In this second hour we're going to get straight down to business here and we're going to cover very swiftly now, in the next three minutes of play, the following:

What's wrong with the preclear and how you do something about it, just like that.

What's wrong with the preclear is the fact the preclear is inherently, by his — the nature of the beast, eight dynamics. And these dynamics have been limited as an area of responsibility for him until he is about one one-thousandth of one dynamic: one.

This has happened because of a principle known as the principle of the hidden influence. And that's one that you're going to hear a lot about and you're going to see a lot of and is as valuable in working out your preclear's case as your original things — theories such as theta — MEST, the introduction of an arbitrary, other basic theories in Dianetics and Scientology — hidden influence. We'll talk a lot about that later.

But he has been led to believe that there were hidden influences here, there and this way, until at last he has conceived himself to depend for his own survival upon other things for his realization of the eight dynamics and has cut down his scope of personal action to maybe a thousandth of one dynamic. And this has come about on two principles: One, the theory that he had to survive and the other, that there have to be currents and energies and flows.

Now, we could say there's several of these things. But the idea of survival lies at the head of all ideas and two terminals lies ahead of all flows. So we're actually working here simultaneously in two distinct fields which interlock.

Ideas beyond ideas beyond ideas. He has to survive. In order to survive you have to be something. All right. You have to have energy to do things and in order to have things. This requires two terminals. So here on the one hand we have the top of all ideas which is survival (you have to be something in order to survive) and on the other hand you have to have two terminals.

Now, let's find the bugs in both of these things and we find out there's a bug in each one. The introduction of an arbitrary is right there. The hidden influence is right there.

You get a fellow who's awfully bad off, by the way, he spends all of his time trying to find out the hidden influence that's working its way upon his life: who's got communication lines out to him and who's writing letters and who's doing this and who's doing that and God knows and he's in a bad way.

Well, the hidden datum behind survival is that the being they were trying to make survive is immortal. That's a hidden datum. There he is. You see, if you tell something that is immortal and can't fail to survive that it has to survive, that's a very grim joke, isn't it. That's the bug in that one.

And the bug in the two terminals is simply that he's always the other terminal. He has to have two terminals? Sure he has to have two terminals. Mm-hm, and they're always both his and they've never been otherwise since the beginning of the track.

What's the hidden datum, then, that pins a man down and causes him to be worried and anxious and miserable and upset and worry about the future and all of that, and worry what's happened in the past, and so on? That's because it had to do with the other terminal. And he thinks that other terminal was to be worried about. In other words, he hasn't taken responsibility because it was hidden from him that the other terminal was always himself. It has never been otherwise since the beginning of time.

Now, he can get an idea from somebody else. How? By mimicry. He gets all of his ideas by mimicry. And so therefore, he has to be "the same as" to get sympathy. He has to be "the same as" to get an idea. Do you see?

So we've got the emotion of sympathy, then, as the first step in flows which is an energy. Sympathy becomes a dubbed-in kind of energy.

A fellow says, "I feel sympathy" or "I have to have sympathy." It is a sensation. This is a dub-in. He thinks it's an energy and he's all set to accept it as an energy. Whereas in the field of ideas — we're working, then, in two things, you know: we're working in the field of ideas and we're working in the field of energies. Got two big spheres of action here.

And by the way, you won't get anyplace if you try to divorce the two completely and say, "These are two separate fields. We're only going to work in ideas now, ha-ha." Like hell you will only work in ideas. That's your failure whenever you tried to undo a case simply by undoing a postulate. You are avoiding the fact that the postulates are buried in the effort. The two fields are interlocked and they obscure each other. The ideas obscure the effort and the effort obscures the ideas.

So over here in the field of ideas we have, then, the idea that one had to depend. The idea also that in order to be valuable it had to be scarce. That's the idea.

Now, we find that echoing over here in terms of terminals and we find scarcity as the dwindling spiral. If we were to draw a dwindling spiral we would have an arrow going down towards 0.0 or minus 8.0 and that arrow would have marked on it "scarcity." And we would have on that dwindling spiral another arrow marked up, showing up the spiral, and it would say "abundance." And neither one of them say abundance of what.

Well, what is the optimum survival for you, as an individual? It's an abundance of you. You'd never look for that one, would you? An abundance of you is the first dynamic. You have been so many beings simultaneously you couldn't count them. And now you sit here convinced that you're just one and can only be one.

How the heck you could ever discharge an engram bank as just one person is more than I know. Yes, supposing you were five beings, that's five terminals, that's good abundance, isn't it? And then something happens to terminal five and it goes haywire and you decide you want that experience. Experience is valuable, it points the road, it tells you the cautions that you have to observe, so you yank the beingness of you as number five back to number four. Number four terminal is now four and five. And then something happens to number one and you yank back from number one to get the data and experience and so forth of number one. And now number four is now number four, five and one. And so it happens to the remaining two and three, and what have we got? We've got number four is now one, two, three, four, five. Isn't that fascinating as a modus operandi?

How do you suppose you ever contracted down from eight dynamics to you? By closing terminals, closure of terminals. You snap in these dynamics, one after the other, and hold them in close to yourself.

All right. Let's go in a little bit further into the hidden influence and we find out there is one hidden influence that is the generality of all hidden influences. And it, of course, goes dually. And there's two things you can think, in terms of evaluation, and evaluation would roughly come, for the purposes of aberration, under these two headings: There's something good about "blank"; there's something bad about "blank." And by telling people there's something bad about "blank," they make them turn around and go away from "blank" while they're still connected to "blank."

