all you have to do is to be able to be any part of this universe, and you'll have the same anchor points. But if you don't want to be any part of this universe, you can't see as a thetan. You will only be able to see when you are smack, bang, identified, solidly, with the GE. Or a rock. And you'll see everything a rock can see, which isn't anything.

All right. Now, you get this? This just may stretch your wits a little bit on a theoretical basis, but let's look at the definition of space. Now, it isn't that this definition was something I made up to confound my brethren in the field of physics. They've never defined it. Happy boys, they work with it all the time, and they never defined it. They just kept saying, "Space. And space is energy. And energy is — forms into matter and time. Then there's time too. The — leave time out here someplace."

"But what is motion?"

"Well, motion is a change of energy in space."

"That's good. What's space?"

"Space is what you change energy in."

"Oh? What's energy?"

"Well, energy is a change of motion in space."

"Well, go on now, what's space then?"

"Well, space is …"

You get the idea? We're going round and round and round. We've got three items each one of which is being defined by the other two: Space is defined as the interaction between energy and time, time is defined as the inter-action between energy and space, and — and energy is defined as the interaction between time and space. And they got nowhere. They could handle MEST. They haven't defined this nor gotten out of this rat race.

Now, I refer you to Scientology 8-8008's text. It goes into this very, very swiftly, and that's: viewpoint of dimension. It's a viewpoint of dimension. What's the dimension? Well, that's what you have a viewpoint of. That's all. You've just got an idea that there you are, and out there is a point, and therefore you can see from here to there. That's very easy, isn't it? If you don't have a point out there, you can't see from here to there. What's that point out there? That point out there is a terminal.

How many kinds of space are there? Well, there could be, basically, two-dimensional space. That's something with length and breadth, but no width. Highly theoretical, but nevertheless, it could exist.

One-dimensional space could not exist. One-dimensional space would be defined by something which has no dimension and the whole thing falls down. But you can say it has length and breadth. And the three-dimensional space is easy to define. And four-dimensional space is an idiot's nightmare. And you get up to fifth, sixth, seventh and eighth, and you can go anyplace you want to from there just in terms of viewpoint of dimension.

And you don't have to get snarled up about anything at all. If it's an idea — even the physicist starts out and he says, "Well, it must be all an idea or an explosion or something that started all of this. And we don't know anything about it so, therefore, we'll leave that up to somebody else and we will go on solving physics." (The jerk!) He wasn't going to get anyplace, by the way, until he suddenly took himself by the nape of the neck and said, "All right, how do we break this idiotic race track? How do we break this thing? We just keep going round and round and round in this same rat race!"

What's space? Space would be a viewpoint of dimension, which tells you immediately that the MEST universe is alive. Hideous thought, isn't it? Wait till you process some preclears on the techniques we're using; you'll know it's alive — a kind of dumb, stupid aliveness, all with its anchor points pulled in like mad and jammed tight together and trying to say, "Stay away from me" and "Hold them apart." But it's alive. All right. For all intents and purposes, you regard it that way in processing, anyway, because it's based on a view-point of dimension.

Now, it happens that — I just threw that in one day, into the works, to find out what would happen and everything fell flat out in the way of answers. I just kept pitching this thing into the works and it kept falling out. Pitch it in and it would fall out. Anything that works like that is — that's for me. I mean I — if that hadn't worked, we wouldn't have anything to do with it, and we wouldn't be talking about it now. But what do you know! It just all of a sudden up and solved communications a short time ago — boom, how to solve communications.

All right. You put out dimensions, you say, "Pam, pam, two dimensions out here, I got space. Good." It's two-dimensional space, see — two. All right, now we put a couple of more below them and we've got three-dimensional space. We've got a viewpoint of space. Good.

All right. Where do we go from there? Well, if we've got space here, then it must follow that we know something about the anchor point out there because we put it out there, didn't we? Well, so therefore, that's easy, and the next step isn't very tough. You say, "Well, all right, if I know that anchor point's out there, and it's out there and I'm here, then I can find out every-thing there is between here and that anchor point." And we've assumed that there's such a thing as "between here and that anchor point." And so you get a line. You have to have a line there — you think.

Now, you get these lines all networked and interwoven all over the place on all the anchor points that the GE has out, and it gets very interesting indeed. The GE has a couple of anchor points out there. Sometimes the thetan — you're working with Theta Clearing on somebody, and the fellow will say, "You know, every time I go around this body, I could put up all the anchor points there are, but there's one great big ball out thataway and there's one more out thataway, to the left and right and above my head, and they're the two things around this body I don't seem to be able to do anything with. I push them out of line, and they come right back into place again. I can push that out of line, it comes back into place again. I can mock them up and do this, but that isn't the same thing. I keep pushing these things out and bringing them back." That's the GE's anchor points.

Now, if you really wanted to wind those up, the GE — you can snap them or something — the GE would probably disappear. I don't know, I never did it. Well, anyhow. It was very strange to forecast that such a thing would be, and then have preclears of their own free will telling me all about this all the time.

