Now, continuing this on Standard Operating Procedure Issue 2, the technique level of V is on the basis that the individual must have a body and so he doesn't dare move off any distance from this body. Or he is so slightly in this body, or so split in his attention to other bodies, that he can't move out of this one.

Those other bodies may be in the past or they may be in the present. And the technique — the technique which involves this is calculated from something I am going to cover, and is a particular manifestation, and we'll call it Creative Processing. Again, we solve V with Creative Processing.

I want to talk to you about time, space and energy in terms of experience. The name of this talk could also be "Be, Have and Do." An interrelationship now exists between theta, its goals, self-determinism, space, time, energy and experience, behavior and activity, which make this subject much too easy. And I want to ask you to keep it quiet — the fact that it's gotten awfully easy. Don't go out and tell what I'm going to tell you tonight to Homo sapiens as he walks around, because it all becomes too plain to him. Don't, by any means, tell a physicist about this because he's got to be an expert to go on earning his living.

But what we practice on particularly with V, and practice on very, very heavily with V, is creating a body. So the technique for Mr. V is to create the body — create bodies. His obvious trouble is he's got a fixation on a body, so we just fix him up so that he isn't so bad off about it.

And don't make the horrible mistake, when you're processing a preclear, to do it in the first three minutes, or he'll feel that he didn't need processing.

All right. Let's move one — backwards another step, to IV. Now, it's very probable that you will see these techniques come out with letters on Standard Operating Procedure Issue 2, just to differentiate the two techniques. So what you'll be calling a V will be an A-B-C-D-E, an "E." And "E" would, of course, stand for easy.

That's why we're running in now, at this time with these new techniques, an assessment — a good, thorough assessment before every session. That's so the session will take up some time, you see?

So what you get there on a IV level is again, and still, Ridge Running. And you know, I think the first class didn't even bother to go down to the dock on Ridge Running, much less miss the boat. I don't think they even went vaguely near the dock. I don't think they even heard of the dock! Really, it's true! Because I haven't heard any slightest rumor or comment from any direction that anybody is using Ridge Running. And it's the handiest jim-dandiest little technique you ever ran into. It is — if a person can see black and white.

And on first glance, I want you to regard this material with great awe.

And the only difference between a IV and V is, is the IV can't get out either, but he can see black and white adequately. And if he can see black and white adequately, he can get out. Now this would classify him very precisely. It's a person who can't get out of his body but can see black and white.

Actually, you probably should; I've been digging at it now for I don't know how long. But I want you to regard it with great awe, and take it so seriously and regard it with such awe and consider its importance so great that you'll never be able to use it. I mean, if you can just get serious enough about this material now, we can guarantee what I first said there will take place: that it will remain so difficult, and so forth, that you too can be an authority.

A VI, for instance, is a person who is just very neurotic and can't get out. So don't be surprised to have a psychotic IV on your hands the second they step out; or a psychotic III, or even a psychotic I. You see, with this Standard Operating Procedure it's not gauged according to sanity; it's just gauged with the ease with which one steps out of the corporeal MEST.

And so there's two ways to go about this, now. If you will at least become very, very serious and concentrate very, very hard on this and know that this must be difficult — because we are actually, throughout, dealing with factors which only recently were solved in a lower strata in physics — and if you regard this with sufficient importance and awe then you'll never be able to use it and I won't have any competition on the thing. I'm the only person that I know today — it's very unfortunate — who never seems to have any failure with these techniques. I just never seem to have that happen. Of course, that has mostly to do with luck. Luck. It isn't because I observe the preclear or it isn't that I use the technique exactly as it is written down. Those two points wouldn't have anything to do with it. Think it's probably pure luck or maybe it's reputation or something like that. That probably has much to do with it.

So number IV, case IV, is different than case V only in that case IV can see black and white; he can get impressions of black and white. Very often a VI can't. VI says, "What world? What me?"

So again, it leaves me... I say that because the first class hasn't got any of its certificates yet. And the reason it hasn't got any of its certificates yet is because it's got an unsolved case in its midst. And I'm going to get awful bored with this and I'm going to take just exactly the principles which were taught the first class and solve this case some afternoon when we've got two or three minutes.

"Locate time and space."

I mean, it's just as ridiculous as that to have an unsolved case. It's just that ridiculous. It's just also ridiculous, anybody being in this subject very long, to keep on wearing glasses. You shouldn't wear glasses; there's no point in wearing glasses. Do you realize that glasses actually absorb a considerable percentage of the photons entering? They're hard... they're hard to see through! And I don't know, you want to put up barriers for yourself or something, that's all right.

"What space?"

But now, sidestepping all this persiflage, let's get down to something terribly serious, which is the anatomy of universes. This is what's known as a small subject — the anatomy of universes.

Of course, a VII doesn't even discuss it. VII just goes and does something peculiar.

