Golden era productions

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But the point is, flow is flow. And it means (always a very good thing to define what you're saying; at least I do, I mean, we'll leave it up to the nuclear physicist to skip defining what he means), you get particles traveling in a similar—not necessarily the same—direction, is a flow. Now, the flow does not include a terminal and is in essence a communication line. In a perfection of definition, it is just the line.

Now, we have the Reality Scale. And it goes as follows, from the top to the bottom—a scale which is very important.

There's another scale like this called the Effect Scale, which is equally important to you today.

And there's a Tone Scale which is important, too. And if you don't know that, you'll really get baffled sometime. But all of you know that.

The Reality Scale starts at the top with a postulate. You graduated up to "Operating Genie"—"Operating GEs" can't do this—but say, "Appear!" and something appears. You see? There's no flow connected with that. And after the fact of the postulate, however, you have a terminal. A person making a postulate says, "It is!" and it is. It makes people who have to make things with their hands sometimes very impatient. They grub-grub, scrape-scrape, plane-plane, whittle-whittle, paint-paint and they say, "Why can't I just say 'Appear,' and the painting appears?" Oh, I don't know, it's more fun the other way. And this is lower on the Reality Scale. We used to call it effort.

And right below a postulate—having something appear just because you say it appears—right below a postulate is agreement. Now, as a matter of fact, agreement is just one method of confirming a consideration. So we'd say that when a postulate becomes a consideration then you have agreement. A postulate which endures, a postulate which has survival, a postulate which has continuance—that is a consideration. But a consideration is normally considered on the backflow side by most people—they have thought it over, so they consider it. You get the misnomer, here, in semantics. Somebody considering something.

Well, actually, this is not what we mean by this word consideration. We mean that somebody, you or somebody else, made a postulate which is enduring; it continues to exist. Well now, the happiest way to do that is by another postulate that says it will continue to exist. But there are a lot of mechanical bric-a-brac, and all of this mechanical bric-a-brac goes around to confirming and continuing in existence postulates.

If a form or mass continued to stand there, it would merely be that the postulate was continuing, right? So it's basically all postulate, and then odds and ends of phenomena which look good. But they're still held there by the postulate. All right.

Now, a postulate goes into a consideration. And one of the ways of confirming a consideration is an agreement. And we get, now, into two or more parties or objects, or—it's two or more. A postulate all by itself is singular, and it moves from singular at once into plural. So we have this scale actually being Postulate, Consideration, Agreement, if you wanted to write it down with great precision. But it really isn't proper to say that, because the consideration goes all the way down the line—a continuing postulate. Postulate-Agreement is the pure scale. But you might understand it better if you use Consideration in there.

Now, agreement: that continues something. You get a contract. A contract is merely an effort to continue a couple of postulates. See? All right.

HAVINGNESS, ANATEN, FLOWS IN RELATION TO CLEARING

When we get this, we then move into a couple of terminals—two or more terminals. Now, when we get a couple of terminals we, of course, have an incipient or a potential line. And as we see the terminals fade out, the line becomes plainer. You could get two terminals discharging against each other. (mest, by the way, dramatizes all this. mest is a dramatization of this particular scale—practically all that it is.) And eventually there's no terminals but there's line. And below that there's nothing.

This becomes fascinating as a scale because it gives us an excellent estimate of what will be real to somebody. Now, as a person moves up and down the Tone Scale, he gets greater realities on one or another part of this particular Reality Scale. A person who's in pretty good shape would have a lot more reality on the exact postulate than he would on the rest of the scale. But if it was that real, boy, would he have reality on the rest of the scale, too. Don't you see?

But let's say somebody had to mount a ladder on a snake's back and somehow or other climb to bottom. First thing he'd run into would be a line—a communication line. And as he climbed a little bit higher, he would get the idea that there was at least a vacancy of terminals on both ends of the line. There's probably something should be there, he would say. And as he climbed a little higher, the line would be less distinct or less fixating to him, and he would see the foggy outlines of a couple of terminals.

And then as he came up the scale a little higher, climbed a little higher on this ladder, the terminals would now be much plainer than the lines. The terminals would be fixed and obvious and very much in place.

And as he came up the line a little bit further, he would see that the terminals existed out of some agreement with each other.