All right. We've got this dimension, and a person doesn't feel that he is until he's got some space. That's the end of it. A person can't make any space, he isn't. That's because he's on to the concatenation of ideas which lead to the solidity known as this universe. All right. If he is, he has space. If he isn't, he doesn't have space.

If your preclear is having a rough time with space, (and any preclear who is below III on the Steps — from Step III down — is having some kind of a rough time with space) there'll be spaces he can enter and spaces he can't enter, and there'll be spaces this way and spaces that way, and he'll put things out and they'll fall in on him, or he puts things here and they fall out away from him, and he's just having a tough time all the way around about space.

Or if he tries to do Give and Take Processing, he starts to move in the opposite sex or something, and he can only get them to move in within four feet of him and then they stop, and he can't get them any closer than that. He's having trouble with space. He can't move a particle through space. And that's his total trouble. That's a fact. That really is his total trouble.

But that is, in its essence, communication. It is a particle moving in a dimension. That's communication. Various kinds of particles, but there's only one type of dimension in which you're interested. And these particles move in dimension, and that's communication.

And when you get lots of particles moving in dimension, heavy flows of particles moving in dimension, they look like lines, but they're particles in a dimension or in several dimensions. And these communication lines are there.

Now, they hook up with the GE — I'm very sorry about this one — I'm very sorry about this one. I apologize for this one, deeply, because I was going to be a good boy and I was going to keep my hair combed and so forth, and I was going to leave alone everything that even vaguely resembles space opera or evolutionary lines, or clams, or anything that upset the public, you see? I was going to leave all that alone and this was all going to be very simple, and then l ran into the life continuum communication line!

Oh, nuts. You might as well go out and shoot yourself right about that time, as far as the public credibility is concerned. Who's going to believe it? Nobody. But you, as an auditor, are going to have to work with it.

And that's, simply, the GE is so thoroughly out of present time, he is such a mass, such an accumulation of facsimiles, that if you were to bring him all the way into present time, what would happen to the GE? He would be cleared, and he wouldn't be there, and the body wouldn't be standing there. Because he's a composite and held together by facsimiles. All right. So you can't bring this GE all the way to present time.

So he's having a — the preclear's having an awful lot of trouble trying to get out of his body. So you say, "Well, let's see, we'll just kind of do a little bit of wrong auditing here. It'll come out all right, and we won't tell anybody we did it. We'll just sort of address the past with this GE." We feel we have to do this because it's so easy, and it's so obvious what's wrong with this person: this person is in his Aunt Mary's valence. And therefore, we'll just get him out of that valence. It's a very easy technique and we can do that, and we'll get him out of that valence, and so on, and then bring him up to present time, and everything will be fine.

Will it? Oh, brother! As long as you were auditing engrams out of the GE, you could get away with it, because you were auditing pictures and pack-ages and those things could impose against the thetan, and the thetan could mirror them and so the thetan could then take the GE's single package and by mocking himself up as the package the thetan could then create a two-terminal situation and erase the incident and the GE would feel much better. That's all right as long as we were handling that. But if we start to handle lines with Admiration Processing, we're in trouble. Because there are just so many hours in the next three millennia and it takes a long time to double-terminal the GE's life continuums.

They're not the thetan's life continuums. And that's the first thing you'll forget, and the very earliest thing that you're going to grab back onto in a hurry after you start auditing somebody — is the thetan isn't the GE, and he isn't doing the life continuum, but he's attached to something that is doubleterminaling with him and is doing a life continuum.

Now, we can solve all this, you see. It's very solvable, but you're going to run into this manifestation. I'm sorry, and as I said, I tried to be credible and so forth. The GE is hooked up not only, evidently, with his own past as he skips along from generation to generation, but he's hooked up with the protoplasm line. And the protoplasm line thinks it's on a communication channel.

And the communication channel can be discovered by an auditor using Double Terminal Processing. That's fascinating. That's fascinating. That means you got buried when your grandfather died. Isn't that interesting? Isn't that horrible? You got buried when Grandpa died.

If you run into some preclear and you have to process this out of him, you just insist that you're going to have to process this out of him, you'll say, "Why the hell didn't they cremate the old boy?" Because your preclear's been on a communication line to the disturbances of the grave.

I'm sorry about this. Honest, I'm sorry. It's real rough. Preclear's been walking around all this time and he has this odor of mildew. He doesn't know what he's going to do about this odor of mildew all the time. There, he's got an odor of mildew. It's Aunt Jenny — she's mildewed. They should have given her mothproof clothes when they buried her. I'm not kidding. I've been testing this, and that's just very sad. I mean, I'm sorry about it.

Fortunately, you don't have to tell anybody about it. And if you audit it — if you start auditing some preclear and this thing flies into view like mad and so on, it can be audited out by Double Terminals and Admiration Processing on three levels. And it can be audited out and it can be audited out probably with great benefit. And in some cases it very well may be have to be audited out.