Universes are composed of space, time and energy. And these factors, combining, make objects and matter, in general. Now, that is the anatomy of a universe. And that's all you have to know about a universe, and that's obviously all we need to know about a universe, because that's all that modern physics knows about one.

All right. So, what's your IV? What's the technique for IV? The first technique that you would really use on a IV that you'd be very serious about, the second that you ran this person down to IV, you'd use Ridge Running — Ridge Running. That is a rather slangy little designation for that technique. A ridge-runner in the States is a Tennessee mountaineer or a shoat — a pig. But the technique Ridge Running is so named because you run flows to break ridges. And if you run enough flows to break enough ridges, the fellow all of a sudden is going to orient himself outside himself. And he'll orient himself in about eight spots outside of himself and wonder where the devil he is; but if you go far enough with it, you'll suddenly locate him, and he'll cohese and congeal into one spot, and it'll be a considerable distance from the body.

Now, I'll go over that again. This is the actual scope today, stated in a round sentence. The anatomy of a universe is as follows: It's space, time and energy, which combining, forms matter. So you have matter, energy, space and time as the component parts of the universe.

Actually, you can take a case that's very, very — apparently very bad off — can't get out, see black and white. Maybe he can barely, barely see gray, and it's just gray both ways, not even black, but it's just kind of a gray — or he can see black. And you use this technique and this person will all of a sudden be out of their body and able, and know that they can control their body from outside in the first twenty minutes of application.

Now, I'll explain this in the way one of my college professors would have explained it, back there about twenty year ago, man and boy. I had some very, very good professors, by the way. They have no peers, no peers whatsoever. Ninety-five percent of them were incomprehensible and the other five percent wouldn't communicate.

And I don't think the first class even heard that boat whistle; they didn't even call a ticket office. I'm sure this is the case, because I'm looking at a V, (quote) V (unquote), who is really a IV. And Ridge Running is the technique which remedies this.

My professor of mathematics was supposed to have been the only man in the United States who could understand the Einstein theory. He sat there proudly understanding the Einstein theory. He sat there for years doing that.

Ridge Running is a very specific technique. It is arduously and onerously specific; it is done in a certain way. There are tapes and notes here on Ridge Running and I'm not going to cover this technique very broadly. I'm merely going to say this: You start in and make the fellow give himself a command in the field of perception or action. You start preferably with perception; you start preferably with giving himself the command "Listen."

But don't ever go in to him and say, "Say, I'm sorry this happened. I'm awfully sorry this happened, but in analytics, there are five unnecessary steps in solving slope formulas." Don't say anything like that. No, you have just reached up upon the altar and torn down all the sacred vessels and bitten holes in them and dented them and thrown them out into the barnyard.

You say, "Now, all right, close your eyes. Now, tell yourself to listen," and he does.

He would say at that moment, "I think it is best for you to use those five steps. They are there for a purpose." I didn't understand him at first, until I at last realized that they were there for a purpose: to confuse people. That's true, that's true. There is no subject under the sun which cannot be refined, no subject under the sun which cannot be simplified, and there's no subject under the sun which can't be made more complex.

And you say, "As you told yourself to listen, could you perceive, in the head, or in — around anyplace, perhaps a little tiny flow of gray or something? Well, try it again. Tell yourself to listen again."

Now, just because the last is true is no reason to go on doing it.

All right. Now if you know your business here, you're getting the counter-elasticity of flows, and a flow will only run in one direction white, and then it'll go black, and then it has to be run backwards for it to go white again. And it'll run backwards white and then go black, and then you'll have to run it forwards, and it's white, and then goes black. And then you've got to run the opposite, and you're running dichotomies, and that's what happens in running a dichotomy. And you'd better know that because that's a ringtailed snorter.

But that also applies to Scientology. Now, people watch Scientology and see it simplifying. That's wrong: it ought to be becoming more complex, but it's not doing that. It's simplifying, it's simplifying. And today — today — it is possible to say that the anatomy of the universe or the anatomy of any universe is composed of these four simple elements.

All right, so you say, "Listen."

Now, as one of my professors would have said, "Matter? Matter, that's... that's energy; that's energy in space and time, energy which has combined in atoms and molecules in space and time." "I see. Well now, what's energy?" "Energy... energy, that is motion; that's change in space. That's... that's motion, and change in space requires time. And when this change in space occurs, the manifestation of its occurrence is energy." You say, "Thank you. Now, what's space?" "Space... space is that area occupied by the energy which is changing in time." You say, "Well, I... Thank you. Thank you very much. But, what's time?" "Time is that manifestation of change in space which can produce energy." You say, "Excuse me. I didn't quite know where we came in on this rat race. But it seems to me that we keep saying A, B, C, D; A, B, C, D. It just seems to be a circle." Now, somewhere somebody's got to find a hole where he can get into this exclusive circle which defies all breakdown. Of course, the second you start to say breaking down anything like a universe, everybody gasps in horror.

