This is continuing the first lecture, but it's Lecture Two, 
 second hour, evening class, December the 11th. 
 
 Uh.. speaking about Rising Scale Processing, there is the 
 second method of doing Rising Scale Processing. Don't underestimate 
 this method, don't under-evaluate it. This method is senior to any flow
 processing or engram processing that you can do. 
 
 You can do this on anybody.. for the excellent reason that they
 don't require any information or any qualification of the scale that 
 they are working. You get some preclear who is stumbling in out of the 
 dark of the street and uh.. comes into your brightly lighted web, uh.. 
 he shouldn't have to be educated ad nauseam about what you're doing. So
 uh.. you just start to do this and you start to do that, and you don't 
 bother much, really, to educate your preclear. 
 
 Truth of the matter is, on education of the preclear, it's 
 really just a little bit of cruelty to make a preclear a theta clear 
 and drop it. It's just.. just a little bit of a cruelty to do so, 
 because he starts going up the line, he wants to keep on going up the 
 line. Or if he's not going to go up that line, he's going to go in the 
 opposite vector so fast, but you're not going to have to worry about 
 him. You're either going to.. you're going to fix him up with some kind
 of processing. 
 
 You can get him with mock-ups and that sort of thing just as 
 fast in the head as out for chronic somatics and uh.. little 
 abnormalities of various sorts; such as, he's a cashier at the bank and
 he has this obsession that makes him put five thousand dollars in his 
 pocket every night. Uh.. you could get mock-ups. He's just worried 
 about money so you mock up making money and unmaking money, and 
 spending money, and then getting money of various patterns and shapes 
 and money the sizes of newspapers and plastering rooms with money and 
 the body with money and weighing the body down with money and 
 manufacturing it and tearing it up and throwing it away and getting 
 more. And curing the scarcity of money for him, in other words. You 
 could do that with great ease. 
 
 But, if you get a person up to theta clear and then you don't 
 do anything else for him, God help him, really. He'll move in, he'll 
 get in trouble. He wo.. won't know what he's doing, he won't have any 
 kind of an education. And it's something like.. like uh.. you.. 
 you're.. you're playing midwife to a thetan and you get him born and 
 you say, "The dickens with him; we're not going to educate him. We're 
 just going to let him grow up like Topsy," only he isn't going to grow 
 anyplace. He's going to fool around and stumble around. He's not going 
 to know the laws behind all of this stuff. And he's not going to have 
 any idea of what his capabilities should or shouldn't be. And he gets 
 enlarged and swollen ideas about how big he is, and the next thing you 
 know he's changed.. going to change the affairs of the world. And then 
 the only trouble is that the moment he's crossing the Pyrenees he trips
 and falls flat on his face and he crawls home. Or he gets wandering 
 around some place out in a much larger sphere and he runs into some 
 place where there are lights flashing, a light hits him in the eye and 
 he doesn't come home. 
 
 You've still cured him of a number of things; but for.. I leave
 you to.. to.. you'll find out that you'll be educating them. You'll be 
 telling them.. you'll be telling them very carefully.. you'll feel 
 something like.. like an old, old soldier telling the young recruit - 
 something of this sort. 
 
 -19- 

 For that reason if you're not a theta clear and you're doing a 
 lot of auditing uh.. it.. it gets to be rather upsetting to you to be 
 telling this theta clear about what's coming along because.. and so on.
 All of a sudden he picks up and he starts running like a freight train
 and you wonder where the heck you are. And he just widens the gap. Rut
 he's still not educated. He's quicker at picking things up and all that
 sort of thing. 
 
 Well, anyway, Rising Scale Processing is not a mock-up process.
 It is strictly postulate processing, but you use it on a rising scale 
 basis. Your preclear comes in off the street. You don't educate him. 
 You don't tell him anything. You merely say, "All right, now there are
 two conditions: Surviving and Dead. Is that right?" 
 
 And he says, "That's right." 
 
 "Now, let's get the concept of being dead. You got the concept 
 of being dead? All right. Now let's shift it to.. towards surviving." 
 
 "Oh, yes. I can do that." 
 
 "All right, let's do it again. Get the concept of being dead. 
 Now shift it toward the concept of surviving. You got that?" 
 
 "Yeah, yeah, I did that." 
 
 "All right, now get the concept of being dead and shift it 
 toward surviving." 
 "Ooww!" he says. 
 "What happened when you do that?" 
 "Something went 'ping!' or something." 
 
 "Well, you blow a little ridge." You set him up one way or the 
 other. 
 
 Now let's go on to the next one. Let's get.. there's a scale 
 that goes between a gradient scale, that is to say, degrees of being 
 right and degrees of being wrong. "All right, now let's get the concept
 of being wrong." 
 
 "Yes." 
 
 "All right, shift it up toward being right. Now get as close as
 you can to being right." 
 
 "All right - yeah." 
 
 "All right, now get wrong - now wrong. Shift it toward being 
 right." 
 
 "Yeah!" 
 
 "Now," you say, "get being wrong." 
 
 "Hey, I can't get that anymore." 
 
 "Well, get the concept of being right." 
 
 -20- 

 "Yeah, I can get that." 
 
 You're shifting his postulates using extreme ranges. So you're
 just jumping from the bottom to the top, ka-boom, bang! Ka-boom, bang!
 Something's going to break. 
 
 What do you know? Give a girl.. give a girl whose endocrine 
 system is all shot to the devil an hour of this processing. Kind of 
 boring - very little randomity to it. You just give her an hour of this 
 processing. You just take your gradient scale here and, "Let's get the 
 idea of no responsibility at all. Now let's get the idea of complete 
 responsibility." You'd think she'd go down scale on that. She doesn't. 
 
 It's the scale.. of course the MEST universe says, "No 
 responsibility is the thing to have and full responsibility is very 
 hard work." Nya! That is exactly in reverse. No responsibility is 
 horrible! And full responsibility, of course, is a very light-hearted 
 thing. It's just in reverses. 
 
 All right, and then we get the... "Now get the concept of 
 owning nothing. Now get the concept of owning everything. Now let's 
 shift it between owning nothing and owning everything. Can you get 
 that? Owning nothing." 
 
 "Yeah, it makes me feel sad." 
 
 "All right, now shift that toward owning everything." And you 
 do that shift a few times and you come back here. 
 
 "Now get the concept of being nobody, just nobody at all. Now
 let's get the concept of being everybody. Now let's shift between being
 nobody to everybody." 
 
 "Now get the concept that never.. there's just no.. nothing
 will ever happen. Let's get the concept of 'never'. Now let's shift it
 up to the concept of 'always'." They do.. do that a few times. 
 
 "Get the concept of being stopped. Now let's get the concept of 
 starting. Stopped-starting. Get the concept of having hallucinations. 
 All right, let's get the concept from there of being truth itself. 
 Okay." 
 