Who connected them to "blank"? The person who told them there was something bad about "blank" made them put anchor points out into "blank" just by referring to it, you see? They say, "The reason I want to tell you there's something bad about this, the reason I want to tell you there's something bad about this," it would be "I want to put anchor points from you to it." No, they wouldn't say that, would they? No, they just say, "There's something bad about it and I'm going to have to explain it all to you so that you'll under-stand how thoroughly bad it is." And when you've got this all explained you have the person hooked up to what's bad.

Now you tell him to depart from it. Great. Well, he can't have an admiration line, that is to say communication line running on out to "blank." He couldn't possibly have one running to "blank." So what's he do? He collapses the terminals. Where's this wind him up? This winds him up in "blank." This winds him up in whatever he's been said — told is bad.

So we find out that as far as preclears are concerned, "there is some-thing bad about . . ." is the idea that stands above the modus operandi of double terminals and closure of terminals. If you can convince there's some-thing bad about the terminals with which he's connected with, a person will then pick up and go away. He thinks he's closing out or shutting off the terminal. He doesn't. He collapses his lines. What's he collapse on? He col-lapses on himself. What does he collapse on himself? He collapses on himself the mock-up which he's been saying has been the other terminal. This is horrible, I mean, if you come to think about it.

You're just standing there and somebody says, "Do you know that person over there has leprosy?"

And you say, "Huh? Huh? I hadn't noticed, hadn't no — . What do you mean leprosy? Oh, that person over there." You have to put a mock-up over there, you see.

They say, "Now, look at all the scales, scabs, has no feeling, limbs all rotting off, going to be in terrible condition; and the disease is contagious." Pow!

What have you got, now? You've got a mock-up of a leprous person in closure of terminals with yourself. Now, that's the mechanical trick of a collapse of terminals and how you get engrams and how they go into restimulation. Awful simple.

Of course, everybody knows the problem was too difficult to do anything about, you see, so that is why nobody could do anything about the problem. And that was the hidden datum in the whole field of the mind. The hidden datum is, it's too simple.

You have to get as simple as an idiot or as simple as I am — that's even simpler than an idiot — in order to get anyplace on this problem. Man knows in order to solve anything you have to go from simplicity into complexity. Now, I have gone consistently from complexity into simplicity, not because I was trying to make all the data the same, I was trying to keep from doing it. It did anyway.

All right. "There's something bad about it." Now, is that actual, as far as you're concerned? No, no it doesn't happen to be actual. It's real. You get the distinction between real and actual: Real is the assigned value assigned by the MEST universe and actual is how it really is.

Now, everybody knows we've got to accept what's real, only they've never bothered to tell anybody what was real. Oh, that's a dirty trick, isn't it?

They go around and they say, "Now, what you have to do is accept reality, you're not facing reality, that's the trouble with you, that's why we're going to give you electric shocks, a prefrontal lobotomy and fix you up, bud. That is what's going to happen to you because you don't face reality."

Well, God help any of those people who ever made that remark to some patient if the patient had suddenly looked at them and said, "All right, I'm perfectly willing to accept reality. Now please tell me exactly what it is." You would have had a dead psychiatrist in forty-eight hours.

That's a fact. It would have been that grim because nobody had defined reality except in the physical sciences. And they had defined it in a way that had nothing whatsoever to do with thought. And then the people who worked in thought said very carefully, "Well, that has no bearing on thought." Physical sciences had no bearing on thought. Everybody knows it's a kind of an energy that has no relationship to this kind of energy.

"Hide the data, quick. Somebody's liable to find out and then we're all undone." I don't know that we were all undone. We might all have gotten sane suddenly. That would have been a horrible thing, too.

Well, all right. You'll find that this universe has been going backwards that way. People have been backing up from what's bad so hard — boy, the amount of energy expended in backing up from something that's bad is wonderful to behold, particularly when you observe the fact that the harder you back up the solider the cable you put on what you're backing away from.

That which you fear, you bring to you. Why? Because all you had to do was be it and you were no longer — it was no longer possible for that to hurt you or even be bad. All you had to do was be it. Instead of that they said, "Run away from it." That was a new idea. Abandon it. Well, the second you ran away from it, if you had anchor points in it, of course, you brought the anchor points in too and that collapsed the terminal on you so you became something bad. What do you know? Neat trick.

Now, out of these various principles we find out that the highest level energies that we have anything to do with, and the only energies which we want to have anything to do with, are admiration and force. What force is, we won't worry about; but admiration is kind of a generalized sensation. And admiration, what we know as admiration, or what races know and call admiration, is actually a flow. It's actually a flow because you can make it. That's why it's actual because you can make it and observe it and that's — that's actual, see; not necessarily real, but actual.

All right. And this is the substance of which a communication line is made. That's the substance. It's just like telephone lines are made out of copper, communication lines are made out of admiration.

Now, things will flow along communication lines, then, and dissipate very, very nicely as long as there's some admiration in the line. And when there's no admiration in the line they won't flow on the line.

Now, that's in flows. We're not interested much in flows, we don't even audit very much in flows, but we have to pay attention to them, to this reason, as they keep showing up all the time. We have to know what they are.