And he says, "No, I didn't perceive anything." He said, "I didn't perceive anything."

Everybody knows there's such a thing as conservation of energy.

"Well, what do you feel about listening?"

Einstein's last paper — you ought to get that sometime; be some light reading. It's something like twenty-six pages solid — twenty pages, something like that — of solid figures. By the way, have you seen that? That's a gorgeous thing. One of my friends got ahold of it, and somebody had mimeographed it at Princeton, or something of the sort. It's not been published widely. And it goes page after page, and you've got these, ooh, just symbols and cube roots of square roots all divided by zero time, and their times constants. And then all of a sudden there'll be a big S and then there'll be a small s and that has to do with space, but that is space within space. And then you'll see something over here that's the strangest letter out of any alphabet you ever saw, and that's the fourth dimension. It keeps sticking its head in. And when he gets all the way down to the bottom of the thing, he says triumphantly, "Conservation of energy!" He said, "Now, we have identified time, space and energy in terms of conservation of energy." Now, that might not be exactly a rendition of Einstein's paper; that's not a direct quote. But when it comes to the actual last line, that's pretty close. It's sort of as if he said, "Now, look you. We got this all buttoned up, and we don't want any tampering from here on out because we have absolutely proven, at this level, an interrelationship which is so interlocked and so dose between space, energy, time and matter that nobody will ever break through the cordon." Well, fortunately, I — or unfortunately — I put my foot in the wrong place not too long ago and broke through. And all of a sudden, time, space and energy became related to self-determinism. We suddenly found out that the goal of theta... And this works, by the way. It's a test of any theory, is does it work? It's all right to get a theory. I can get lots of theories. But the point is, let's get one that functions.

And the fellow says, "Why, I don't know, I guess I just can't listen."

Well, 1951, there was this theta — MEST theory, and this theta — MEST theory just seems to function. And there wasn't any reason for it, it just seems to function.

You say, "Okay. Now, close your eyes. Now, see — look around inside your head as you do this and see if you don't perceive just a little bit of gray somewhere. Now, object to yourself listening; say 'I can't listen.' "

Now, the theta — MEST theory is refined to this degree: we have, on one echelon, something of no time, no motion, no space, nothing. The nothingest nothing that ever anybody conceived. Nobody ever conceived a nothing as nothing as theta. But isn't it interesting that that nothing-nothing thing has a potentiality and a capability?

And the fellow will. All of a sudden he'll say, "Uh — well, I don't know quite what it is, this is — this little — little white spot there and it's maybe about a sixteenth of an inch, no more than that. It's about a sixteenth of an inch flow."

The closed circuit, of course, has been in existence now for quite some time.

And you say .. .

That is evaluation of space, time, energy and matter all by itself. And you can expect things to get into that state of affairs. They sort of evaluate everything... A person starts to describe cats and he starts to describe cats in terms of cats, in terms of cats, in terms of cats, and you keep — and if he were saying all this time "Whumps in terms of whumps, in terms of whumps. And it's bigger than a whump, you see. I mean, but it's just a little bit longer than a whump." And you keep saying... you keep saying, "What's a whump?" And he'd say, "Why, a whump, that's very simple. A whump is... well, a not-quite-so-much whump." And you'd find him quite bogged down logically.

"There," he says, "it's gone now."

Now, you can do that same trick by saying, "A whump and a wag and a stug and a moog." And you say, "What is a whump?" "Well, it's a stag and a moog, as modified by a wag." And you could just go around in circles, and they might as well be those words. Really, they might as well be those words, because they don't interconnect otherwise. They're just four symbols, and each symbol is evaluated by the other symbols.

That's your flow. Aha! Boy, you're into this case up to the elbows right that moment. And you can chalk that case off, if you know Ridge Running, as a solved case. Right that instant.

Well, I got stuck one night on something or other, something came up, and this theta — MEST theory came up — statics and kinetics. Theta is a static.

But you must realize that you told him the first time to listen, he didn't know what he was looking for. But there was probably a little flow, and that was white. But he didn't see it, so you have to get it to flow white again; you've got to get it to flow backwards on the negative side of the dichotomy, and then he'll see it. And if he doesn't see that again ... Let's say you drew a blank the second time, you tell him again, "Now, give yourself the command to listen and look around there and see if you don't see something inside your head."

Well, what is a static? We have the theory in the physical sciences that energy and physics and all those things are statics and kinetics. They're sciences of static and kinetic stuff. Well, all right. We take... let's take something that they say is static — and they know it isn't static, by the way.

And he'll say, "All right, I'll tell myself to listen." All of a sudden he'll say, "Uh — ow. I didn't see anything," he says, "but that hurt." What you did was blow a ridge. What you did was blow a ridge — boom! Oh, is that valuable. Ha! You've got this case!