 "Now, get the concept of distrusting everything. Now trusting 
 everything." 
 
 "Trusting everything.. trusting," they say, "that reminds me of 
 my ex-husband. You know, I could never trust him a minute." 
 
 You say, "Well now, that's all right. That's okay. That's fine. 
 I'm very glad to hear about your ex-husband. Now let's get that 
 concept." Don't get them straying off. 
 
 You know this theory that a person, if he talked along enough 
 would talk out all of his aberrations is about as sensible as the.. if 
 50 million monkeys were turned loose on 50 million typewriters for 50 
 million years, they would write all the literature ever written. It 
 doesn't say what else they'd write. Probably write Time magazine. 
 
 Uh.. "Now let's get the concept 'I know not', just the concept 
 you know nothing. Now shift it up to the concept 'I know'. Now let's 
 
 -21- 
 
 --

 get the concept of everything having an effect on you - everything 
 affecting you - just everything affecting you. And then causing things
 to happen." 
 
 He'll say, "I can't get that. The concept's too big for me". 
 
 You say, "All right, get.. get being.. being affected by 
 everything by only being affected by what you want to be affected by."
 
 "Yeah, I got that. Yeah, that's good. Yeah, I'll get that 
 again. Dom-Dom." 
 
 "Now you go over to being nothing - that you don't exist, to 
 really being. Now let's shift those concepts." 
 
 "Being nothing - really being. Yeah, I got that." 
 
 "All right, now get the concept of losing everything." 
 
 "Oh, yeah. That's a sad one." 
 
 "Now shift that up to winning - winning everything." 
 
 "Yeah, I got that one." 
 
 "Now get the concept of everything being the same, whole thing
 the same, everything the same - to everything being different." 
 
 "Yeah, I got that." 
 
 "All right. Now, get the concept of.. of.. of being all 
 possessions - just being possessed and owned entirely. Now let's shift
 that from the concept of owning entirely or possessing everything or 
 being everything" - however you want to put that last line. 
 
 Now what do you do with this next? You go back to 'dead to 
 survive' and you just go around in circles with this chart of 
 attitudes, and running the whole scale. Now you.. as soon as you've 
 gone down to being had or possessed to owning or being, come around 
 here and get 'dead' again, to 'survival' and 'wrong to right' and so 
 on. Get them a few times each. Go around and around. And when you get
 around to the end of it again, start back at the bottom and shift to 
 the top once more on the first one and the second one and so on. Just
 keep this up. 
 
 It will do this: it will boost a person straight out of a Fac 
 One. It'll just kick him out of Fac One. It is a manhandling process.
 It just literally takes this guy by his bootstraps and boots him up the
 tone scale. 
 
 And you can expect such things as this to happen, not as a 
 uniform result, but you can expect it often enough if you keep at this
 with this Rising Scale process, you can get into a state where all of a
 sudden, as the person shifts up tone scale they feel a sudden ping! in
 their head that isn't any ridge breaking. They feel a shudder and a 
 shake go through their whole body. They feel a sudden warmth and an 
 action taking place in their body which they've never had before. 
 
 They say, "What on earth is this?" They say, "I feel like 
 something turned on. I'm.. I feel like I'm turned on all of a sudden!
 
 -22- 

 Things are kind of light!" And so forth. Well, they'll turn a little 
 bit off again very subsequently, so you have to get them back and do 
 this process for another half an hour or so again. And you'll probably 
 have to do it several times. And each time they really think they're 
 hitting the top of the scale every time. They're not. New ideas turn 
 up, flash through and they are shifting higher and higher on the scale, 
 higher and higher on the scale. They're getting wider and wider on 
 these two concepts and they're getting less and less able to get the 
 bottom concept. Until one day you would say, "Now get the idea of being 
 d..." 
 "How can you get the idea of being dead?" 
 "Well, you just get the idea of being..." 
 
 "I can't get the idea of maybe something else being dead - not that 
 very well. Gee, everything's alive! I mean, how can it be dead" They'll argue
 with you. Their concept is changed to a point where they actually couldn't 
 recognize DEATH as any kind of a permanency or a state or anything else to be
 dreaded. 
 
 Their whole endocrine system is liable to turn on with it. The pineal
 - that mysterious, mystic gland of all mysteries - is liable to turn on. Fac
 One'll turn it on - if you just run a Fac One. But you can turn on a pineal
 every once in a while with this sudden jump process on the Chart of 
 Attitudes. Very worthwhile process. One that you ought to kind of write down
 in your hip pocket as being.. some character who isn't doing too well on 
 mock-ups or you.. you're too bored to run 'em on it or something of the sort,
 just try this other one and your.. just.. you just kick them right on up top
 tone scale. You're just booting them up bodily. You're putting them in the 
 elevator and turning it on full juice and letting it roar on out the roof. 
 
 It's that.. actually that's rough a process and yet it apparently.. 
 it does not handle flows. If you catch the guy wincing and using effort and
 using force on this - nahh, he's not doing it. Or his postulates are so 
 bogged down in the middle of flows that he's just having a horrible time 
 doing it. Just tell him to get just the idea. Just coax him until he finally
 will get the idea so he can sit there and think, "Yes, dead." Instead of 
 "Yeah - dead -- DEAD. Yeah, I got dead; now I'll shift that up!" 
 
 What he's doing is, he thinks he's lifting weights and you'll see him
 strain on this - effort. He's putting a lot of effort into it. You want the
 idea shifted. And you keep explaining it to him if he does that. 
 
 But I saw this have a very signal and wonderful effect. This little 
 process here - there's an awful lot of stuff parked away in Scientology that
 probably never sees the light of day and possibly never will. Such a process
 as this is senior to running engrams. It'll make a MEST clear just like that.
 
 You don't just say, "Well, I'm a self-determined individual and now 
 I'm going to be self-determined and now I'm SELF-DETERMINED, you understand?
 And anybody that says I'm not self-determined is going to get his throat cut!
 I'm very free too. I'm very unemotional! Grrr!" 
 
 I saw Dave Maciean pull that after just 24 hours with Ron House. Gee,
 that was really a rough deal. 
 
 Uh.. that isn't the same.. same process or isn't even vaguely like 
 that. What you're getting is change and you're operating change. And of 
 course, there's a third stage on each one of those and you never mention it.
 
 -23- 

 When you get the guy stopped to starting, you're going through change. And in
 each one of these things when they get the center band on any of these, 
 you're getting a change. 
 
 So you're just running up and you're changing. And he's going 
 through.. these two concepts have changing concepts between them, so of 
 course they change. And the mechanism is hidden from the preclear entirely. 
 He doesn't realize that to go from stop to start you have to get up through 
 change. He doesn't know that. He doesn't know anything about cycles of 
 action, and you're just setting up the cycles of action and running the end 
 of the cycle to the beginning of the cycle. 
 