What is the basic on a flow, then? It's two terminals, two terminals. An individual thinks he has to have another individual face him. Awfully simple, isn't it? In order to have an interchange between two individuals he thinks he has to have an individual face him. So there you are going around trying to make individuals face you. And if you don't believe that people have trouble with this, get them to mock up by mock-ups all the members of their family and get the mock-up to face the preclear. Make the preclear mock up a member of the family and then have that member of the family face him.

No, you don't. The mock-ups' heads go swish — swup the other way. Very hard to get attention. Attention is very precious, very precious, very scarce, awfully scarce. In fact, it's so scarce that a V can't see anything. That's how scarce attention is.

Well, so we're right up into the realm of attention. We've been talking about attention since 1950 and we're occupying the level of attention right now. And we've got attention laid out, nice map.

There are two kinds of attention: attention which is too fixed and attention which is too dispersed.

And you'll find preclears fall into these two categories. And as they go down Tone Scale their attention is too dispersed and then it becomes too fixed, and then it's too dispersed and too fixed, and too dispersed and too fixed, and finally when it gets fixed enough they're a solid object.

All right. We've got two terminals. And these two terminals face each other and that's giving each other attention. Now, there's a contest between the two terminals.

This is very idiotic; this is way back on the track. I mean, this is the kind of kid game that you'd play. You have this terminal facing you. Now, is this terminal facing you and you're facing it … Now, both terminals are sup-posed to be the same. If the terminals are both the same there is an interchange of beingness, so therefore you've got a flow. Of what? Well, admiration. There-fore, for admiration you depend on a second terminal. That's a first in flows. You've got to have two terminals before you can have admiration.

Well, what do you know: that's a dependency of admiration — for admiration on a second terminal. Dependency on the second terminal for attention would be the same thing. You can run these things out by giving them attention as fast as you can run them out by flowing admiration at them, if not faster. Because admiration means what? It means fixed attention, that's all.

Now, we get into flows, we start getting into trouble. What kind of trouble do we get into? Sex for one thing. How do we get into sex? How did we enter that so darn quick? Well, we entered that so quick because some fellow entered it too quick back in 1894. Now, all due respect to that work, he was right on the groove, but why didn't he work out the rest of the line? He would have needed a command of the physical sciences so that he could have taken in one of the dynamics which happens to be dynamic six, which covers the MEST universe.

Now the MEST universe, then, is a very simple device, and it merely has a terminal facing a terminal, and these two terminals face each other and other terminals face them, and the next thing you know you get an interlock of terminals and the next thing you know you have matter.

Or you get a viewpoint. First step into the MEST universe is just get a viewpoint of dimension. Put out four, five, six, seven, eight anchor points, something like that, and you've got space. Viewpoint of dimension, that gives you space. That's all there is to that.

Now, we get two terminals and any one of those anchor points could be a terminal. And out of this terminal situation we then would come into a realization of a dependency. Admiration would be the first particle.

Well, when people used to do mock-ups to amuse themselves, other beings would come along and see that as a terminal and they would use it and they would pull the admiration particle out of it slurp — admiration. Because the basic idea was that it tasted good or something. And from mock-ups they started saying, "You're cheating," in order to get people to pay attention to them more; they'd say, "It's awfully bad what you're doing. You're just out there someplace completely invisible making these mock-ups be your terminals.

"Well over in Yappagup which is very, very much better than it is here, the person has to be his mock-up."

They'd say, "How do you mean that?"

"Well, he has to be his mock-up, that's all. Not only is he be space, but he be's the mock-up and this is the only way he can ever have any time to get into agreement and enjoyment with anything else, and so forth and so on."

And he'd say, "Now look, I'll show you like this. Now, you move forward into that mock-up and you be that mock-up. Now, are you being the mock-up?" Slurp "Oh, I guess we got him."

And that was the first betrayal. And so we find the dwindling spiral of anchor points is the dwindling spiral of betrayal. And what is betrayal? Betrayal is the out — in anchor points.

Now, why do people hold in some of these old ones? They keep sitting around saying, "Look what they did to me." Why are they holding these dog-gone engrams? Now, we're down into pieces of energy. Why are they holding facsimiles and all that sort of thing? Well, if they can get you to be just like them, they can hand you the package; that's the way it worked first. And now they just think they need sympathy for them.

Truth of the matter is, they're trying to get enough admiration for this commodity so it'll flow. And when admiration is so evaluated that ninety-nine and ninety-nine one-hundredths of all things are bad, nobody's going to admire them. So there's going to be a terrific scarcity of admiration. And so, nobody's engrams or experiences are going to flow out no matter how bad they complain or how often they complain, there's nothing going to happen with regard to that bank. It's going to stay right there, see. Why? Because it needs a communication line what to flow — to flow, and in order to have a communication line you've got to have admiration and you've got to have two terminals. You've got to have two terminals and admiration flowing between the two terminals. And if you get this condition then all sorts of things will discharge out along those lines.

You know that people keep talking about the universal solvent. You know the universal solvent is something you couldn't even keep in a bucket. And the reason you couldn't keep this in a bucket is, it'd go through the bucket and if it hit the ground it'd go through the planet. Universal solvent would eventually eat up the whole universe. And there have been a lot of stories about the universal solvent.

Well, we had to discover it here, I'm sorry to say. It happens to be admiration. If you just start admiring MEST hard enough it'll disappear. In other words, theoretically, just theoretically, if you put out enough admiration of this universe, it'd go boom!