And all you do is mock up the guy facing the guy that's dead. That is to say, you mock up the dead man twice in all of his postures and positions.

Now, this is going to be very tempting — auditing this is going to be very tempting to the auditor. Because now I . . . One of the first things you do with a V, is tell him to put his anchor points out and in. And if he does this a few times — throw his anchor points out and put them in again — he's going to go into his first communication block, which is going to be the last or first life continuum which he's doing. It's going to be one of the life continuums he's doing. And he's going to have a facsimile clasped right over his face — it's a hidden influence, you see? He's hiding it from himself, and so forth, and he — you'll find him in the damnedest places. You'll find him under the sofa of his boyhood home, you know, and that black thing in front of him is the curtain, the sofa curtain.

You know, this is silly, but this is true. And you'll find him in the damnedest places. Well, don't be surprised where you'll find him. You'll find him in the fireplace, you'll find him in the kitchen stove, and you'll find him someplace around where he best knew this person on whom he's doing a life continuum. And he has sort of hidden himself there, and he's being the other person there. It's cute, isn't it? Real cute.

And he will be in a place where he wasn't supposed to be in that area. Get that? In other words, he got a closure of terminals. It'll usually be some black or dark object in that area where he isn't supposed to be, and he was warned against being there — he's warned against being there. And so when he says, "Well, I'll do a life continuum on so-and-so," well, he does. And the next thing you know he's hidden from himself and so forth. He's hidden all right.

You say, "Now put in and out your anchor points. Now put in and out your anchor points. Now what do you see? What do you see?"

He looks at you kind of ashamed and, "Well, it's Aunt Jenny. Of course, I see Aunt Jenny."

And you say, "Well put it out — anchor points in and out. See if you can remove that thing from your face."

"Well, I can't move it very easily."

"Why can't you move it very easily?"

"Well, it's the curtain in her closet." In other words, he's just stuck him-self there on the track. And this is where you'll find the boy. All right.

Now, this would indicate, then, that the way to get rid of this, of course, is to double-terminal Aunt Jenny on three levels, which process I have yet to cover with you. We double-terminal her, get her facing each other in her characteristic pose, and take her down through the levels of sinking through grief and apathy into death; and we double-terminal her down here dying, and being dead, and being buried. And you say, "Well, gee, how many years ago was that? Well, we've got twenty-five years of grave to audit out here. That's good. That's — it's all. So we'll just double-terminal in there. Hope nobody dug her up in the meantime or something of the sort because we'll have to run that out." And I'm sorry, but that's just what happens.

And so we've got — what are we doing? We're auditing the GE. Undoubtedly, you'll be able to get away with it, but it's slow, slow. And you're not obeying one of the first goals of the auditor, which is to hell with it, locate present time!

Where's present time? Well, it's not in Aunt Jenny's closet. It's not in the bathroom of the boyhood home. It's not in the coal scuttle where somebody used to spit all the time — he mustn't get in that, you see. It isn't in any of these places. No, sir! And it isn't on that doggone fool communication line. In spite of the fact that it'd be very attractive to you to go ahead and do so, you're still patching up the GE.

Remember this: If a thetan gets tough enough, big enough, so forth, he patches up the GE simply by putting the GE under command and says, "Here you are, fellow, now let's snap out of this hop and get going." And the GE gets going.

Now, it's very possible, every once in a while — I won't conclude completely that it'd be — it's unnecessary and never should be done to double-terminal up one of these life continuum people, but you're going to find the damnedest things. So you just might as well be prepared to believe anything when you start to double-terminal up the people on whom the GE is doing a life continuum. Of course, you know, you needn't believe it either because the GE is stark staring mad. If anything ever was crazy, it's the GE. And, of course, he'd have delusions about it.

But we're dealing with an idea so we might as well say it's true. An idea is true. A delusion is true, then, if somebody believes it completely. Look at — look at capitalism. The best way to preserve capitalism is to make every-thing scarce and make the capitalists hate it. It preserves it all right, in embalming fluid.

All right. When we go in for this type of auditing, then, the sky's the limit because you're auditing the GE.

Now, I'll give you a very brief resume on how you would do that kind of auditing. You would simply take the preclear, you would just locate who he's probably doing a life continuum on, and you would — you wouldn't even have to find him — tell him to put in and out his anchor points, you see. And you just mock this person up twice in a characteristic position. You just mock that person on whom he's doing a life continuum up twice, and just hold that mock-up, and change it every time its mood seems to change. And you just keep putting in new mock-ups every time the old mock-ups tend to disappear. And you just keep doing this and doing this.

You can also put up two mock-ups, that is to say, two terminals of this person. And one of them keeps turning black — you can actually use Black and White Processing, just by simply if it turns black, why, tell them to turn it white. And he'll have two white terminals facing each other, and they're just as good or better.

All right. You just run that, then, right down the line, sympathy of burial, to the grave. That's all. And just carry it until it's done. Anything else pops up into view or something like that, why, don't bother to change off to it. You do it just as relentlessly as you did an old engram.