And if he went up a little higher, he would see that the terminals got there in the first place and the rest of the phenomena proceeded from a postulate.

Of course, he'd have a reality on all the lower stages.

Now, a person who has no position on this scale, who is below this scale, has a reality on none of it. And we get the average preclear. His first grip on a reality is a line.

Now, there's an interesting process which is just a little test process. It does a couple of goofy things. One of them is kick somebody's prediction into high gear for about ten or fifteen minutes. "Look around this room and find something which is having an effect on something." Or "Look around this room and find something which is being affected by something else." I think the actual test process was, "Find something that is being the effect of something else." See, you're just running effect, effect. You're not looking for causes, you're looking for effect.

Next thing you know, a person will move onto the bottom of this Reality Scale, running this. And he'll all of a sudden conceive the room to be crisscrossed with big lines. Usually they start in black and they eventually get golden. He'll wonder where all these lines are coming from—an odd, optical, subjective piece of bric-a-brac.

Now, if you kept up such a process, just concentrating on effects only, why, he would go upstairs a little bit further and he would get the idea that these lines all had terminals that they—he'd begin to speculate on what was at the end of these various mystic lines that he's seeing. Of course, you know I'm really talking about lines; I mean, I'm talking about great big energy ropes that are hanging around the room, festooned in all directions. Amazing.

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Well, he'd eventually find the terminals and he'd eventually go on up the scale. But that process won't take him all the way there, as far as I know. The other processes do. He just gets . . . You can turn this thing on full automatic as long as you start talking about effects, in other words. Of course, you want to process a preclear at causes. I'm merely giving the experimental process.

What's this mean, then? It means that the first thing that becomes real to your preclear is a line. It means that when you run CCH 3, CCH 4, which have a lot of hand motion in them, eventually your hand will become quite real to the preclear. Not because it's a terminal but because it's the beginning of a line.

Well, what begins to show up on one of these lines? The center of it, of course. And if you have your palm pressed against the preclear's palm, the hands and wrists eventually show up. And as he goes up higher, he will eventually get the idea that an auditor might be there. And he will wind up, as he proceeds on up this Reality Scale, with the realization not only that an auditor is sitting there but that he is sitting there, too. He'll get both things more or less at the same time.

Now, that is why that one works. You make agreements with communication bridges with preclears all the time. I can tell you that that communication bridge is courtesy where most preclears are concerned when you're picking them up from bottom.

Why is it courtesy? Because they wouldn't have the least idea what an agreement was.

Men never break their agreements. That's an interesting thing. Men never break their agreements—providing they know about them. But you sign a contract with Mr. Swizzlepuss, and his reality would be on a small particle caroming off the walls—nuclear physicist's level of reality— small particle caroming off the walls, no terminals anyplace, nothing ever made a postulate to create it, we're all descended from mud. This fellow, yeah, he'll sign a contract with you to do some of the darnedest and most outrageous things—to deliver a million tons of saltpeter in your backyard at two o'clock Tuesday. He doesn't even know what the stuff is. See, he'll make a contract with you; he'll agree to anything.

And you say, "Well, if I've got a contract, I can always enforce it." Oh, can you?

I have a maxim, by the way, which drives people crazy sometimes because they can't shake me off this point. I will look at them with very innocent blue eyes and say, "Why is a contract necessary?" And if they keep on explaining to me why a contract is necessary, I know I'd better not sign one. Because agreement isn't real. And I have this liability in (quote) "doing business," whatever that is, because I feel that if it's necessary to sign a contract we shouldn't be in that business.

Sounds rather outrageous, doesn't it, on the face of it? It says we must operate, then, on pure trust. No, we must operate higher upscale than pure cutthroat. Get the idea?

A contract in a solid form is perfectly all right, and get everything down and understood. There is nothing wrong with this at all because it's liable to go glimmering somewhere along the line. That's perfectly all right in theory. But if a man has no reality above Lines and above Terminals, then a signed contract has no reality to him, either.

HAVINGNESS, ANATEN, FLOWS IN RELATION TO CLEARING

And if you expect a court to do anything about enforcing a contract, you've got another "think" coming. You usually walk into a court these days as the injured party and walk out fined. That's right. I mean, you should read the cases.