Now, isn't that a heck of a note? Because everybody is studiously trying to keep it from being admired. Everybody is saying, "Look at all that empty space and it's all black and the planets are no good and the people are no good and the plants are mean and everything is dishonest and it's all bad. It's bad over thataway, it's bad here, it's bad there, you've got to think some-thing else bad about it and it's even bad right where you are. Come to think about it, it's particularly bad where you are." That's the dwindling spiral and here's all this stuff around.

Now the funny part of it is, if you put a beam of good, solid admiration up against this wall you'll see what I'm talking about. This wall will go pswoop!

If you get somebody out of his body and he's starting to walk around like a grasshopper on beams, or something of the sort, and he all of a sudden puts a couple of beams of admiration, real admiration — good, solid, pure, clean admiration — up against this wall here, he'd go stick. He goes, "What the hell am I doing on this? Rrrr, going to have to get off of this wall!" What does he have to get off the wall for? Why doesn't he just abandon the beam? He'd see what'd happen to the beam. The beam would go chook! That's all there is to it.

This stuff's hungry, real hungry, and don't think that differs one single degree from your body. You start throwing out beams inside your body, you start admiring your body, ho-ho, boy. I'm going to admire myself out of this one — poom. That will be you. Why? You're going to open up every communication you've got to the whole bank. Admiration? You're going to start pumping the lines full of admiration which, of course, is going to open up all the lines and they're shut! And all the lines to your past lives and your abandoned beingnesses and your engrams and facsimiles of — in general, and your memory and all of your education, and anything and everybody on whom you are doing a life continuum, and your whole family — you've got about eighty-eight billion lines that are carefully closed. They're all drained of admiration. There's no admiration along that line.

Sometimes a preclear will see one of these things. He'll ask, "Well, what's this thing? I got a sort of a black twisted coil going down the middle of my body," or, "There's sort of a black something or other," or, "I've got black stuff across my eyes. What's this stuff?"

Well brother, that's a collapsed communication line. And what happens to it if you start admiring it? Well boy, admire these things from afar. Don't walk up to them and stick your nose into them, so to speak, and say, "I admire this," because it's going to go slurp and stretch right on out. You'll see it swell up just like throwing a dry — well, a black dry sponge into a bowl of milk. That line is going to just soak up all of this particular type of energy because that's the type of energy that the universe isn't — that — it's the type of energy the universe is built out of a shortage of.

And so you get somebody — you start running Admiration Processing on them and they're sitting there feeling perfectly all right and the next thing you know they're giving all the signs of having a paralytic stroke. What happened? Well, they just happened to admire in the direction which led to an old man that they had a great deal of sympathy for — father or somebody like that, and father died of a paralytic stroke. And you started him admiring and they all of a sudden opened this line, pooh! And they said, "I don't want to open up that line," and they were getting right straight toward the whole package of facsimiles of a life continuum of this person. So they got what? They got a paralytic stroke collapse on them, pain! The whole bank just started to cave in on them.

Oh, this admiration is dangerous stuff. No doubt about it. It's rigged so that you can't admire anything. You start going around saying, "How wonderful life is and the birds and the bees and it's a beautiful day and I admire . . ." and you say, "Oh, I don't feel so good."

It'll happen that way. Do you ever get up in the morning — you feel fine, you just feel wonderful. In the morning you get out of bed, you're just going to get up there and just — just — hm — huh … Maybe it was the first cigarette you had, or the sight of the cluttered room, or it was something, but you didn't feel so good. The hidden influence.

What's the hidden influence? It's a universe that is very hungry for something which isn't. Terribly hungry and is sort of hanging here waiting for somebody to admire it enough. And somebody came along and admired it enough.

And by the way some preclears get a very interesting phenomenon when they start admiring things. The cells and entities and so forth sort of start screaming. They've all got religious implants and they'll sort of start screaming, "The redeemer, the redeemer, the redeemer."

And you know they always fix up saints with halos. What's that halo? That halo isn't made out of flashlight batteries. You wondered what — why is it that the thetan does glow and all the saints are made up of halos. This is very peculiar, isn't it? Well, it actually is a survival of this fact.

What's the hidden datum? Well, naturally you can't admire anything because if you admire something you're going to get into trouble. Well how did you first get into trouble? Well, this was the first contest on the line. The hidden influence, of course, was the material around which was waiting to spring up and hit you in the face. And you'd figure, "Now, if I feel bad about something it'll spring up and hit me in the face." That's the mechanism of restimulation but that can only take place in the absence of admiration. You see?

Now, the whole bank gets the same eventually. Why does it get the same? It's because these black lines are far faster on a communication of force than white lines are. So you've got collapsed terminals and you've got the whole bank identified so A =A =A = A. I refer you to the first book. You've collapsed communication lines.

A member of your family does something completely unadmirable to you. Maybe some of you have had this as an experience. You all of a sudden have felt yourself slapped in the face, sort of, an actual physical experience of something happening. It's what you call shock. Somebody has suddenly greeted you with the news of the death of a friend, or betrayal is usually the worst one. You've lost this person, you've been betrayed, you're all shocked and you just felt a sudden pong.

Well, what it was, if you could have been outside yourself and watched this happen, is, you had a lot of communication lines out and some of them were functioning in that direction, and the moment that you got this startled shock some incidents came into restimulation, and it took more admiration in an instant to run them out than was available, so all lines available at that instant drained — pong! And it left you what? It left you a blank spot on the track. All communication lines at the moment collapsed. And it takes a person a long time to work himself up to a point, and so on. And he never comes up after such a thing at the same place he was in the bank before. He doesn't dare open up those lines again.