Would you then have to do very much about this? No. It's just put two terminals there and make sure that the preclear keeps them there and runs them through this sequence down to the burial and the grave. That's the way you would do a Matched Terminal on a life continuum. That is a technique — not a recommended one. Now, I told you, more or less, what you discover if you did this — and the sky's the limit on it.

Don't go around telling people this is what auditing is, though. This is what GEs are, damn them!

All right. Now communication, then, consists of handling anchor points. And that can be flows of anchor points, or showers of anchor points or great big masses of anchor points, or a chunk of an anchor point. That's communication. It isn't what happens between two anchor points that is a communication; it's what happens with anchor points.

Now, the first mistake that you could make is to say, "A communication line goes between two anchor points." That's — this is really a terrible blunder contained in that phrase. To explain this to somebody, you could say, "Well, what's a communication line? Well, it goes between a couple of terminals." You just throw it out like that and they say that's satisfied. But that isn't good enough for you as an auditor. No, sir!

The communication line is the behavior of terminals. That's all a line is. What's the terminals? The terminal is the line is the terminal. Don't think that you have terminals, then, without having lines.

You get further in auditing if you process things as though they were lines than as terminals. What's this tell you, then, immediately? This tells you that if you want to open up a line real good, you'll have to double-terminal the line. That is to say, you'll have to mock up a line alongside of a line, won't you? Instead of mocking up two terminals facing each other, you'd mock up a couple of lines facing each other. And sure enough, the auditing goes faster if you do that. It doesn't matter whether you handle the line or the terminal; you're handling the same thing — you're handling communication.

Now, when affinity is high you get an identity of beingness as far as space is concerned. When affinity is very high, you can have the two things in the same space or in different spaces.

So on any person — he's just as likely to be someplace else. Every once in a while some guy gets killed in the war and his wife jumps out of bed with a scream — eight thousand miles away, or something like that. I don't know why anybody would be surprised about this, but people generally are. He's just home too and it's probably his last thoughts of home.

Now, it's totally possible that with his dying breath, the relative thinks of, or tries to grab hold of, the admiration he's had from the other person — drains the line, jams the line, collapses it, and brings the two terminals down on each other. And the two terminals are coincident from then on. That's why your preclear doesn't feel good; he's been buried for years. Well, that's just perfectly acceptable as an explanation.

Now, beingness, then, could be communications — and you might as well consider them the same thing. Now, if we want to be very smooth, we say the evolution is: idea to have space, then space — now that level is beingness. And now, if we have space, we've got anchor points out there, and the beingness around here is in communication with.

So we cannot have space without having communication. The second you've got a point out there, you've got communication, and in order to have space, you've got to have a point out there. So you see, they enter in right there.

Now, as you get more and more points, the communication becomes more and more obvious and more and more visible. A person who has a small idea of his beingness won't get his points out very far. A person who has a terrific idea of his beingness can put his points way out or not put them out at all.

But you won't find somebody along 3.0, 4.0, 5.0 of the Tone Scale that will not put them out at all. Remember what I said last night about your — about this: Keep them apart! Boy, from about 3.0 down, they've got that bad. Keep them apart — that's the big motto — keep those terminals apart. They dramatize it all the time.

Because, you see, if a person holds them apart and fights holding them apart, they collapse, and he's left, then, with a terminal or a point — anchor point, terminal, I don't care which word or phrase you use — he's left, then, with something which has collapsed upon him in such a way as to have over-come his own self-determinism regarding it, and therefore he is in apathy. That thing was way out there and he knew he had to fight it to hold it out, so he fought it to hold it out and he fought it and he fought it and he fought it. And you know what randomity is: it's not taking responsibility for something. So what's this thing do? It collapses on him, of course. So he fought it and he fought it and he fought it, an* it came right back, and finally it's wound up right in his face.

And theoretically, as far as I know, every atom that is in this wall here has fought to keep it apart, to a point where it's infinitesimally small. Is it the helium atom that has two electrons and one proton? Male voice: No.

Is that it?

Male voice: Deuterium.

Mm?

Male voice: Ron, deuterium.

Well, that would be the eternal triangle fought down to its final decline. The proton has kept two of them apart, finally winds up in a wall. I mean that could be, theoretically, it. You see?

There is no slightest scarcity of life — no slightest scarcity of life. And actually, a thetan could throw out a shower of this stuff, and it could start behaving in that fashion and you would have matter. When I say that that has fought to keep them apart, that isn't any reason to believe that it should be sympathized with particularly as alive. Oh you — it might be alive and it might not, who cares?

All right. Let's take a look, then, at the difference between a person who steps out of his body easily and a person who steps out of his body with great difficulty. A person who steps out of his body easily can handle most communication points; he's not fighting his own communication points. A person steps out of his body as easily as he can handle communication points, and he has as much difficulty stepping out of his body as he has difficulty in handling communication points. And from 3.0 down, he is so thoroughly trying to keep them apart that he is jamming them in on himself, one right after the other — barn-barn-barn!