 And you're reversing scale on him, and you're turning the cycles of 
 action backwards, so that in each case, as we look up here on this chart that
 we used in the first hour, second chart, we find out that your cycle of 
 action is being shifted from bottom to top. Of course, it shifts all cycles.
 It goes through practically every cycle there is that is intelligible. 
 
 There is another cycle of action, by the way, I've never mentioned. 
 It's Positive - Current -- Negative; Start, Change and Stop. It could be Minus
 - Current - Positive too, because they're named wrong. We won't worry about 
 that. That's an electronic guy's dream. We're not interested so much in 
 electronics. We're interested in preclears and human beings. Only reason we 
 have to get interested in electronics to the degree that we get interested in
 electronics is we're trying to pull a guy out of a force universe, or pull 
 the effect of the force universe off of him so he doesn't wind up in night 
 court. So he doesn't wind up... 
 
 You could do this just to that degree, you know. You can straighten a
 guy out so he'd be the damndest homo sapiens anybody ever saw coming down the
 street. He's not a theta clear, he doesn't know anything about the thetan, he
 doesn't know anything about this new technology at all. 
 
 You can simply pick him up by his bootstraps and boot him up into 4.0
 and say, "There you are, Bud!" Don't do it.. don't do it too long with these
 techniques though, 'cause you'll spring him accidentally. 
 
 You keep up postulate processing.. I dare say if you kept up 
 postulate processing oh the roughest case you had that's so mired in you 
 couldn't get him out with a building jack, if you kept up postulate 
 processing and mock-up processing for 200 hours, the guy would be outside and
 well-collected and in good shape. I'd say so, just offhand at a guess. 
 
 I've never been able to run these things that long on a person. They
 generally spring in the first five minutes or the first fifteen minutes or
 the first hour or the first two hours. 
 
 One guy really didn't intend to be at all.. he didn't intend to..he 
 wasn't doing it. He was doing mock-up processing for an entirely different 
 purpose. And he was doing the British Edition of SELF ANALYSIS. And he was 
 doing it with a group. And after he'd been doing mock-ups for a short time..
 he'd been doing, I think, something like about uh.. six weeks, couple hours a
 day. One day he was.. a little tiny bit of auditing and he was out of his 
 head - bang! He just moved right straight on out and there he was looking at
 himself. And yet, at the first session he got.. boy, he couldn't have gotten
 out with a sledge hammer. If you'd sawed his skull in half, he wouldn't have
 gotten out of there. 
 
 Uh.. interesting difference: he had just used nothing but routine, 
 the most routine of uh.. of mock-ups. I mean, just routine mock-ups, routine
 
 -24- 

 mock-ups, routine mock-ups. And that's something on the neighborhood of 
 about uh.. 45 - that's about 90 hours. And he'd done it with a group. And he
 wasn't good at it to begin at all - he was terrible at it. It was an 
 unexpected result, because he wasn't trying to improve his ability to get out
 - completely unexpected. 
 
 Now these processes, then, this shift up scale, the wide change, top 
 - bottom, bottom - top. You could get yourself a flow kind of process here. 
 Get 'Being dead, not being dead', 'Surviving, not surviving', 'Trying not to
 survive, other people keeping you from surviving'. Those are all flows. If 
 you started running that, positive-negative, the guy would find out uh.. 
 after a very short time, he felt like he was in the middle of a hurricane. 
 He'd have flows, flows, flows, flows going in all directions. 
 
 And as a result you would be having a flow-type processing. He would 
 go through lines of being frightened, he would get upset, he would get sick -
 lots of other things'd happen. And you start fooling around with flows, 
 unless you're going right straight out to handle nothing but flows, you're 
 going to handle that flow and exhaust that flow, leave it alone, because it 
 takes very - a lot of auditing to get any result and uh.. it will upset a 
 preclear. 
 
 You start running a preclear on flows, you get a preclear who's 
 running flows and you don't turn it immediately into mock-up processing, but
 you just let the flows run, I'll tell you what's going to happen. pais ability
 to do mock-ups will reduce, just 1ike if you let a preclear start using 
 pieces of the MEST universe or pieces of his facsimiles to patch up his 
 mock-ups, something like that, why, it isn't going to assist him. He's saying
 "The MEST universe has to be leaned on in order for me to have a mock-up." 
 
 Well, he's leaning on it quite a bit anyway, but if he starts leaning
 on it in mock-ups too, that'll lead to most anything. 
 
 So there we have then the Chart of Attitudes as a process. And uh.. I
 recommend anything that changes postulates. That's even senior, you see, to
 making things, mocking up and so on. That's way up the line. 
 
 Or, if you must run flows, run the straight flow Agree - Disagree, if
 you MUST run a flow. Get Agree - Disagree, Communicate - Not Communicate, or
 Communicate Out - Communicate In. Or the characteristics of emotion - if you
 have to run them. 
 
 But it would be a strange obsession if you ran flows in preference to
 creative processing. Easiest way to run flows is just the way I was running 
 them on you tonight. Very easy. Turn a firehose in a guy's face if you want 
 to run a flow, and then change the firehose all around - you think you're 
 running an electronic flow. 
 
 There's another way to run flows which is quite interesting, is run 
 invisible flows, and have him make out how he knows they are invisible flows,
 why he knows they are invisible flows and that sort of thing. Sound, you see,
 is an invisible flow. And it's quite aberrative because a person can't 
 control as well that which is invisible as he can control things that are 
 visible. So sound, therefore, has a terrific power over him that light 
 doesn't. And therefore he'll lose his hearing acuteness before he loses his 
 sight acuteness. 
 
 It's harder to control sound because you can't see it. And that's why
 we are very sound in processing words. 
 
 -25- 

 All right - very early in the game - they're sound. They're made out 
 of sound; they're symbols of sound; you couldn't see them, so forth. If you 
 want to know how aberrative sound is, why that's a test to make - which we're
 going to go into. 
 
 Now, this kind of processing of actualities is nowhere as good as 
 mock-ups, but processing postulates is much, much senior. And making a person
 mock up emotions and mock up various other things is much senior to any of 
 the other classes of processing. 
 
 So you do mock-ups as senior to all processes done to date, and then
 postulate changing as senior to mock-ups. And make sure when you're changing
 postulates, you're changing postulates. 
 
 Now that's.. that Chart of Attitudes there is all categories of
 knowledge that we need to monkey with at this time. It's really all cycles of
 action. 
 
 Now let's cover a little bit about mock-ups. Now I can say a lot more
 about mock-ups, but let me.. let me cover mock-ups very briefly here in this
 little sequence of the processes we are using. 
 