There was a football player here a couple of days ago who was attacked by a gunman in a car, who was going to kill him dead and shoot him and so forth. And this—coach, he was—and the coach said, "Well, son, your number is up." And as the guy was trying to shove a gun in his ribs and so forth, he simply reached over and paralyzed the fellow, you see, and stopped the car. And when he let go of the guy—he hadn't had a witness, by the way, that this fellow was struggling around—and when he let go of the fellow, why, the fellow was dead. The gunman was dead.

They looked up the police record of the gunman and found out that he was responsible for other holdups and difficulties. As a matter of fact, he had bragged to the coach that he'd done it twice that day. He'd held up two other people that same day.

So who did the police hold but the coach? Holding him for close questioning.

Well, you figure out why. I wouldn't be able to figure out why. But you don't think that the (quote) "forces of law and order" (unquote), unless they're in awfully good condition, are ever going to enforce an agreement that wasn't real to anybody in the first place. Get the idea?

So you audit somebody and you say, "Now, is it all right with you to ... ?" It's a contract, isn't it? Well, as far as you're concerned, it's a contract. But the very amusing part of it is, it won't be a contract to most preclears until you've audited them for one awful long time. "Word is his bond"—that applies only to a very, very high-toned fellow.

You can almost measure the tone level of a society as to how much business in it is done on verbal exchange only. Fairly high-toned society, a fellow calls up and says, "Joe, let me have ten thousand dollars till Tuesday."

And Joe says, "What'll you give me for it?"

And the fellow says, "I'll give you a couple of hundred bucks."

And he says, "Fine. I'll send a boy over with it."

He gets it back Tuesday.

A low-toned society, fellow says, "Joe, I'd like a couple—I'd like ten thousand dollars till Tuesday. And how much will it be?"

The fellow says, "Well, I'll get my attorney, you get your attorney, and we'll have a meeting this afternoon. We'll sign a ... What—what security do you have?"

See, here we've got a full production. The guy could have gone out and made ten thousand dollars while he was writing up the papers, see?

The only thing that always kept me out of debt as a young writer is I could turn out a novel while I was waiting for some bank to make out the loan papers. It'd only take me a couple of weeks and I'd have the dough.

Now, you should understand what you're dealing with here. You're dealing, basically, with the average bad-off case, with lines.

Now because lines don't seem very important to you is no reason to lay off of them. Have you ever tapped somebody on the shoulder and had him cringe and practically go to the mat? Or touch somebody in a crowd and had him jump back as though he was going to fight a duel and mark a—Zorro-fashion, with his umbrella?

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Well, this fellow had no reality on you as a terminal at all. He was afraid that a line might occur. And he was trying actively to not-is all lines. Couldn't stand contact. Well, that doesn't mean he knows you're there or knows he's there. It's the possibility that a flow or a terminal might occur.

The fellow who goes around all the time with a little piece of paper putting it on doorknobs and so forth, he has no reality on doorknobs, no reality on himself or his own hand. This fellow is afraid of a flow. See? He's afraid of the line. And you ask him, "Why do you do that?"

He'll say, "To prevent germs."

Get the idea? Of course, such a person being the effect of all these things, naturally, can be victimized by all of them.

So this thing called flow should grip your attention because it's one of the first phenomena to be encountered by a preclear when you're starting him out from scratch. He gets his first reality—remember this is a Reality Scale—he gets his first reality on finding out there's a particle somewhere. And that the particle can move. And as Help is a highly potent button in itself, it actually starts flows running. And therefore you get all the phenomena of flows. And there's plenty of it. A lot of it is covered in Scientology 8-80, and you ought to look at that again. That was the earliest look at flows. You see this?

Now, if you don't adequately handle flows as you bring somebody up the line, then his reality on what you're doing is going to get very poor. But if you bring him up the line smoothly and raise him in tone smoothly, then his reality is going to get—be very good. And it will improve. And after a while he'll find an auditor.

Now, a man who can only see flows—this is a later piece of data, last year sometime—a man who can only see flows does not have any stable data. Got that?

Now, when I say, "He didn't find the auditor," I mean that he never got up to Terminals on the Reality Scale. Now, that gets to be very, very important. That tells you that the auditor did not well handle or expertly handle flows, and that's what it tells you, right there—bang, thud! See, it just tells you he flubbed. Something went wrong with flows, and therefore the reality of the preclear was never led forward into any further adventure than getting clonked.