Now, what are the first two terminals you're interested in, as an auditor, in this preclear? One terminal is the thetan and what matter the thetan might be making or desire to make, and the other terminal is the body. And that is a communication system whereby the thetan has mistaken the body for his own anchor point.

He says, "Well, this is my anchor point," and then he says, "It's no good," and therefore, he says, "I don't want to be in it." So his task is to hold, himself, what havingness he has — he has no havingness himself, you see, but he could be holding on to something and saying, "This is I." He does that easily.

Then he'd say, "This is myself and that's a body, and I've got to keep them apart." And he's successful. Every once in a while he does manage to stay four feet out from them, and then three feet out from them, then two feet out from them and then in them. And, of course, his ambition is to keep them apart. And he can't do that, so he is in an enforced state of collision with the body. And because he is the more sentient of the two, he then calculates that he has to be it, and that it has overcome him. So a thetan believes he's been overcome by the body and he doesn't exist, and he's sort of handling the body as a servant or something of this sort — whereas he's the only intelligent thing in the body, which is the big joke on him.

There is your first sequence of collapsing terminals. You see? Now you'll get many a I out of his head and have him start telling you immediately that he has trouble keeping his communication points out. Then you haven't got a I, have you? You've got a II or a III or IV. You're going to have to work him pretty hard until he can handle his anchor points out there. His communications, then, will not be too good; he will not be able to see as well as he should be able to see.

What is the whole problem of perception? The whole problem of perception is ease of beingness. Ease of beingness is the ease of handling those anchor points. That's all. That's all. I do mean that's all. You don't have to beat your head in about this.

There are 8,622 new processes per square inch of the next 100,000 years can be based on those principles. And there's just — we don't have any scarcity of techniques. Just what's the easiest technique? And we learn more and get a better definition, we get a better and easier technique. That's about all. Mean the old ones didn't work? No, they still work the same way, but we can just work easier, and each time we work at a lower-level case.

Now if we know this, this tells us that a Case VII has his communication points collapsed right straight on top of him, so he isn't in communication with anything, and that's that. He isn't — he wouldn't know whether he's in present time, then, would he? He wouldn't have any idea where present time was. How could he? He doesn't put out any anchor points, and if he can't put out any anchor points, and if he can't co-be with a body and use its anchor points, he won't be able to find out where he is.

Many a VII will, with great ease, go out of his head. I mean you could say, "Step out of your head." And you — he'd just as soon tell you he was out of his head. He isn't in his head, he isn't out of his head, he isn't part of a body, he isn't anything himself, he knows he's the bedpost! You might get better results, too, if you went over to the bedpost he kept talking about being all the time, and say, "Be two feet back of this, now." You might. Your whole problem with him is getting him to put out a communication point.

Well, there's a cycle you go into for this. And that cycle is: curiosity, desire, enforcement and inhibition. That runs from 40.0 to 0.0. There's curiosity just above 40.0, and that makes one go out and put out the communication points.

But the second he says, "I want them to be there so that I can see," why, you're into desire, and the fellow starts not to want them there. And some-body says, "You've got to keep them there," and then if he really has got to keep them there and he gets them anchored firmly, somebody comes along and says, "You can't keep them there anymore." That's the cycle of the Tone Scale — it's curiosity, desire, enforcement, inhibition. All right.

Now, at 40.0, way up on the Tone Scale, way up, affinity is such that a person can be or un-be with such ease, that he could just be anything and un-be anything, and be anything and manufacture anything. It doesn't matter to him.

Or as far as the MEST universe is concerned, he could only be in one place and that's present time, if he were in the MEST universe. Of course he could probably flip ahead of the MEST universe or behind it. By flipping ahead of it, just mock himself up as predicting where it's going to be, or what's going to be happening. And behind it, he could say, "Well, I'm back here now."

But he'd have to coordinate (wonderful word) the ordinates of space. He'd have to have his anchor points out in the same space ordinates as the MEST universe, in order to perceive the MEST universe. All right. Therefore, he could just be anything; he could be this and not be that and so on. As a matter of fact, he could be pain, he could be misery, he could be chaos, he could be destruction, he could be any one of these things and it wouldn't worry him at all. Because he wouldn't be worried about destruction, probably he wouldn't cause any, you see, to amount to anything. He wouldn't be bringing order into everything either, particularly. There would be his state of beingness. Now, that's way up, and if he got into action a little bit, he could still be anything he wanted to be.

But then we get this whole cycle now, and he says, "I can now put out my communication points anywhere." And what do you know? By putting out his communication points anywhere, he actually can simply say, "All right, now let's see, I'm the lorry, and I think I will drive down the middle of the street." And the lorry would probably move out in the middle of the street and go down the middle of the street. See, in other words, his command over MEST and other things is so great that he'd have no difficulty with them. He'd just say, "I'm it. Now it will move," and that would be that.