 Mock-ups are done by gradient scale and you get the least he can get. 
 Don't concentrate on visio any more than you would on any other part of the 
 band. Don't go goofing off on the subject of all visio, all visio and no 
 sound; all visio, all visio and no emotion. All visio - no, sir. You get the 
 emotions out of those things, this guy, and so on. 
 
 Use, at the beginning, simple geometric forms in preference to 
 complex forms. Use black and white to improve color. If your preclear's 
 having trouble, look over the problem from the standpoint of space, because 
 you've got to have space before you can have mock-ups. He might not have any 
 space. 
 
 This would be a big joke on you, you know, to be sitting there and
 you're running him and running him, and he hasn't got any space to put these
 mock-ups in. 
 
 And the first rule about mock-up processing would be, of course, not 
 what you give the preclear but what you find out the preclear's doing. It's 
 more important for you to know what the preclear's doing than it is for you 
 to have a.. have a large repertoire on the subject of mock-ups. Because you 
 can turn mock-ups into a high level of generality that doesn't strain 
 yourself at all. 
 
 But we could make up something.. we could make up something called a 
 uh.. yeah, a routine. We could.. we could make up a routine. Now we could do 
 a routine with a mock-up. Now a routine with a mock-up might run something 
 like this, "In front of you, behind you, to your right side, to your left 
 side, above your head, below your feet. In front of you 20 feet away, behind 
 you 20 feet, to the right side 20 feet, to the left side 20 feet, above you 
 20 feet and below you 20 feet. In front of you a hundred feet..." See, you 
 could just have this as a rising scale mock-up. "In front of you a hundred 
 feet, in back of you a hundred feet, to the right of you a hundred feet, to 
 the left of you a hundred feet, above you a hundred feet and below you a 
 hundred feet." 
 
 Now you could, to keep the preclear from getting confused, you could 
 call them uh.. well, let's be very original right here on the spot. Let's 
 just say, "We will have a five foot routine" and that would mean "In front of
 
 -26- 

 you five feet, behind you five feet, to the right five feet, to the left five
 feet, above you five feet, and below you five feet." 
 
 Let's have a routine on ten feet, let's have a routine on 20 feet, a
 routine on a hundred feet, a routine on two light-years. 
 
 Now we could do a routine on anchor points in the same way. We could 
 have anchor points in front of you, anchor points above you, behind you, 
 around you, anchor points up close, anchor points far away. That sort of 
 thing. Rut that isn't as important, because there's no great this and that on 
 anchor points. 
 
 What.. what we would want in this case would be mock-up placements. 
 It's very silly for the auditor to have to sit there and do those. Well, if 
 you wanted to educate your preclear, you could educate him into doing a 
 routine. But remember that the second you get him grooved into a routine, of 
 course he'll be able to do just these things and no others. 
 
 Yeah. So, your routine, with something that you could turn on and 
 then once in a while vary - vary like mad. 
 
 Now, you could shift it from the front to the right, now shift it 
 back, and so on. 
 
 But when you're handling simple geometric figures, you would be 
 handling dots, discs, circles, triangles, squares, cubes, cylinders, pyramids 
 - simple geometric figures - rather simple. Now get 'em in all colors and get 
 'em in all positions. 
 
 Now don't let me hear you.. any of you having this kind of 
 difficulty: "Well, this preclear can't change things rapidly" or.. or "This 
 preclear changes things rapidly" or "This preclear - " so on. That preclear 
 does what that preclear does as long as that preclear's doing it. Don't try 
 to rush him. And don't try to slow him down. Let him hit his own speed. Only 
 you make sure you find out what he's doing. Don't just sit there and 
 optimistically suppose he's doing everything he says he's doing. That means 
 that any 1.1 you've got your hands on would just fool the hell out of you. 
 Every time you said "in front of you" he's thinking "behind him." And every 
 time you say "below the feet" he's putting it in his right pocket. 
 
 The best thing to do is run mock-ups with an E-meter in the guy's 
 hands, and you just watch that thing. Because if he's doing wrong, it'll be 
 too much of a strain for him and that needle will keep knocking around, 
 knocking around, knocking around. 
 
 You say, "What's you running, fella?" 
 
 "Oh," he'll say. "Well, I'm.. just what you tell me." 
 
 And you say, "Well now, did you put that last one behind you?" He'll 
 say, "Yes," and the needle will go "Wham!" 
 And you say, "Are you sure you put it behind you?" 
 "Well, as a matter of fact, I couldn't get it loose." 
 "It's about time you told me," you'll say. 
 
 You'll save a lot of time in this wise. Your preclear's your best 
 E-meter.. pardon me.. your auditor should be the best E-meter, but if he is, 
 
 -27- 

 then he's got to keep his eyes on somebody else's energy all the time. And 
 it's a strain, so why bother with that? You can sit down and look at an 
 E-meter dial and relax. You could look at it with 'theta-vision' if you want 
 to. You don't have to look at with MEST vision. That's right. 
 
 But - uh.. uh.. you'll have a preclear get disgusted every once in a 
 while. You have to remember when you're running a preclear, when you are 
 outside of your body and you're running a preclear, remember to keep your 
 eyes open. He'll think you're asleep or something and he'll get upset. Yeah, 
 that's an idea. 
 
 Now uh.. next thing you should know about Creative Processing is 
 don't let this guy get away with having everything going "Brrrrrrrr" by, and 
 flicker and flack and change and kid himself that "Yeah, he said it to do 
 that. Yeah, he said it to do that." Each time, agree late, see? 
 
 "Yeah, well that did that because I really said it, I guess. I'm not 
 sure.. I mean hmm." Things random as hell. He's not controlling anything. 
 Yeah, he's getting beautiful mock-ups. Yeah, it's "Mock up this way bicycle. 
 Okay, got a bicycle?" 
 
 "Yeah." 
 
 "Fine, fine, fine. You got that? That's good. Good bicycles? Yeah, 
 that's good. Now let's put it behind your back. Yeah, good boy." 
 
 What d.. what he's got is.. what he's got is a bicycle which changed 
 to a 1912 bicycle which changed to a little kid riding a tricycle which 
 changed to an ape in a circus riding a monocycle. And he.. this is happening 
 without his consent at all. I mean, he's got a bicycle and it's going in all 
 directions. That's automaticity taking place, see? You find out if he got the
 bicycle. 
 
 Remember that conserve is middle scale. You've got to teach him to 
 conserve as well as destroy. And if a person is having this trouble and he's 
 having it very badly and he really can't control mock-up worth a doggone, 
 have him controlling spots and dots. That's the favorite. And "Put a dot up 
 there." 
 