So, we've got this silly contest going on about lines. And it would be all very well if all we had to do was mock up a whole flock of admiration, keep dissolving these lines, and that that was a workable technique. It is, to some degree. It depends on how many thousand hours you want to spend on a case or how many hundred hours or how many dozen hours. Actually, it comes down to a fact, quite probably you'd only have to spend a few dozen hours on a case with this and it does very remarkable things.

But what — we're dealing in flows. Who wants to be in flows? Well, let's take the intermediate step and let's deal in the terminal and the flow and the realization of what sympathy is.

You could not any more really sympathize with a dead body than any-thing. And that is why when somebody has died you have been completely unable to function properly, and why afterwards you continued their life for them. You either had to be like them to get rid of the incident or you took them alive and sort of tried to soak up all the live memory of them. But there was a dead memory there. You know it's awfully hard to mock yourself up as rigid as a dead body. And that would be sympathy for a dead body, is to mock yourself up dead. See?

In actuality, to run out a facsimile of a dead body you would just have to take this body and become completely rigid in more or less the same position, and so forth (if you were running it out on bodies), as the dead body, and then you would be sympathizing with the dead body. Of course, you'd get whatever discharge was there. But you'd have to be that dead. Don't let your heart get beating, or anything like that. Don't have your blood flowing. That would be not — not sympathetic.

That's why people very often commit suicide or kill themselves or have a bad accident after they have lost a member of the family or a friend through death. They are sympathizing with them. They are running on a whole series of postulates whereby they've got to be like this other person in order to be in converse with this other person continually. They're running on a big pressure of "be the same as," you see? And they're just "be the same as" just fine up to the moment the fellow sinks to a level that he can't be followed. Now that level might be grief and it might be apathy. One isn't able to follow one down into this grief and apathy and mock oneself up in real life exactly the same as the person who was crying or the person who was apathetic.

So you protest against this. You don't want people unhappy. The reason you don't want people unhappy, you think there's something bad about being unhappy. So if there's something bad about being unhappy you don't want to mock yourself up as unhappy.

This is the only way you could sympathize with unhappiness. Otherwise you've got to say, "Well, I'm not unhappy. The hell with you." Or you've got to say, "Well, I'll sympathize with them a little bit and I'll just hold up a force screen out here, or something of the sort, and I'll kind of hold them off from me," the way you audit preclears. And next thing you know, why, pam, the screen explodes and you're all set. You're hung with this facsimile because you won't duplicate it.

You'd be surprised how few things actually become very aberrative, how few things. But it's those levels which a person is unwilling to imitate. And that means sympathy. Imitation, sympathy, same thing.

Now, you take your right hand and hold it up here alongside of your body — in front of your face, rather, and you take your left hand and hold it facing your right hand. Those two hands are now in sympathy with each other if their fingers are extended. Do you get what I mean by sympathy, then?

Now, I double them up into fists simultaneously and open up again. That's a sympathetic action. But just sitting here with palm to palm, these two hands then are sympathizing with each other in terms of beinglessness and motionlessness. They're also alive, so they're in sympathy. And if you care to do this for very long you will feel old facsimiles of cut fingers, and so forth, starting to discharge from one of the hands against the other hand.

All you have to do is just hold those two hands and you wonder why your preclear keeps getting restless legs. The legs are always trying to sympathize with the other leg. You've got two terminals there which are identical and they will cross discharge, only they can't do it effectively. They can't do it very effectively and so they get hung up. But if a person were to just lie still and concentrate on the beingness of both legs, he would — theoretically could run out all the facsimiles in the two legs. And that would be very interesting because he's only been accumulating facsimiles attached to his legs for seventy-four trillion years. He'd wind up, of course, with no legs but that's all right. Now.

Your legs, then, in order to propel somebody have to be out of phase. Legs are different sizes. Left leg and right leg are different. Left foot and right foot are slightly different. There are differences here and it's upon these differences that longevity depends; otherwise they'd be in perfect sympathy.

Now you notice, chronically, that there's no feeling in the end of most people's noses. Now, you want to put a feeling in the end of the nose then you mock up a nose on the right side of your nose and a nose on the left side of your nose and hold those two mock-up noses on either side of your nose and just hold them there for a while and you'll have feeling in the end of your nose. Frostbite and other things will start to come off the tip of your nose. This is sympathy.

Now, how would you go about with a life continuum? Life continuum — how would you — you know this fellow's been doing a life continuum of Grandma. Well, you say sort of theoretically, and without going into it very far, you'd say, "Well, now we'll have this person mocked up." This is what we're doing about all this situation, by the way; we'd have this person mocked up as dead and as stiff as Grandma alongside of Grandma. What do you know all of a sudden he'd start to remember Grandma. Isn't that interesting. He's able at last to sympathize with Grandma and so is able to get rid of Grandma.

Well, this would be all very well — this would be all very well if we could just deal with it in terms of force and admiration, we could just mock up double terminal.

Now, this is what's known as Matching Terminals and let's call this technique Matching Terminals because you always match the terminals. You don't have the preclear as one terminal and Grandma as the other terminal because he's never been faced this way. When he faced Grandma he was mocked up as Grandma or he had Grandma mocked up as him. Didn't matter, see, but Grandma never faced the preclear.