All right. Now, let's take the bottom of the scale. What's happened there? Without any determinism of his own, he has been forced to keep his points in. Things have tried to communicate to him so forcefully, they've got him leery of putting out any of his own points. What he's fighting is a hidden influence. He could put out at any time he wanted to points anyway, and nothing is restraining him. Not for a moment. No. No. Nothing — there's no barrier there. He just thinks there is, but that makes a barrier. All right. Now, he looks over here, then, and he says, "Well," he said, "if I put out any communication points there, I'll get shot. And if I put out any communication there, I'll get eaten by lions."

You ask some people who are way downscale, you say, "All right, now why can't you get out of the room?"

"Well, it's because of the tiger out in the other corner of the room." Sometimes you ask a preclear a little higher about the room, "What's the matter? Something wrong with the space in this room?"

And he'll say, "No. No."

"Well, what would you hate to find here?"

"Well, I'd kind of hate to find that dead woman over there. I'd sort of hate to find her."

So you have him mock up a lot of dead women, and then he steps out of his head. It's a technique, you see, clearing up his space for him just by making him pretend all the horrible things are in the vicinity that he thinks are there as hidden influences.

You see, the thetan using the GE's anchor points isn't trusting himself as a thetan. And if he's stopped trusting GEs, he's in horrible condition; he doesn't even use the GE perception. He doesn't believe what he sees, in other words. He doesn't believe what the GE sees, either.

All right. Now, how do we use this? We have the fellow, you'd say, "All it would be necessary to do is change the fellow's ideas and he'd go all the way on up to the top of the scale." Well, that's true if he's out of his body. But every time he tries to change ideas while he's in his body, at a low level, something bad is liable to happen. And that bad thing that is liable to happen is that he's liable to release a little admiration, and that opens up another communication line, and the next thing you know, why, he's pinning down tighter than he was before — by just releasing energy. So the way we'd get him out of his head — the best technique to get him out of his head would just have him be things without worrying about whether he was in his head or not. Because, you see, the joke is on him; he really isn't in a head at all.

I'm not making a joke here, I mean I'm not saying he's three feet back of his head or anything. No. The truth of the matter is, all the way down the line, that nobody is in any head. I mean, that's far as the highest level truth is concerned on this. He's just got an idea that he's someplace. And he thinks that he'd better be able to locate things and hold terminals and move them and things like that. And sure enough, you use those techniques, a certain level of result takes place. We were using them here a few months ago, and we were getting along fine. We weren't getting anywhere as fine as we're getting with these simplifications.

All right. Now where do you start with this fellow, then? Well, this is a technique called — just nothing but this — this technique is called Mock-up Beingness. Good simple title — Mock-up Beingness. And you just take a horrible long list of things for him to be. Where? Right where he is.

Now, you don't have to double-terminal them, but you can. And this is something like Mock-up Processing.

Now, you don't direct him where to put these beingnesses. You see, that's — you'd be directive if you were telling him that. So you don't tell him where to put these beingnesses. You say, "Be a cat," and he goes ahead and he's a cat.

If you were to ask him where he is a cat, he would say, "Over on thewindowsill." He's here, he is over there. He's mocked himself up as a cat thatfar away from where he is. That's how fixed he is away from a locationalplace of beingness. That's how far he thinks he is from being cats. You see?And what do you know, you say, "All right, now, be a white cat. Now be a black cat. Now be a green cat. Now be an orange cat. Now be a blue cat. Now be a big tomcat. Now be an old alley cat. Now be a mama cat." All right, if you were to ask him now, "Where are you?" or "Where is the cat?" he'd say, "Well, it's here." You see, gradually, as he mocked it up — tck, tck, tck  — coming right back, well, he's getting closer and closer to his mock-up.

Now, sometimes his mock-up will hang fire. That is to say, he can only be a cat four feet away. I mean, all of a sudden, he's static; he's no closer to being a cat. He could be a dozen more cats, and he'd be no closer to that.

Well now, do you worry about just giving him a whole bunch of cats to be to cure his unbeingness of cats? No. This is a high differentiation technique. By this I say, you keep the selection of things to be as random as possible, and you give them consecutively, and you don't worry about any somatic turning on, and you don't worry about where the mock-up falls or whether he's putting it up twice or whether he's putting it up once. You don't give a darn about that. This guy thinks he's a body, and boy, you're going to prove to him with a series of mock-ups that he can be anything from a battleship to a jailbird. And you're just going to keep it up until he eventually sort of gives up and says, "All right. I don't care if I'm a . . ." And he will be, if you ask him.

And by that time he'll just simply step out of his head, and everything will be brilliantly clear and his mock-ups are beautiful and he's in wonderful condition. What have you done there? You've raised his communication level. You couldn't help but raise his communication level by addressing the whole subject of beingness, could you?

You just say, "All right, now, be a battleship."

"Okay." Then he'll say, "But I sure feel kind of funny with my bow sticking way out here."

And you say, "All right. Now be a lorry."

Now, would you specialize in live things or MEST universe things? Well, the MEST universe falls under this classification: It is in the category of giving no attention, receiving no attention, and not noticing any attention. And therefore it is the terminal which the individual will fight unsuccessfully every time.