Nobody fools that. You put this down — this eraser. You say, "It's a static, doesn't move. There it is." Oh, boy, is that thing going like mad! That has eight separate motions just being connected to Earth. You know that thing is traveling at a thousand miles an hour? It's fantastic, the number of speeds and motions. In another direction, it's going twelve and a half miles a second. That doesn't sound like it's very static to me. It's changing location in space and time with rapidity.

So you say, "Well, all right ..." If you blew the ridge, by the way, the command "Listen" is going to be ready again. Of course, because you drove that flow through. It'll flow now again. You say, "Give yourself again the command 'Listen' and this time look."

But even more than that, it's only held there by an equilibrium of forces. In other words, it requires forces to hold this thing in an equilibrium of force.

And he said, "Yeah," he'll say, "I'll — I see a — just a little tiny streak of white. Yup. I see a little streak of white. And there it goes — there it goes, and it goes over against something black, and then it goes black."

Now, let's look at its real, actual anatomy. And we find out that it is composed of material which is composed of atoms and molecules. A Swiss cheese is very, very solid compared to a piece of matter. You start looking at a piece of matter and you start swishing it around in cyclotrons or something of the sort, and you take a few electrons and push it around and then you shoot them this way and that. And you've got this steel bar. They don't hit anything. They just went right on through, that time. And then the next time they hit something and so on. It's almost as if you were firing a .22 bullet through the solar system, and then say, "Well, the solar system is solid. I hit Earth, didn't I?" Well, that wouldn't quite hold true.

And you say, "Well, what does that black thing it hit against say?"

Now, quite in addition to that, you see the planets in motion, you see the sun in motion, and all of that. Similarly — according to theory, which nobody has proven — atoms and molecules in this. It's just a good theory. It doesn't necessarily hold all the way across the boards. In the science of chemistry and the science of physics, they have entirely different structure patterns which don't compare to each other today on account of nuclear physics — what works as an atom for a chemist does not work as an atom for a physicist, and vice versa, but they're evidently both working with matter. They have different pictures of the same object. And they're quite different. But they work for them, so that shows that we're working with a theory.

And the fellow says, "Oh, I'm too bored to listen,' that's what it says."

Now, that atom, which... You see that atom right on the end there?

And you say, "All right. Now get that flow 'I am too bored to listen' and watch it flow back toward the point where you commanded yourself to listen."

That little one? All right. Now, that atom is doing a migration of some sort into this or it may be doing a migration off. And if two or three years from now we came along, probably the atom that's there has been worked clear over to there. In other words, this thing is not a static at all. Even as it sits at a state of rest, we find that it is full of motion.

He says, "Okay," and he does. And all of a sudden he finds the command point where he is ordering himself to listen has shifted to another place.

Let's take something else. You ever hear of a cosmic ray? Cosmic ray goes through almost anything. You have something like — I don't know what the figure is — something like twelve cosmic rays are bursting inside you every hour or every minute or every second or... There's something very explosive going on. And each one of them releases a megavolt. And first time I read this I said, "Gee, you couldn't possibly be here if this were taking place." That's what they assign mutation to. It's evident,though. You can watch an area with a photographic plate; that is to say, just expose a photographic plate that'll only record cosmic rays, and you get these explosions in a certain area.

And you say, "All right. Tell yourself to listen," and it's gone black again, you see?

And jokingly enough, if you're running the genetic-line track, there is an engram back there called the Cosmic Ray. And if you start running this on a preclear, you have a picnic. You don't tell him what this thing is; it's just simply an explosion, that's all. He was so tiny on the genetic line at the time this thing took place, that a cosmic ray explosion looked like the whole firmament blowing up to him. And its explosion is on the genetic line. It's very amusing. I just throw that in sideways. You find that on E-Meters. If sometime you haven't got anything better to do with a preclear and he's almost gone anyway or something, run the Cosmic Ray, just for amusement.

And he says — now he says, "It's black."

The point here is that a true static, a true static would not have any of these properties. It couldn't have any of these properties. It might have qualities or capabilities or potentialities, but to have potentialities... It is evident, because this theory has worked out so beautifully and it's working out and taking in so much territory in seven-league boots, and preclears are recovering at such remarkable speed by the use of this theory, that it must have some validity. And if it has some validity, we have this on our hands, we have this fact: It does not require time, space, energy, matter, wavelength, substance, in order to have potential.

All right, you say, "Now, tell yourself to listen again," and he does, and he sees it goes gray, gray, gray — maybe even white — gray, gray, gray, gray, dark, dark, black!

Theta can do something. Theta has a potential. It can locate energy and matter in space and time. It has a potential. And yet it doesn't have a beingness. It has a potential beingness. It doesn't have anything, though, in terms of matter and energy, space and time.

And he says, "You know," he says, "it went through about four barriers--ptock, ptock, ptock, ptock."

So right there, as I was telling you the other night, there's our Q level.

And you say, "All right, that's fine. What's the last one that it fetched up against? What does that say?"