 Now he'll ask you all sorts of questions. "Do you think I'm just 
 imagining it? Or am I.. are you really supposed to see it?" A guy that asks 
 you that is really worried. He's worried about one thing; he's worried about 
 hallucinating. He's afraid that if he really sees something he'll 
 hallucinate. He.. he's.. he's sure of it. 
 
 And very often a person who has had a great deal of experience with
 people who hallucinate will be instinctively afraid of getting a controlled
 mock-up. Remember that. 
 
 Hallucination is an uncontrolled, unwelcome, come-and-go-without- 
 being-asked thing. And a mock-up is a heavily controlled thing, and if a 
 person just imagines the concept of it or something like that - huh - hmmmmm.
 Because we get our next definition of a mock-up. A mock-up occupies space of 
 the preclear's creation. It occupies a space. It isn't an imaginary' picture,
 it isn't something he kind of sees in his mind. There is a mechanism in the 
 mind which will see little imaginary pictures. And they go by flickity- 
 flickity-f lickety-flick. It's usually a circuit. Yes, it's controlled to some
 degree, but that's not a mock-up. A mock-up's out in front. A mock-up has 
 distance from the preclear. A mock-up has substance. And when you get good on
 them they have body. And you want your.. drill your preclear about reaching 
 
 -28- 

 over and feeling the body of the mock-up every once in a while - the 
 thickness of it. 
 
 The guys have been putting up cardboard pictures all this time. And 
 you say, "Get a cardboard picture two feet thick." 
 
 "No, I can't do that. I..." 
 
 "Well, feel the thickness of the cardboard you've got it on." 
 
 "Ha-ha! What do you know! I DO have it on thick cardboard. Yes, about
 an inch thick." 
 
 "Well, all right, let's.. let's just swell that guillotine out there
 to the proper blade width. Now let's feel it the proper blade width. You got
 that? 
 
 "Ah, it's a cardboard blade. I can tell - I can bend it." 
 
 "Well, put a steel blade on it. Oh, I know, let's have a real good 
 guillotine. Let's have a solid gold blade. Now feel that blade - you got 
 that? It's got depth, huh?" 
 
 "Yeah, what do you know? It's got depth." In other words, work it out
 with him. 
 
 This mock-up has got to be better than anything the real universe - 
 hah! laughingly called - can possibly produce. In the end, that's the test of
 a mock-up. Is that senior to anything there is in this universe? Is it 
 better? Brother, it better be. That's all you're doing. The MEST universe has
 been in contest with your preclear, saying, "Nya, your illusions are no good.
 You can't create anything. You haven't got any strength. You haven't got any 
 force. Nya, nya, nya." Criticize, criticize. Bark his shins, kick him in the 
 head, fix him up. Get him to agree again; throw him into a snake pit; get him
 to agree further. Then pull him out and say, "You're no good," and so forth. 
 "We promised you the moon. Yes, I know. We promised you the moon. You can 
 have the moon - it's all full of grit. Here. You've got the moon. We're 
 pushing it in your face this minute." Crunch! 
 
 Typical, you see? I mean, it's uncontrolled! It's not his - his sense
 of ownership is bad. 
 
 Well, let's go to another step about mock-up processing. You know 
 that if you were to put out eight anchor points and stabilize them with the 
 preclear in the center - he isn't out of his body or anything else - and just
 have him sit there and hold those anchor points - I don't care how long - 80 
 hours - one hour - two hours - half an hour - I don't care how long you do 
 this. It doesn't matter. An anchor point is an anchor point. There isn't 
 supposed to be any action in it and no action will take place. 
 
 You've given him some space. And the first thing you know the.. the
 walls - there aren't any walls. You've just put out eight points, you see, 
 and he'll feel this dark substance kind of moving in and out of them, and 
 he'll feel the wall kind of creak. He isn't putting out any effort at all 
 except to hold the anchor points. He isn't pushing this stuff back out. And 
 don't let him start either. Let's just de.. de.. feel this thing going on. 
 He'll feel his body sort of going "creak" and it's very strange. And all of a
 sudden he'll.. he'll have a.. he'll very often have the funniest sensation: 
 "You know, I've got some space of my own?" 
 
 -29- 

 And he'll actually feel ridges leaving him, and he'll feel his
 breadth and expansion a little bit. And he'll feel so restful. 
 
 If you want to know the way to go to sleep, by the way, just put out
 eight anchor points and hold them there. Beautiful feeling - just gorgeous. 
 
 The next step to that is to put out eight anchor points and hold them
 there and not let anything else be in it. But put something else in it. Throw 
 a chair into the middle of your eight points. And then get it, finally, to 
 where that chair doesn't exist in the eight points. Get complete nonexistence 
 of the chair. And do it on a gradient scale. Get a little matchbox to put out 
 there, and finally get that selected out of. You know, it's there but you're 
 not admitting its presence. And then finally it just isn't there - for you. 
 
 Then put a chair in, or put something else in or put a couch in - or
 something heavier in amongst those eight points. And then put something very 
 heavy in there. And just hold the eight points until it's gone. Your space, 
 see? 
 
 Well, you shouldn't make the decision to pull these in yourself, if 
 you're doing it yourself; you do this for the preclear. 
 
 By the way, an auditor prevents the preclear from making decisions -
 really. If the preclear had to make postulates about all these things, he 
 wouldn't get well near as fast. The auditor makes these postulates for him 
 and that's perfectly all right. Can you finally see the mechanism behind 
 that? He has to say, "Now I will imagine there is..." or "Now I will mock 
 Up..." 
 
 And the auditor says, "Now put a..." so he hasn't had to postulate
 that it was not there before he put it there. The auditor says, "Well now,
 put it there," and he puts it there. 
 
 And uh.. so let's get a.. an eight-point space and let's put a chair
 in it and a sofa in it and - a real chair, you understand. I mean, you know - 
 this chair. Some chair - put it in there and then just have it there in that 
 eight-pointed space, with those eight anchor points, until it's not there, 
 until the guy's fairly sure that chair's not there, until he's POSITIVE that 
 chair isn't there. What do you know? He's got a body in there! He's got a 
 body in those eight points. He can make MEST objects disappear. Well, he can 
 handle the body better than he can MEST objects. 
 
 All of a sudden he realizes the body's not there and he simply moves
 off as a thetan - negative clearing. 
 
 Now you could do this. You can sometimes set up the four corner 
 points of a room as this, and you start doing it, and then the guy..it knows 
 it isn't his space. He's using MEST universe corner points. And therefore he 
 realizes anything can come into that space - anything can. And he's liable to 
 find gorillas and giraffes and wild elephants and dogs and cats and airplanes 
 flying through it. And he's scared to do anything about it, and he can't move 
 out of the body because he hasn't got any space to move to. You've got to 
 make him create the space by putting these anchor points out. You don't mock 
 up anchor points - don't make that mistake. You don't mock up an anchor 
 point. You put an anchor point out. An anchor point is real. It has 
 actuality. Just because it doesn't hang around and bong against the MEST 
 universe every way you turn isn't any reason why you.. why it's not real. 
 