Get that through your thick skulls or I'll .. .

Matching Terminals depends upon matching terminals. Sympathy is best achieved by an exact duplication. An exact duplication, that means in terms of emotion and in terms of motion.

You find your preclear can't get as still as a dead body, so therefore you'd better mock up your preclear dead alongside of your preclear dead and then he's sympathizing with Grandpa.

How does he know he's sympathizing with Grandpa? Well, you just say, "Call one of the bodies Grandpa and make sure it stays as you." He will and he'll get a discharge across these two lines.

We don't care if it's a very excited discharge or if it just lies there. We don't care if he has to hold it for ten hours or two minutes. We'll just do this until we're fairly satisfied that he's gotten rid of this situation.

Now the best check on this, of course, is an E-Meter. You put your pre-clear on an E-Meter and he's sitting there and you'll find out very rapidly whether or not he's starting to fight these terminals or whether he's doing it or not doing it.

Preclears are awful liars. I wouldn't trust them for a minute. Preclear can lie there and run the most fantastic array of the most beautiful incidents you ever saw and they're not doing a single thing.

We had a very promising young auditor once in one of the Foundations, very, very promising young auditor. Instructor said he was good and every-body said he was good and everybody was very happy about how good he was and he looked bright and he looked intelligent and he looked very professional and he had good manners and so I turned him over to a preclear because we wanted to hire him as a Foundation auditor. The preclear permitted himself to be run by this auditor for five days. I saw the preclear at the end of the five days and there was no change had taken place in the preclear. No change, fantastic.

Well, I got ahold of the preclear and I said, "By the way, how did you fool that auditor?"

"Oh," he says, "it was very easy." Damn fool, I mean he just confides to me right away, you see, right on his tone level: 1.1.

"How did you fool him?"

Oh, he's real proud right now and he tells me sotto voce, "I just — you know I — I'd answer his questions, and so forth, and run something else." And the young student did not get the Foundation job, not on a nickel's worth.

If anybody could lie there after instruction which has covered these points … If anybody could sit there alongside of a preclear and let himself be lied to for five days and never notice the preclear was not even changing faintly, hmm, that person's not an auditor, that person had better take up reading crystal balls because he's not in present time. In other words an E-Meter is a very good thing to have around.

Preclear says, "Oh, I've got a great big — I just — this is very aberrative and my — my — my — my grandfather's beating me in the woodshed was very aberrative." And he'll go on and you know, he'll waste two or three hours of your auditing time that way? You just watch the needle of that E-Meter. It hangs there right in the middle. Oh Grandpa! He's so upset about Grandpa. E-Meter's right there: tiny little oscillation, doesn't amount to anything. He's so upset about his mother, his father, his wife, his grandfather, his dog, his money; and E-Meter is sitting right there. He'll go on and talk to you forever on things that mean absolutely nothing to him. He's afraid you're going to find the hidden influence. Well, he doesn't know what it is either but he sure doesn't want you to know.

Now, what's this all boil down to then? There's a technique that's very simple.

You mock up the preclear as the preclear in the postures, you mock up Grandma as Grandma in the postures that would mean death or anything else. Now, these can be any emotion. These two mock-ups can both be feeling the same emotion but they're going to be feeling the same emotion. You want sympathy here so the engram will discharge. And the way you get sympathy is to get identity. And you are trying to keep this person from going to 0.0 on the Tone Scale. And at 0.0 on the Tone Scale we have A = A =A = A. Well, there we certainly better run out the low-tone incidents. And those low-tone incidents on Matching Terminals is a pure technique and without any frills. There are faster ways to do this but this one you've got to know as a basic technique is right there because it works — it works like a dream.

Now you've got Grandpa facing Grandpa and they're both crying. What are they crying about? "Because they treated the preclear so mean." Has this any bearing on actuality? Yes. Has it any bearing on reality? No. Grandpa never really treated him mean.

Yet the preclear all this time has sort of been holding on to whole buckets of engrams, he thinks. This is rationalization on the part of the preclear and we're into the first stage of logic. "Look what they did to me." That's logic. Look what they are doing to us. Look what horrible things are going to happen in the future. Look what horrible things are going to happen in the past and logic is how we get around them. And that's the operation of the human mind.

Anyway, on Matching Terminals we have Grandpa facing Grandpa crying. Mama facing Mama crying. Papa facing Papa crying. Papa facing Papa in apathy, about anything. You just put postulates into there and emotions into those two.

Does the preclear have to feel the emotion in the matched terminals to make sure it's there? Uh-uh. He's not supposed to feel it. He's supposed to be sitting there as an innocent bystander.

We're making the matched mock-ups run out the incidents by duplicating the incidents. And every time he turns around he says, "I keep getting this large purple snake that keeps curling over the top of the door, and so on, at night when I'm asleep. And I don't like this snake."

And you say, "All right. Now we get a door here and a door there. A door on the right and a door on the left, and the two doors facing each other." Remember that: facing each other. They either face the preclear, at which time the preclear is going to get the jolt, or they face each other, because attention is flow.

The first echelon entrance into flow is attention, so that attention has to do with direction of interest. So we have the snake crawl through the door on the right exactly as the snake crawls through the door on the left, and here you have these two snakes come down like this, and you keep them crawling through the door. You just have them crawl through the door, just time after time after time and he'll finally say, "The hell with these snakes."