Now, that's way up there, and that's inexplicable at the moment, for one reason only: A datum must be evaluated by a datum of comparable magnitude.

"Well," he says, "it's just 'Can't listen.'"

The God, the Devil. We understand God because of the Devil; we understand this, we understand that. These are double data. The basic unit of the universe is two, not one. And we suddenly announce, "Theta has as its potentiality the location of matter and energy in space and time, and can, as well, create space and time." Well, once we say that, and the same time we say it has no wavelength, it — boy, we're really describing a beast here. This thing couldn't possibly have any position in the real universe. And sure enough, it doesn't.

So you say, "Well, all right, give yourself that again, 'Can't listen.' "

But, we play this static... That is a true static, you see? And we play this true static against a kinetic — space, time, energy and matter — and what do we get? Life, life forms and energy and matter itself. That should become very interesting right about that point. The potentialities of this thing actually create energy and matter.

And he'll see this flow come back again inside his head, he'll see it come back, and again he will advance and change the point — extend the point from which he is commanding himself to listen. It's even further back.

Now, it doesn't say that it can destroy out of existence time, space, energy and matter, but it can create into existence, evidently, time, space, energy and matter. It can do that. Well, if it can do that, it doesn't necessarily have to destroy them out of existence. And you'd get your explanation of the MEST universe being an expanding universe and the law of conservation of energy being true.

Now, you say, "Tell yourself to listen again."

The law of conservation of energy does not say that energy cannot be created.

Now get this peculiarity: that if the line is gray, it still could be run again. But if the line — if he says "Listen" and it turns gray, gray, gray, gray, black; now he says, "Can't listen" and that goes gray, gray, gray, gray, gray, black as a backflow, tell him to listen again and it'll get white. Those gray flows mean that it gets run again, but you don't have to worry about that, but you just notice that in passing. That's one of the manifestations standard on these things. That's why fellows get gray flows. The flow isn't running out; it's only running part of itself out, and on the next back and front, it will run itself out.

It just says that created energy doesn't dissipate, it translates. It becomes something else. All right.

All right. Now, you tell him to listen again, and he listens and he sees this flow, and it turns gray, it turns white, it turns gray, it turns black. Well, what's happened? Boy, is it getting long; it's getting longer, longer each time.

Now, here we have this no-motion thing playing against that. Well, does that have just to do with life? Oh no, it doesn't. The electrician, in forming... The first chaps who did the very wonderful work in forming the basic laws of electricity did well, however, any investigator is liable to overlook some simplicity. It's very easy to get complex, but it's not very easy to get simple for these people, evidently. And someday somebody can say that about me, I guess, and probably will. So... But the point is this: that in the basic and elementary laws of electricity they had left something undescribed. It was there all the time, they used it all the time, but they didn't say it was there.

And so we get this kind of a pattern showing up inside of his head. It doesn't light up like neon lights; it'd just be those flows that he sees.

Now, you wonder how that came about. Well, it's just so obvious, but they never connected it up on a gradient scale of logic to find out where the datum led, and so they'd never considered the datum of any importance.

Here's — a pressor beam and a tractor is the pattern of the communication line. A communication is taken from the MEST body by a thetan with a compressor and a tractor. These are pressor lines. And so he pushes the order in, and he's pushed the order in on the body and pushed the order in on the body continually until he has built up ridges. He's built up these ridges himself, and on those ridges lands . . . That's an objection to the command, really — it seems like it to him — and he's built it up himself, and it finally says it can't listen. That's the way he stops himself from listening, and so on.

Everybody knows in order to generate an electrical current that you have a plus terminal and a minus terminal, and you put a magnetic field in between, and as you shift the magnetic field between the plus terminal and the minus terminal you get an electrical flow. Everybody knows that, and that's all you need. That's all you need. Every basic textbook on electricity, whether it's in high school or an electronics laboratory or in the hands or in the library of Einstein happens to be in error. That is not all you need, not even vaguely all you need.

Now, the thetan employs these ridges and these routes because it's a communication line, no matter how poor. No matter how poor a communication line it is, it's at least a communication line to the body.

You take an alternating current. In order to have — you just start looking this over — in order to have a flow, you've got to have a plus — minus and a minus — plus at the same time you have a plus and a minus. It's just one extra curve on that line. We'll let that go by the boards for a moment because that is subject to question.

So a guy looks inside of his head, he's astounded to find out that his first line — well, his first line, let's say, went like that, and the backflow went like that, and the next line went like that — and these lines are disappearing every time they're run, you see? But all of a sudden it went up this way, and then it went down this way, and back this way, and it went over here this way — each time hitting these ridges and stopping — then it has to be flowed again.

Now, that's subject to question; we could argue about that. But you look it over in the light of what I'm going to give you here, and you'll see that this is not subject to question but it looks just too idiotically simple. And those of you who do not know basic electricity will say, "Well, that's perfectly natural and I'm sure that could not have been omitted." Well, I assure you that it has been omitted, because it changes the formula, the basic formula known as the alternating current formula in graphs.