 An anchor.. don't get the idea.. give the preclear the idea, "Well 
 now, mock up some anchor points," uh-uh. 
 
 -30- 

 If you want to get outside and take a look at the GE, you'll find out 
 he's got anchor points. 
 
 For instance, Nibs was telling me to get up - I never tried that for 
 some reason or other. It never occurred to me. You start pushing around the 
 GE's anchor points, and they're not like your own anchor points at all. They 
 snap back into position - they move right back into position again. You can 
 push them out of the road - they're way out. But you can push them out of the 
 road and they move back into position again. 
 
 So, what have we got then in terms of space? This is another method 
 of space, another method of the body, another method of mock-ups. You could 
 reverse a mock-up then, can't you? Well, after a guy's been running for a 
 short time with mock-ups, mock-ups, mock-ups, he can make mock-ups, gradient 
 scale. If they change too fast, if he can't control 'em, for God sakes give 
 him something he can control. "Little black spot on the wall." That's black 
 and white control processing. We'll go into that more deeply. But black and 
 white control processing - until he can hold it steady and he doesn't get a 
 lot of randomity in it. Give him as much as he can control and then let him 
 learn how to control that. And he'll get there. 
 
 And then you get a negative result, finally. You'll get him good at..
 you'll get him so good at creating his own things, that he can uncreate MEST
 objects in his area. 
 
 Well now if you were just to give a guy practice in mock-ups and 
 practice in mock-ups and then let him get around to a point where he's pretty 
 good with mock-ups, just fair with mock-ups, and then you could run him into 
 the.. uncreating MEST. He can always uncreate MEST to the degree that he can 
 create mock-ups - that's for himself. 
 
 And if he can create mock-ups that are visible to others and solid to 
 others, he can uncreate MEST that is observably uncreated by others. 
 
 A lot of times when you're doing this, it'll key in some existence as 
 a magician on your preclear and he'll start doing it all with black cloths, 
 by the way. And instead of making something disappear, he'll hol.. haul a 
 black cloth over it. And instead of making it, uh.. uh.. change or shift or 
 something, why he'll turn a cloth around or do something like that. You find 
 out what he's doing. He keeps talking about all this blackness in the area - 
 he has some kind of an existence as a magician. Or he has used this 
 blackness, and he's using blackness to make objects disappear and appear 
 again. And that's no good, of course. Just give him his surfeit of black 
 cloth. Just give him all the black cloth you can possibly give him. Just give 
 him lots of black cloth, just give him lots of it. And then have him take a 
 little tiny piece of it and tear it up and throw it away. And then give him 
 black and white spot processing and control processing. And then give him 
 black cloths again - lots of them. Give him.. oh, just fill the joint up with 
 curtains and curtains and curtains. And then have him make somebody walk 
 through the curtains. And then fold them all up and sell them for enormous 
 cost. And then mock up some more, and so on. Until he's so damned tired of 
 black cloths! 
 
 And he finally says, "All right, I'll just make it disappear." It 
 stands there, and it goes. 
 
 You've got to drill a guy in time. And he very often will use black 
 cloths to cover up the fact that he hasn't actually made something disappear. 
 Something will be out there and you s.. you say, "All right, put it in 
 yesterday." 
 
 -31- 

 And he'll say, "Okay." The only trouble was he dropped a black cloth
 over it. It's still there. He's convinced he can't make anything disappear.
 So you'd better worl, on something to make it disappear. 
 
 And if he really can't ever make anything disappear, you give him a
 real MEST object and make him disappear that one. How does he disappear that
 one? Give him a toothpick and let him throw it out the window. 
 
 Now, in other words, uh.. at least get down to some level of activity 
 where he can make these things come about. 
 
 Now this uncreat1on follows.. uncreation of MEST is a process right 
 along with with creation of mock-ups. You can call it 'unmocking' because 
 NEST is just a mock-up. That is, I'm telling you that because we're shaky on 
 our pins that we don't know where NEST is. I can sure handle MEST - I'm sure 
 you can too. But the truth of the matter is that you can take MEST away, in 
 your space, really, surely as good as you could mock things up in your space. 
 
 Now I.. I want you to try that. I want you to try that. I want you to 
 put some anchor points right now a few inches below the floor. Now unmock the 
 floor. A few inches below the floor - unmock the floor. Just get the floor 
 non-existent. It'll give you a funny feeling if you do it. Sure you can take 
 the floor right out from underneath you. --
 
 Actually, if any of you were really up scale, batting up around 6 or 
 8 on the tone scale with your mock-ups and so forth, you'd actually have a 
 little trouble here. You'd probably have to take it up with John over there, 
 and Helen, because pieces of the floor had probably gone missing - get thin. 
 
 Now the upshot of this is that there is a method of springing the 
 thetan. The thetan is in a what? A MEST universe object. So you do mock-ups, 
 mock-ups, mock-ups, mock-ups, mock-ups, mock-ups. That's fine. Lots of drill. 
 llell, don't forget that there's another process. It's unmocking. 
 
 Now, all right. Now let' s get.. put out anchor points. That's 
 spacation - getting him oriented in space. If he can't get oriented in his 
 own space, why get him oriented in.. in.. in MEST universe space at least, 
 somewhat. Then get him oriented by putting out his own anchor points, and 
 practice with that for a little while. And then get him into doing.. doing 
 mock-ups in that space. And then the next thing you do is put MEST objects 
 in, actual MEST objects in - and unmock them. 
 
 He's in a body. You see, it'd be the same thing - if he could unmock 
 the body, he could move out of it. It couldn't hold him if it weren't there 
 in terms of a mock-up. Just as he could move into one of his own mock-ups and 
 feel its weight. Well, he could.. if he could unmock the body thoroughly, he, 
 of course, would be free as a thetan. He could move anyplace. 
 
 So when your tough, real tough cases, and so forth... you can follow
 this process of unmocking. 
 
 Now, you carry this process of unmocking far enough, you can mock up
 things that people can see, and you can unmock things and so on. 
 
 So your next level.. your next level of process - another thing on 
 this - your next level of process above that is use of force. You'd come back 
 every once in a while and start using force. And get the guy so good at using 
 force he doesn't have to use force. You don't learn to use force by not 
 wanting.. just.. just by saying, "To hell with force. I'm going to do this 
 otherwise." You're going to have to go through force objects, you'.re going to 
 have to be able to use force; I'm afraid that's the only way out of it. 
 