There's only one direction, in absence of processing, that a person can go in the MEST universe, and that is out the bottom. And that is because it does not give him the attention which he gives it. So therefore, he sticks — the MEST universe sticks everybody on a one-way flow of attention; and the attention is never given back. And this stuff is just like sponge. You put admiration into this stuff and it just goes slurp! — real hungry. And you'd have to be able to make an awful lot of admiration to make very much of this stuff disappear. I imagine if you sat still for a year or so and poured admiration through here, you could probably have a four-inch hole bored through the wall. But you'd have to be pretty good at it. You see?

Now, to stay out of flows, to stay out of this manifestation known as communication lines, get him into present time as best you can, and handle him from there, this technique is definitely recommended. And it is a technique which apparently is almost nonsense as a technique, and it's terribly simple. But it — and nail this down, know this now — that by changing his beingness, you will change his communication level. You're trying to produce a change in a preclear, aren't you? Well, you're trying to change his being then, aren't you? The best test of changing his being is did he get a communication change? You can measure that easily, you can say, "Well, he sees better." That tells you that you've improved his beingness.

But you're really not interested in that. "Did you get a communication change?"

"Yes."

That's just a test, you understand, the communication lag index — that's just a test. That isn't what you're gunning for; that isn't what you've got your sixteen-gauge shotgun aimed at. You've got that shotgun aimed strictly at one thing: You want to change this guy; you want to change this preclear. He isn't happy as he is nor successful as he is; let's change him.

Well, what are we trying to change — the color of his ears? That would be processing the GE. You're not going to achieve any change if you process the GE, except to get a GE. His level of improvement will be an improved beingness as a body. That's pretty good. That's better than he's done before, but that isn't good enough. Let's have this fellow so he can walk out across the fields and so forth, and feel perfectly at ease, and in good condition and in love with the world, and get away with it.

And how do we do this? Just mock up beingness. That's all. You just go on and mock up beingness.

Now, you have to watch this, and a preclear has to be audited in this, because it's a technique that he flies from as something accursed. You get a low-level guy, oh, no, you're asking him to be something. And remember, he's found out completely that he can't be anything, and so you're just going to get failure after failure after failure after failure with these guys. And if left to their own devices, they just go all to pieces on this technique — just all to pieces.

They'll float along just so far, and then they get interested. Interested in what? They'll get interested in logic. Why will they get interested in logic? Because they're out of present time. They want to know and figure out what is going to happen in the future. You're trying to fix this fellow up so that present time is tenable.

Now, there's a lot to be said about present time, but present time as far as he's concerned is the MEST universe, and it happens to be the existing state. And in order to tolerate the MEST universe, a person has to have the survival capabilities of God himself. Why? Because it will never give him any admiration. All the way up the line from one to eight, there is only one deep hole, and that is the sixth dynamic, and it'll never give him any attention.

You'll find the workman has rough difficulty. You start Double Terminaling Process with this guy, and you — all of a sudden you can't find out what's wrong with him, and you try hard and do all sorts of things, till all of a sudden it occurs to you belatedly, you know, I wonder if this fellow ever had a job when he was young, and you say to him, "Well, did you ever have a job when you were young?"

And he says, "Yeah, I had a job when I was young. I used to run a drill press down at the Jaguar works."

"Oh, yeah? How many years did you do that?"

"Four years."

"Rig up two drill presses and have them operate."

And you'll suddenly, for the first time, see this case start to have things happen to it.

Why? He was giving attention to the MEST universe. Well, that tells you immediately that a fellow would be what? A fellow would accumulate a lot of gravity after a while. What's that got to do with it? That simply means he'd stick, he'd jam. His communication points down would never be answered up.

As he stands up he's getting attention on his own level, but there is no attention from below to him. And it tells you, then, that as he progressed in age he would get stouter, he would become heavier and do just exactly what the GE does. And why is this? It's because he never gets any attention from below.

Now, what can you do with this technique? What can you do with this fact, rather? I haven't given you the technique. Well, you can take I don't know how much weight off a preclear. You could take weight off of him so fast, by the way, that you could have him go around being scared he won't be able to get his feet on the ground. You could just simply run the gravity out of him. And that's measurable on a scale. You can make him lighter but fast. How can you make him lighter? Well, let's give him attention from below. That's all. Simple. Where's he never gotten any attention from? From below. Except maybe some aviator, and he never noticed that. From his tools, from below, from long roadways, from wide pieces of sky with nothing in them — these things have never looked back at him as hard as he'd looked at them.

And why has he had to look at them? Because they're full of hidden influences. Everybody knows that! It's a hidden influence. Why gee-whiz, you're liable to be walking across a jungle path and all of a sudden, pow! you're hit in the head by a snake. Hidden influence. Well, you say, that was life that did that to you. Well, you kind of blame it on the universe, or what-ever you blame it on.