So you get a flow, you get a flow, and it goes this way, and then it backflows and goes that way, and then all of a sudden it — you find it backflowing. It flows ... The next command to listen goes zing — bang, it knocks that ridge out. Now, that ridge — next time you give him the command, the backflow, it'll flow back this way again, and it'll blow this one back here a ways to a new point to listen.

Here is a motor. Here we take a motor. Now, there sits the motor and there's the terminal and terminal. Let's take these two things and we'll call these terminals. Now, we put a magnetic field between these two terminals.

What you're doing is knocking out his circuits. Now, you want to know about demon circuits, read the first book. I'm not going any further into demon circuits than that. They're very adequately covered in the first book. And those demon circuits are these; these are demon circuits. And what makes the demon is a ridge.

And this is a plus terminal, this is a minus terminal. And we put a magnetic field between them. What happens when you take a plus side of the magnet and the minus side of the magnet and you just suddenly turn them loose?

And there are six major ridges in the body, and these make the entities. And facsimiles hang up on the ridges, and the ridges act like they can think. They'll even answer you on the E-Meter — they'll talk to you; they'll do all sorts of things. But actually there are thousands of these little tiny ridges in the head, and they're demon circuits. And each one of them has the power of talking, of seeing, of being, of commanding. And that's why your thetan inside the head is really bound up in a terrible condition. He can't think because every time he starts to think he exudes energy, and whenever he exudes energy he puts these ridges into stimulus-response. And so when he starts to think he becomes a stimulus-response mechanism; therefore, he cannot be a free self-determined organism as long as he is surrounded by everything which is stimulus-response. The environment has a stimulus, he does a response.

They'll snap together, won't they? Well, according to present design, that is exactly what would happen to terminals.

He wonders how in the name of God that came about. Well, it came about simply because he wanted it that way. It came about because he wanted it all to be automatic so that he wouldn't have to think about it, so the body would drive automatically, so it'd walk automatically, talk, think, eat — all these things automatically. And this is the system by which you set up an automatic system.

You can't make electricity with the present formulas. If you... It's just that everybody has seen this generator, and they keep looking at the generator and they know what a generator looks like, and then they go and look at the formulas and then they make one. But if you took a savage out in the bush and he just took the formulas all by themselves and he says, "Gee, that's wonderful." And he'll take this terminal and hell take this terminal and he'll lay them together and he'll put a magnetic field between them, and they'll go clink. And he'll say, "All right. Now, I'll turn on the electric light." He'll say, "That's very strange. It says right here in the book, all you have to do is impose a magnetic field... All right. I'll do that again. We'll lay these two down here. All right. Now, we'll put a magnetic field between the two of them and then turn on this electric light again." Clink. "Okay. Must be something wrong. White men are crazy. We always knew white men are crazy. Shoot the next one and have him for dinner. We have done, at this moment, with modern electronics." What's left out of this? What is left out of this? The base — the base of the motor, now... the base of the terminals. That sounds to you terribly idiotic. It is idiotic. It is idiotic, but boy, it certainly took us with seven-league boots into a lot more knowingness than we ever had before. Because all of a sudden we looked at this and we said, "Where is the base described?" No place.

But the thetan isn't so bad off that he needs an automatic system. How do you like that? You'll find this impulse continually recurring in the preclear, that he must set it up automatically. You give him Creative Processing and he sets up a machine and then he says this machine will now run and do what you said to him to run.

How important is the base? Terminal, terminal, fixed to the base. We put a magnetic field between these two terminals and they will stay fixed. They do not collapse. And is it a plus terminal and a minus terminal together which is giving us an interplay? Or is it effort and matter? Are we putting mechanical energy up against this base in order to get electricity? Yes, we sure are.

You say, "Nuts!" Don't let him do that! That's setting up automatic responses! Every time he sets up an automatic response, he says, "I haven't got the horsepower to keep on monitoring this consciously, so I must submerge it into an unconscious sphere, and therefore it'll run after that automatically." And that's very, very nice, and that's very cute, but the funny part of it is, it isn't true.

We're pouring effort in between these two terminals, and the effort translates into energy. And the reason we can do this is because we're working the dichotomy between effort and matter — effort and matter. And so we get an electrical flow.

He has enough horsepower at any time to be conscious of every action. And he must be conscious of everything that is taking place, and he has the power of choosing and deciding and thinking about every conscious action he has. Any time he sets this up in such a way that it'll now all run off automatically, he is setting up something that will wind up in the end a bear trap.

But here's this base. It holds these two terminals apart. And unless these two terminals are held apart — in other words, unless they are located in time and space; unless, as you turn that electrical field, it imposes time on this and then time on this and time on this and time on this and time on this — and unless this base holds them apart and says, "Space, space, space, space, space" all the time, you'll get no flow. And what happens out of this?