 -32- 

 And you go through this process: you have him pick up his f.. one 
 finger, and then you have him pick up two fingers, and then you have him pick
 up three fingers - using beams. They can do that very early in the case, lots
 of times. Have them pick up beams and then have them.. have them pick up a 
 finger and move a finger sideways. And then pick up the whole hand. And then 
 pick up the hand up to the elbow. And then pick up the hand and yank it 
 straight up into the air and throw it backwards. And.. and uh.. the guy is 
 outside, of course. He has to be outside to do this. 
 
 And uh.. as far as I know. I guess maybe he could lean over. I guess
 you could, really, lean over your hand and put a beam down from the center of
 your... now that doesn't sound very practical. It's easier to move outside. 
 
 Anyway, uh.. you could go ahead. And you pick up the hand, and then 
 you get so that you pick up the other hand. And then.. and because the guy is
 free to move objects which he customarily moves. He's very convinced these 
 objects are movable. 
 
 Now after he's picked up hand after hand after hand, arms and both 
 arms and so on, have him pick up his ankles - various methods of doing this. 
 You put up a couple of anchor points and put a line from the anchor points, 
 down around the ankle and have it hold hard and then shorten the line. Or 
 push the anchor points wider. Very simple. 
 
 Or you erect a tripod and lengthen the tripod - any kind of a jerry- 
 rig he cares to make. He's actually picking up the hand with postulates, but 
 he knows he has to use force. And so you'll have to use force in order to do 
 that so as to get up to a point where you can do it without force.' It's going
 through the middle of the scale. 
 
 All right, when he gets so that his hand can picked up and his arm 
 can be picked up and his legs can be picked up, why have him pick up his body
 rather forcefully - one direction or another - and handle his body from 
 outside. Boy, that is worth a lot of processing: a guy gets bigger and 
 stronger and tougher. 
 
 But remember, in every case, as an auditor, that you mustn't let him 
 exceed what he can comfortably do at any one time. Keep insisting he do it, 
 but grade it down a little bit so he's always accomplishing something. In an 
 all gradient scale - that's the motto of the gradient scale - he must 
 accomplish at least some of it. And you've got to do that. You mustn't leave 
 the auditor.. you mustn't leave the preclear in a failure. 
 
 I was going to say the preclear mustn't leave the auditor in a 
 failure either. It's up to him, too. 
 
 Actually where you guys are processing each other, the favorite trick 
 of a preclear leaving the auditor in a failure is one that ought to have the 
 preclear's teeth kicked in. A preclear ought to be very careful never to 
 leave the auditor in a failure. Never come around the next day and say, "I 
 had a terrible slump.. terrible slump right after you audited me, and I went 
 in a terrible spin, and so forth. I felt.. feel much better because you 
 audited me but I'm in a terrible spin." 
 
 Nuts! The auditor will audit you again. You don't have to do that. 
 
 Now.. so anyway, uh.. you start lifting a fellow up like this one way 
 or the other and you get him very accustomed to handling force. Now don't 
 think just because he's picked up his hands, arms and legs and made the body 
 sit up and lie down again that you've really done a job on the exercise known
 
 -33- 

 as lifting. You haven't done such an exercise yet. You supplement that 
 exercise with mock-ups. You make him mock up something and lift it, mock up 
 something and lift it, mock up something incredibly heavy and lift it, and 
 then have him lift a part of his body. Don't leave him in periods of long 
 agreement with the MEST universe. 
 
 "Lift the body, lift the body." Then "Mock up a body and lift it. 
 Mock up a body and lift it." Then "Lift the body. Lift the body. Mock up 
 another body and lift it. Heavier, bigger, stronger body," and so on. You'll
 find out that he'll stay very well off. 
 
 Otherwise you'll find his energy what? Declining, because he's 
 agreeing with the MEST universe and the energy in the MEST universe is 
 triggered and rigged so he will decline the more he uses it, unless he also 
 creates in his own universe at the same time. 
 
 And you can find yourself doing that from here on out as long as you 
 hang around this universe. You'll be in a good shape as long as you alternate
 these two things. When you do something in the MEST universe, do a mock-up. 
 Do a mock-up. Do the 'mock-up a lot better. 
 
 If you insist on handling things with MEST universe laws, and so 
 forth, mock 'em up and handle them with some other laws. Then alternate that.
 Here you are walking around 24 hours a day, agreeing with the NEST universe.
 Well, get in a few mock-ups - much more important TO YOU PERSONALLY. 
 
 It's more important really - that low on the tone scale you may..
 maybe don't see this - but it's really more important to you to do a good
 mock-up than to do a good job down at the factory or something. It's more
 important. It'll work out in the long run to be. 
 
 So this lifting is quite interesting. You do your mock-up 
 interspersed with -- and remember too that when you mock up, why you have to 
 go through the same series and sequences as always. But on your.. on your 
 lifting, work for speed. Don't just get.. work for force. Don't try to be a 
 barbell man, you know. Get down there and go "Creak - creak - creak. Look! 
 Muscles! Look! Facsimiles!" Same thing: muscles, facsimiles. And "Creak - and
 now I've got it up here and it's only taken me a half an hour to get it up to
 my shoulders. And just a minute while we read another copy of Bernard 
 McFadden's latest magazine." And uh.. you've.. you've got that... 
 
 Now don't get that at all. You aren't trying to build a tank. You're 
 trying to build a fast plane. You want this guy so he can pick the arm, throw
 it up it full length, a way an arm could never fly if you were just uh.. 
 lifting it with muscles. Pick it up at full length, practically knock it out
 of its socket again, and drop it - disconnect! Learn how to disconnect. 
 Handle and disconnect; handle and d1sconnect. And for God's sakes, if you 
 never do anything else in drills at all, learn how to disconnect! 
 
 One thing you never learn. You have to hold to "you want, you want."
 And all the energy you're surrounded with says, "I want you, I want you," or
 "Don't want me," or something like that. 
 
 It.. it's all saying, "Don't disconnect! Don't disconnect! Don't 
 disconnect!" As a consequence, the first time you get your preclear out there
 and throw him.. have him throw a tractor beam on something, you say, "Now 
 turn it off." Yeah, he can turn it off. Yeah, sure. Five, six, ten minutes -
 three seconds, eight seconds. That's slow! That'd be... 
 
 Would you turn some guy loose with an automobile who had a one-minute
 
 -34- 

 reaction time? He saw the stoplight and one minute later put on the brakes.
 Wouldn't be safe, would it? 
 
 Now, would you turn somebody loose with an automobile who had a 
 three-second reaction time? He sees the stoplight and he puts on the brakes -
 sees the spotlight and two and three. Boy, there's an awful lot of fenders 
 smashed in that period of time. That's not safe. That's a.. that's fast for a
 lot of preclears. They put a tractor beam on something, you say, "Now turn it
 off" and the second you say, "Turn it off," it'll be turned off about - one,
 two, and he's cut it off. 
 