Or you could have them — he'd do this much faster by — have the snakes crawl through the door to the right and left, two snakes. He's only been worried about one. You see, if he were worried about two snakes all the time you would have him mock up these two snakes being faced with two other snakes, you see. Duplicate. Duplicate anything he's got.

For instance, he's worried about his wife leaving him, why, you mock up him worrying about his wife leaving him, facing him worrying about his wife leaving him. And he won't worry then about his wife leaving him.

All right. You see, you don't run it out against him, you run it out against its own identities.

All right. You get these two snakes and you could vary it to this degree: you could have the two snakes come in and twine their necks together and say, "Oh, how sorry we are that we have upset Joe," that's our preclear.

And he'd say, "You know that's very interesting, that's very touching, that's very nice. The hell with these snakes."

Because his effort to be "the same as" means that a lot of times he has been in grief to punish people because he knew they couldn't be in grief. How does he put them in grief?

Well, the first modus operandi of beingness is to be like something and then make it some other way. So when a person was pretending he could be awfully bad then other people would have to be bad if they were going to be like him. And when he was tough enough, early enough on the track when he was tough enough, and mean enough, and big enough, just by acting sick he could make people sick, you know.

Did you ever notice anybody's kind of gagging and — and so forth, and have other people kind of start … Did you ever notice this? Well, if you've never noticed that, I invite you sometime to sit around and start idly scratching. And you will very rapidly find out that one of the meanest things you can do is to make somebody be like you. Well, they're all hung up with the postulate they've got to be like you already, so you be just — just too horrible for words and they'll be too horrible for words. And that's the way it's done on a low level.

Now actually, the way it's done, if you really wanted to make somebody in some way or another, you just be the person and then be that way. You see, it's as simple as that. It was too simple. Just be the person. You don't even have to move over into space or anything of the sort, you just . . . And by the way, in passing, this being people goes off into another technique.

Now, I'll tell you about this technique because it's going to happen and it's not that it's the technique you use any more than you just completely, continually match terminals till the end of time. There's a fast way to match terminals, but it's the same technique. It's just something special you add to the terminals — is this matter of communication lines. And that would be not matching terminals but swapping terminals — turning them around.

Now, what happened on a life continuum was the fellow got Grandad, see? He had a whole facsimile package of Grandad and that hit him and he is it now. The terminals have collapsed. Well, do you know that you can take this package and turn it backwards? You make the preclear mock himself up as a body as Grandfather. He's on the other end of the line now.

All you've done is take this little collapsed package of terminals, you see, and you just pop! flipped them. And you have Grandfather sitting there listening to him expostulate or something; Grandfather listening to him talk. You have him be Grandfather and know he's Grandfather with all the mock-up, and look at the mock-up of him talking, or being still.

And he'll get the funniest notions. He'll say, "You know, I know what Grandfather was thinking about all the time."

You say, "That's very interesting."

He says, "Yeah this is — this is funny but, you know, I get his somatics and I — I — I keep knowing what he's — even smells like him. Anyway — anyanyway, I — I — you know he didn't — he didn't always approve of me."

In this universe where everybody has to think there's something bad about everything, it'd be quite remarkable if anybody approved of anything.

It was a great shock to him to find out that Grandfather didn't 100 percent all the time approve of him. So he is sitting there, see, mocked up as Grandpa and he'll — then he'll start to give you a big rundown on everything Grandfather — nuts, aw, nah.

It's what he was thinking at the time of Grandfather that's on the other end of the comm line, because that thing that he's got on isn't Grandpa, it's what he put over Grandpa and called Grandpa so that he could have a terminal where Grandpa was.

Do you see the difference? If you've got the idea here, swapping terminals would be something like this: Let's take the initial effort, two terminals, they're facing each other. So he walks over, there's terminal A, sort of reaches over and takes a plaster trowel and the plaster is marked, "terminal A's energy." That's what he's using, see. And he paints this all over this other facsimile, you see, he gets it all thoroughly plastered.

Now he says, "I've got to have a communication line through here to it to have any sensation at all." So he hangs up all his communication lines, A's energy — again, terminal A's energy — he hangs up all his communication lines and so forth between the plaster, not terminal B, but the plaster he put on terminal B and himself. Now something happens to terminal B, and we've got, pow! He didn't want terminal B, so he collapses all these lines — all the admiration drains out of these lines — he doesn't want anything to do with the lines; he's got then the plaster he put — he's never got terminal B — he's got the plaster he put over terminal B.

Now later on we ask him to run this by swapping terminals, and this is just — this isn't a good technique, you understand, this is something you're just going to run into once in a while on a life continuum. You'd better know what it is. You just turn around the package. You do that by saying, "Now mock yourself up as terminal B." See, that's simple, isn't it? "So mock your-self up as terminal B."

And the fellow will say, "And Grandpa was thinking about this and thinking about that." No. What he's got in that line is what he thought Grandpa was thinking at the time he was talking to Grandpa. You see, it's still all his.

So don't let your preclears go squirrely and think they've got a new technique for reading minds because it doesn't happen to be true. All right.

Now, here we have then, here we have then very workable processes. You can make a person do almost anything. Well gee now, if loss, loss of a terminal was the serious thing . . . And that is, by the way, the most serious thing, is to lose the terminal, because it doesn't exist then, you see. That's the worst thing that can happen to a terminal. It just ceases to exist. Unless you're mad at it, at which time you really want it to cease to exist, but you really get it then. It really comes in on a collapsed line if you're good and mad at it.