You keep doing things for a person long enough, you will render the person powerless. Whenever the thetan set up a ridge so something could be done automatically, you've got a powerless thetan on that score. Because he said, "It's now going to be done for me; I don't have to do it." And after a while, all of a sudden, what do you know — he can't do it.

So help me, the anatomy of electricity falls out in our laps and we don't have to go on saying till the end of time, "Well, the first thing you know about electricity..." — which is what they say in the textbooks — "first thing you know about electricity is that nobody knows what electricity is." Well, we can at least know a little bit about what electricity is. Electricity is a dichotomy which comes about through locating things in time and space.

If you asked the entities why they're there and that sort of thing, and why the thetan has the entities — well, they serve him; and that's all very nice, and they're a crew and they serve him and they work for him. Yes, that's exactly what it is. It's just a ridge stimulus-response setup. And every facsimile you can think of is plastered on those darn things.

Now, if you have two poles, you might say — a plus and a minus — and they're located alternately in time and space, you're going to get current flow.

There are billions, billions of facsimiles plastered on these main ridges of the body, and these little tiny, tiny ridges inside the head are actually sort of billiards — like a billiard table. Wherever any communication line goes into the body from outside, it means that the thetan has set up a body and a thinking apparatus which thinks at the behest and demand of others — not himself. He's lost control, then, of his own thoughts, and he can't be powerful under that circumstance.

And this becomes very interesting, because it means that the thetan, of all things (theta, in the form of a thetan), actually sets up facsimiles. He can not only set up a facsimile, he can dream up and set up a facsimile in time and space which he has dreamed up, evidently, and then set up another facsimile and get an energy discharge between — just like an electric motor. But on what wavelength? Whew! Way up here, see? It's not the kind of a wavelength that lights this electric light; it's another kind of a wavelength. It's way up there. And evidently that doesn't require very much anything. But here's this fabulous characteristic.

So, in Ridge Running, what do we do? We just run this ping-pong, bing­bang, back and forth on the command "Listen" just "Listen, listen, listen, listen."

Now, let's take this motor base which is... We'll talk about the base -not this ashtray here — we'll talk about the base which is under the steam generator not too far distant from here which is holding the terminals of that big generator apart. We'll talk about that base. It's located here; it's probably not... a few miles, at the most, from here. We'll talk about that base.

Now, you'll find very funny things happening. You'll find out that he customarily gives himself the command to walk, apparently, from somewhere behind him. That isn't true. He gives himself the command to walk from inside of his head, and it goes around front, and it curves around back and it hits him in the back of the neck and it'll make a hot spot.

Now, because there's time and space taking place there, and an alternation of time and space, you pour some coal in the thing, you see, that gives you heat and that forces some effort onto a rod. And because those terminals are held there, every time that thing turns over, it's grinding out an enforcement of time and space on the dichotomy of effort and matter, effort and matter, effort and matter, effort and matter — gives you time — effort — matter, effort — matter, effort — matter, space, space, space, space. And all the time that's happening, it raises the devil along these electrical lines. And that agitation which you see up there is the agitation which pours through as a result thereof, because the goal of a static is to be a static, and this static is very badly being upset.

That's quite startling to people. You say, "Give yourself the command 'Walk.' All right, give yourself the command Walk' again."

Well, let's talk about that base. What's that base fastened to? It's fastened to a concrete floor. What's that concrete floor fastened to? That's fastened to a planet called Earth. What's Earth fastened to? Well, believe me, Earth's really fastened. It's got centrifugal and centripetal forces. It is held in equilibrium in a nearly circular, but actually elliptical... It's very nearly circular. You'd be surprised how close to a circle Earth makes around the sun. It's called an ellipse almost for politeness's sake. And it swings around the sun, and the gravity of the sun and the gravity of Earth interlock, one against the other, and we have Earth held in place — but severely held in place.

And the person all of a sudden says, "You know, the back of my neck feels hot; there's a spot in the back of my neck that's hot."

And the sun is held in place by the general magnetism — gravity, you might say — between itself, other suns and its force vectors as it travels through space. It is bound on a certain course in relationship to the hub of the universe. And it is part of a galaxy which is going in a certain direction in a certain part of the universe.

And you say, "That's all right."

& And that is traveling in relationship to other galaxy's ... [gap]

From the middle of his head he put the command out here, and the command out here went clear around here. Or he's actually just sort of living in front of his eyes, and he puts the command out here and it goes back in and it hits the back end of the body.

Now, they talk about this universe being expanding. That's cute. That's very cute. That is a wonderful way of just skipping the whole point. See. How could you have some space that was expanding? Well, it'd have to be expanding in relationship to more space, and that'd have to be expanding in relationship to other space. And you get this eat-chasing-his-tail proposition around of matter is energy which is congealed in space and time and all that sort of thing. Well, we're not interested in that.