 Ahhh, he might as well take a gun and shoot himself, theta-wise. It's
 murder! You mean, when a body gets hurt on which he's got a tractor beam - 
 for some reason or other - when that body gets hurt, he can't get that 
 tractor beam off? The second he sees the body is going to get hurt, he can't
 get the tractor beam off fast enough. Because at this moment he's rattled. He
 sees the body is going to be hurt. It's.. he's rattled and he tries to 
 disconnect and it's going to take him that long? That's why he's here. 
 
 Out West when they used to bury a dead man they'd say, "A case of 
 'too slow'." And I can look at all the cases in the room and know that I'm 
 looking at a case called 'too slow'. 
 
 Get that drill. Turn those tractor beams on.. just put them on 
 something and hold it still. You don't have to move it. Just put a couple of
 tractor beams on something and turn them off. Put them on something - turn 
 them off. Put a mock-up out here and put a tractor beam on it, and turn it 
 off. Put a mock-up - turn it off. Mock- - turn it off. Put it on a real 
 object - turn it off. Real object - turn it off. Your own objects - turn it
 off. Real objects - your own object - turn it off. MEST universe objects - 
 turn it off. 
 
 And then what? When you're picking up pieces of this body, learn to 
 hit and run. Pick 'em up and hold them once in a while just to show you can
 get the persistence, hold 'em for a half an hour. So, a half an hour's 
 nothing. They're.. just hang a line up so they'll stay up half an hour. It's
 all right. 
 
 Uh.. used to do that every once in a while. It used to upset people 
 like mad. Put your arm up in the air and just hold it there in an 
 uncomfortable position, up like this. And of course, you're not holding your
 arm up at all. You've got a line on it. It's just staying there. 
 
 Or can you imagine anybody's body staying in this position, perfectly
 steady for an hour? There's no trick to it at all. It's that kind of thing 
 the yogis saw.. saw some boys doing with dolls way back on the track and the
 yogi's been trying ever since. All you do is hang the body up or tie in some
 direction or other and go off and leave, you see? It's like tethering a 
 horse. Anyway, uh.. now, picking up a limb and dropping it is terribly 
 important. Pick up a limb - drop it. Pick up a 1imb - drop it. You know what
 it works out to be finally? It works out to be you don't put lines on 'em any
 more. You say, "The limb will lift and drop." The limb will lift. There it is
 -- very peculiar. 
 
 Hut you have to be tough enough with force to be able to do it with 
 force before you can say to a limb, "It will now lift." See? 
 
 So you do that drill, do it fast. And then get so you can pick up the
 whole body, drop it down on the floor. I won't tell you where to go from 
 there. If you haven't figured it out by this time, you ought to quit! 
 
 -35- 

 There's one thing about this whole thing! Don't you go throwing this
 planet out of its orbit! Now I can give you the names and addresses of quite
 a few planets, and I'll even go with you in great cooperation, great 
 cooperation on a very specific subject: I will incinerate and help you burn
 up pieces of country or towns, if you must, that you don't like about the 
 planet. But let's not get so generalized. 
 
 Now if we've gone to all the work of getting a lot of auditors 
 together and having a good exit depot, we can have this thing smooth as 
 grass. That's okay. You could put a nice cordon around it so anything comes
 in - a spaceship comes in - why, you just happen to be noticing that we're 
 going to be in trouble. Or an atom bomb comes over, or something like that,
 somebody would say, "Hey, look at the atom bomb!" The fellow takes the fuse
 out of the thing - it's coming over at 30,000 miles an hour - and takes the
 fuse out of the thing, and says,"Hey, yeah! Ha-ha! Isn't that a funny little
 top? Hey Bill, can you use some atomic power? Oh, you don't need any. Well,
 let's sell it to somebody. I know somebody I don't want to survive. Let's 
 give it to him." 
 
 Well, let's not go throwing this planet out of its orbit or getting 
 fancy with it. You understand that. 
 
 Another thing, is don't go putting the sun out. I know some good suns
 - you can put those out - lots of 'em. If you've got to put a sun out, mock
 up your own. Go over, out and beyond and that sort of thing. Because once 
 you've gone to all the trouble of orienting and learning the culture of an 
 exit depot - well, you don't want anybody messing it up too much. 
 
 I know there's a lot of people we can do without, there's a lot of 
 thetans we can do without. I know that. We're not even setting ourselves up
 as judge and jury on the thing. It happens that they're completely hopeless.
 They.. they actually wreck themselves on the whole deal. 
 
 But uh.. just.. good thing that two things are happening. That.. that
 is to say that this is all incredible and that none of this could happen. 
 That's very, very.. that's a good thing. It makes it whether you want it or
 not. I stand here and I.. I'm telling you two varieties of data. And one of
 those varieties of data is the actual scientific datum which has been dug up
 out of this universe and out of all universes. That's the.. the specific 
 datum, and Its application to the homo sapiens and beings in this MEST 
 universe. And that data you can be darned sure of. 
 
 Next is the data.. I.. it's not data. Next is my opinions. Hell's 
 bells. I reward myself for my labors by having opinions. 
 
 Uh.. just separate out those two things. Don't separate out on the
 thing that Scientology's one thing, Hubbard's another. You say, "You know, 
 Dianetics is one thing, Hub..." That's old Art Seppos, the old.. flatulence..
 the old.. the old stupid bum! He.. every copy of the first book that sold he
 lost a little more control of his publishing company. He wanted to walk in 
 and buy it for two thousand bucks. When he got through, the publishing 
 company was worth a hundred thousand bucks. 
 
 So he fixed up a preface and all sorts of things so the book wouldn't
 sell, and he wouldn't distribute it or anything else. He was having cat fits
 two-and-a-half years ago because that book made a pauper out of hfm. He 
 couldn't buy the company that published the book. He was only the president
 of the company. Oh, boy! And he used to tell people that. Anything he could
 do -- he once called trans-continental to San Francisco to tell the "San 
 Francisco Chronicle" what a horrible fellow I was. It was the opening night
 
 -36- 

 of a lecture there. And.. we've had some real squirrels here on Earth. You've
 got no idea. 
 
 But the point I'm making is.. is.. he didn't go in for that, but 
 just.. just modify the thing like this: There's a lot of viewpoints that I 
 have that you might not have at all. If I have a lot of axes to grind, 
 they're very obvious axes - extremely obvious. 
 
 Uh.. and they actually don't influence this data at all. What I give
 you as fact is fact. What I give you as opinion - you're welcome to it or not
 as the case may be. But I'm not asking you to agree with me. For God's sakes,
 don't do that! Just go look. 
 Goodnight. 
 (TAPE ENDS) 
 
 -37-