If you want to be a person, be mad at him for a long time. You'll eventually have no admiration there to run out that person at all.

All right. We get then a situation whereby your two terminals facing each other, and being equal to each other over a long period of time, and so on, will build up a flow. They think they have to have a flow between them. They don't have to have, but they think there's a flow there, you see. And bad or good, admiration is best to have there as a flow.

All of a sudden, we get the loss of this terminal. Terminal gone. Oh, the fellow will collapse his lines to it and he'll get occluded. He knows he has to be occluded, now, because he can't see the other terminal. And the other terminal is the only place he got any energy, wasn't it, of course. He needed a second terminal in order to generate any energy. This is very natural. He had to have this second terminal, didn't he? Well, he did, it's obvious. He could never have mocked one up there. He'd never do that. So he won't have any energy unless he has the terminal. And you'll find people being very sad and energyless after they've lost a terminal.

Well, how do we regain this terminal? Well, we just keep mocking the person up out there. We'd eventually rebuild the terminal and throw it away. I mean, we just did that. We'd just say, "Well, we'll chase down a few of these terminals," and so on. But that would require some admiration on the part of the preclear because these lines are drained and waiting for some admiration. Well, we could do that on what we call the "three levels" principle. And I'll have to tell you about that some other time. Three levels, very important. The three levels is the way we get admiration and sympathy automatically. So you don't have to sweat and slave over making particles, and so forth. All right.

Well, what didn't we have in this condition of the lost terminal? It was gone, it's gone, and yet we still think about it. Ooh, there must be sort of a hidden influence that has to do with loss. Now why is it that we can still think about this terminal, this terminal is gone, and we don't see it anymore, and yet it makes us feel bad that it's gone.

You know, I probably am still in telepathic rapport with this terminal and if I go and get a spiritualist I can get him from the great beyond because obviously something is contacting me in present time with regard to this other terminal. God damn it! Oh, they don't say, "God damn it" like that; they gloss it over and say, "Oh dear me," or run the beautiful sadness of it.

Anyway, that is strictly bunk. The hidden influence is about as hidden, about as hidden as the frosting on a white cake. It's a facsimile that they made themselves and, of course, they can't see the terminal anymore, the lines are collapsed, the terminal is too close to them to look at, and they're not going to get an exhaustion of this terminal again until they get a couple of terminals mocked up out there to let this line discharge. And of course they're going to have a hidden influence and that is the hidden influence — an activity of an engram, or a facsimile, or the process of thought; also the process of automaticity. It's using data of the past with which to resolve present time and future problems. It's what is known as experience, that terribly desirable thing. A person has to have any God's quantity of experience if he can't be things. Boy, you're in a tough spot if you can't be everything in sight. Everything's liable to hurt you. So you have to have experience, which means you get back into the past and what do you know, if you go far enough into the past you're crazy. Interesting isn't it? All right.

How do we run out, then, these communication buildups and so forth? Well, we just match terminals. Don't bother to swap the lines because that requires admiration. As I told you, you start admiring things left and right, and all these old lines will start opening up and you will find yourself, "What am I doing here? I've just had the feeling of 'I have to exert terrific courage.' What am I doing now? This is very peculiar," your preclear will be saying, "but I'm standing here with a flintlock musket in my hands."

"No, no," you say, "you've got the wrong, wrong thing. We're trying to run out your father. Your father's death. Now let's get your father admired some more."

"I don't know, I just keep standing here. As a matter of fact I hear some words now."

"No, no," you say as an auditor, "your father, now get your father, now admire your father some more. See, you're not admiring him on two terminals, just get your father mocked up out there, you're just admiring Papa, see. Come on, admire Papa some more."

"It's a sergeant and he says, 'You stand there.' " He says, "And you know I got hit right in the middle of the face with a . . ." you know.

In other words, we're just running out more and more bank, more and more lines keep opening. The more admiration we keep pouring into this engram bank — swamp, swamp, swamp — we're getting more and more lines opening up to more and more data.

And of course, it gets up to a point of where things kind of get alert by this time and they say, "What do you know, there's some admiration coming out around here someplace." And they start going slurp and this fellow feels all dry and stale and all worked out, and he doesn't quite know whether he's coming or going or what's going to happen to him and it's kind of sad.

Why is he getting sad? He is now dramatizing an early incident on the track known as a blanketing by which, when two terminals would not give each other admiration freely, one would simply put the clamps on the other one and go slurp and get the admiration, because admiration was a particle. You see? So you just run him straight back into blanketings.

Well, now let's take just one little more look and we find out that grabbing people's mock-ups and eating bodies, and eating, that's all what? That's obtaining admiration.

There's a very gruesome feeling, by the way, on the part of an animal just as it's being eaten, by which it really admires the person or thing eating it. That's admiration.

And man got tired of being et and eating that way and so he mocked up something called sex and it is a symbolism of eating. And you can really run this. You start running eating, you'll find yourself running sex. You find running sex, you'll find yourself running death. You'll find yourself running death and all of a sudden, what do you know, you're running people grabbing other people's mock-ups. And you'd wonder where the devil you were winding up here because these things all seemed to be equal to each other.

Well, they're just — it's just the spectrum of admiration. And you start feeding admiration to the bank and you'll get out all the incidents related to admiration, which, of course, is all the incidents in the bank.