And you walk a little bit further down and you fell in a hole and that wasn't a snake that hit you in the head. Because the one thing that will always get you in the end is the MEST universe, and therefore you have to be able to love it very dearly. If you don't love it very dearly, you can't control it worth a darn, because it's something that is composed of fighting terminals. And it is composed to deny you any possible admiration, while you give it all.

Guys will get fixed on this universe, and they'll look at nothing else but this universe, and this is a very, very, very horribly sad fact — terrible fact that life in as high a form as man gets so aberrated by the presence of MEST that man hasn't got enough sense to realize that his dramatizations against man are immediately derivable from his reactions from the MEST universe. In other words, the reason he hates man is because the MEST universe hates him.

Who can salvage man; Man can. So he's running around, so he's running around hating and spitting and having an awful time and giving no admiration like mad. Well, what's the contagious factor? It would be the source of all hidden influences, which is itself the hidden influence: it's the sixth dynamic, the MEST universe.

You — everybody knows it's people that aberrated them. Everybody knows it's people that did this! Well, if everybody knows that, you can be darn sure it isn't true. And sure enough, you start doing life continuums and that sort of thing, and you'll get no resurgence in your preclear to amount to anything, till all of a sudden you start mocking him up as rocks. Fantastic. Rocks — they sneak in on you in the dark and kick you in the shins.

All sorts of things happen in the MEST universe, because it doesn't think. You're living with something that doesn't think. So a man plans, plans, plans, plans, plans what? So that he will know a little bit in advance of when it happens, what's going to happen. And there's your engineer, and there's engineering logic: It's trying to predict what's going to happen to the MEST universe.

Nothing's going to happen to the MEST universe; one of its principal and basic laws is conserve. It knows it's scarce, so it's got to save it. Conservation of energy — it's built on that principle. When terminals get locked in that tight and squeezed in that tight, and fighting each other that close, you can't have anything but conservation of energy.

So I'll give you this other process, which is the processing on the three levels of A, B, C. C is your upper level, A is your lower-level process. Now, what is this in order of terms of magnitude? You just tell your preclear about this. You say, "There's three levels of processing, A, B and C." Well, he'll — you'd say — "Where's A?" he'll say.

Well, you could say, "Well, it's below the floor level."

And "Where's B?"

"Well that's on the floor level."

"And where's C?"

"Well, that's up above the house."

Any such scale, you see.

And you have people from A looking up at the pc on B. That's attention from below which is admiring him. This is admiration, this is real good admiration, see? Or you have mobs of people down here on A looking up at B. Or you have people up here at C looking down on B.

That's really all you have to know about this "levels." It's just not — you don't have to say, "Now get him to admire something. Now get the people on A to admire somebody on B." No, because the people on A simply by looking at the people on B are automatically admiring.

Now, how do you get somebody on B sympathized with? You just mock up a second terminal on B. Sympathy is "same as," so if you just mock up some-thing going through the same motions, the same size on the same level, you've got sympathy. Does the preclear have to feel it? No, you don't care whether he feels it or not. If he does — doesn't, you don't worry about it. You just tell him to do this. He doesn't have to realize that he's getting sympathy out of this, or that this is the mechanism of sympathy. He doesn't have to realize that this A to B here is the mechanism of admiration.

So, what's the score here? This is A, B, C, and every time I've said three levels of processing this is what I was talking about. You do single or matched terminals here and you get them looked at from A up. Or you get them looked at from C down. Now, you can do all sorts of things with these terminals. There's a lot of techniques can be worked out of them. For instance, this from C down to B is sort of pity and uh . . . Oh, the C to A is pity, and C to B is blessing, and they all work out, the emotions just in terms of levels of attention.

Why do they work like this? Well, they work like this on Homo sapiens because he's on a flat plane surface of Earth. He's on a sphere, here, and he's concentrated this way. In other words, to turn on this sort of thing you get — you find out the sun doesn't admire you, it sunburns you. And you find out the Earth doesn't admire you, it kicks you in the feet sometimes, it gives you a good hard slap. The tools don't admire you, and yet you're working from them from below and you're expecting something to look up at you or back again and it never does, and so you just work more and more and more and get less and less admiration for it and eventually, why, you just sort of spin in.

All right. So this is three levels of processing, and you have the preclear do these in terms of mock-ups. And these mock-ups can be anything. You can use Double Terminal Processing, or you can use this system by itself. In order to get sympathy for anything on any one of these lines, you simply mock it up twice.

You can have mobs of people. With some preclears you will find out that running in stadiums full of people into level A, just billions of people have to be replaced every couple of seconds. For what? They're just so completely starved for admiration. And if this preclear gets that starved for attention, he is practically on his way to becoming a piece of the MEST universe because the MEST universe got there by being starved for attention.

And so we have, then, this system when we say the three levels of processing. So we've got as an optimum process Mock-up of Beingness. And then in order to get sympathy and admiration, this is how you run sympathy and admiration on the three levels of low A, center B, high C. And you put the preclear on any one of them, preferably B, and have them looked up at from below, and down at from above.