Well, I'll rapidly as possible, then, enumerate these phenomena of flows. First and foremost is direction of flow. The phenomena connected with that is that when it overruns, it creates unconsciousness. Any flow which runs too long in one direction will result in anaten, whether out or in. Now, that's— that is anaten. There aren't other causes of anaten.

I can take a preclear who is going dyaaaah, and he's just passing out, and by handling flows—flip, reverse flow—bring him right straight back up again. Darnedest thing you ever saw.

Now, we haven't paid too much attention to this phenomena for a number of years. So you better start paying attention to it now because it enters into one of your key clearing processes.

If a flow is overrun it sticks, and you get a ridge-like phenomenon. If you run it too long in one direction it sticks.

Now, you were asking me earlier, what is a stuck needle on this E-Meter? And how do you free it? And I told you, you could run Connectedness or you could run almost—this or that—free it up with two-way comm. You could do other things.

HAVINGNESS, ANATEN, FLOWS IN RELATION TO CLEARING

It wasn't because I didn't want to go into flows at that time. The truth of the matter is I didn't think I'd have to talk to you about them at all. But it's now become very necessary because a number of people are falling into this one. So I will tell you that a stuck needle on an E-Meter is a flow which has run too long in one direction. And that is all it is. It's kind of trying to make a terminal on an inversion, so it gets sticky.

Now, this fellow has listened to some music. And he listens to some music

and he listens to mus . Sometimes, by the way, it takes years for one of

these flows to really knock a guy loopy. But he listens to music and he listens to music. And maybe a whole lifetime he spends listening to music, and he's real—very interested in music and the beautiful sonatas of Brahms, and etceteras—in they go, in they go, in they go, in they go, in they go, in they go. He never touches a piano, he never whistles a tune, he never tries to compose something. You know? But it's inflow, inflow, inflow, inflow, inflow, inflow.

Next lifetime: Walks into a living room, somebody's playing the Moonshine Sonata. He goes dyeeh—thud. Wife drags him to the opera, he says, (snoring); she says, "Shhhhhhh!" Knocks him out; knocks him out cold. It's very fascinating. That's the flow; it's a flow run too long in one direction without any backflow. All right.

Let's take an outflow phenomenon. They use the same thing, music. This is a very intolerant young man. He's a pianist and he plays the pinaner. He's intolerant of all other pinaner playing. He doesn't care about the beautiful artistry of any other artist. He's there to play a piano. And he goes on playing a piano and playing a piano and playing a piano. Gets to be about forty, hasn't played for several years for some reason or other. Somebody says, "Bill, why don't you play us a piece?" So he's pushed into it. And he sits down at the piano and he goes (snoring)—whump! That's the end of that. Anaten.

Now, the first symptoms of it would be he feels a little bit groggy—he's just a little bit groggy. "When I think of playing, it makes me tired." Got it? This is true, then, of any stuck flow.

Now, the flow can be stuck up and down, too. An elevator operator who only went up, or a janitor who only went down, would get in a similar state.

But I firmly believe that gravity is the phenomenon of having always fallen. Take anybody in space opera, kick him out of the space wagon, eventually some planet will influence him in some way with its gravity and pull him to it. And he'll have the sensation of falling down. And eventually he gets the idea that it's always down. And no matter which direction he's going, he will fall "down" until he'll finally stick. And then he has mass and so forth. All set.

The proof of the matter is, all you had to do is start taking over the automaticity and you get some of the weirdest sensations. For instance, "Hold your chair down on the floor." Or try to start the flow in the other direction by, "Pick your chair up off the floor." Just get the idea of picking it up off the floor. Now, you'd probably have to hold your chair down on the floor, pick your chair up off the floor, hold your chair down on the floor, pick your chair up off the floor, in order to get this flow joggled enough so that it'd start doing something else. You got it?

If you want to levitate, if you want to levitate, probably—this is not the result of experiment; totally theory—"Hold your body down on the floor, pick your body up; hold your body down, pick your body up; hold your body down, pick your body . . ." You'd have to do one and one, see, one and one. Not because you're adding to, numerically you see, the number of downs and