Everything that a person ever did or said has an echo sitting in the back ridge on the back of his head. It's in there in a tumultuous condition, so that makes an enormous command ridge. What this person has done to others, he now does to himself, because the ridge goes into activation.

Let's take a look at this and say that there's a finite limit on the universe. We have no right to say that. In other words, just say there is. There's a finite limit on this here universe that we've got here, and it doesn't go on forever in all directions. And let's look at an axiom. This axiom works out.

Now, Ridge Running then clears the line. And the first thing you know, you'll find the fellow outside of himself and ordering himself on one thing only:

We find everywhere we look that absolutes are really unobtainable.

"Listen." He hasn't dug himself out on other commands yet. He'll tell himself to listen from outside.

You can't even attain absolute zero. Guys have gotten awfully close to absolute zero; they've really gotten things cold. But absolute zero would be absolute motionlessness, and they haven't attained it yet.

And when you get this outside of his head three or four feet, go in now on another command. Usually take an action command. Take the command "Walk" and just carry the command "Walk" through in exactly the same fashion you carried the command "Listen" through.

All right. It's unobtainable, so let's say infinity is unobtainable, too. Doggone it! Somewhere theta could be said to be holding a conceived time and space to achieve an energy and a matter, and that makes the material universe. Now, that solves very nicely — I mean, we could say that very nicely.

And if he can see black and white, something very amusing may happen. He may be outside of his body in eight different places for eight different subjects. He isn't outside of his body at all in these eight different places; he's in one of those places, but he's using shunt and relay circuits. He's got ridges out there that are actually miles from him, off which he bounces thought. That's no exaggeration — miles and miles and miles from him.

Actually, we've only removed the problem one step further on, but we do have a connection here. We do have a definite connection. Here's the base of this generator down there in the electric-light plant, and the base of that generator leads right straight back to theta, as we have described theta.

And you can get him in such a way that he can sit inside of his head and bounce a thought off the ridge miles. away from him, and it apparently comes from miles away and hits him back inside of his head again. Very amusing. It's a wonderful mechanical device that could only have been dreamed up in the insane asylum called MEST universe.

The second I saw this, "Oh, my God," I said, "there's self-determinism.

Anyway, take it for "Walk." Then take it for "Talk" and take it for "Nod." But take the word "See" last, because it'll obliterate his perceptic of black and white.

Aha, self-determinism. Ya-pa-pow" And it sure didn't take very long to take an ice pick to that little cat-chase-the-tail matter, energy, space and time and just bust up that happy little group, because we had a higher Q. And any time you have a higher Q and you've adequately described a higher Q, even if you've postulated or theorized that it's there, if it is a workable Q, you can evaluate things below that level.

Now that's Ridge Running, and please don't overlook this technique.

And we stepped up, and all of a sudden got the qualities of something which was above the level of matter, energy, space and time. And we got what the quality was and we look around at a man, and let's take a look at this man and we see that this man is trying to be self-determined. That he's very interested in being.

Let's go back now to III. III is "Out by Orientation." You make the guy push himself outside of his head, pull himself outside of his head, and putting out tractors, beams, so forth, push himself sideways back and forth. And actually if he can locate himself inside of his head, the best way for him to locate himself is just to see one of his pressors and tractors, and he turns it off and puts it on at will. And he orients himself and all of a sudden he moves right on outside of his head.

And let's find out why people are sick. We've already found this out.

Don't overlook the fact that a preclear can do this: put a beam against the inside of his forehead and push. He'd say, "Yeah," he's — all of a sudden sees the beam, all of a sudden he lengthens it, all of a sudden he's looking at the back of his head — orientation, locating in time and space. Now you simply put him through drills of time and space; put him through drills that have to do with time and space. He just locates himself in this fashion, and you can orient somebody out of his head.

Their self-determinism has been upset in this quarter or that, and when we relieve that, they get well. Empirical. All done by theory, but empirical evidence kept bearing it out.

Now, Step II is negative — "Negative Exit." You just tell him not to be — "Try not to be a foot back of your head." Very often a case just will do that. They'll try not to be and the harder they try not to be ... That's because the thetan being pretty well down in apathy is running in opposites, just like a little kid. You tell this little kid, "Eat your breakfast," he doesn't want any breakfast; you tell him, "Don't eat your breakfast," and he eats his breakfast, and he doesn't realize that he's being ordered around.

Now, let's take this definition... let's take this definition of self determinism. We say self-determinism is the effort of an individual to attain the goals of theta. What are the goals of theta? Goals of theta seem to be the ability to impose matter and energy, time and space — not just on time and space. It can create... theta can create, conserve, alter (and I'm not sure about the last; it would hold, on every other theory, but I'm just not sure about it) and destroy matter, energy, time and space. That could be said to be a goal of theta — a goal of theta.

All right. You just tell a fellow, "Try not to be back of your head."

And you'll find universes running in cycles. You'll find a single life span running in a cycle. And everywhere you look, you find everything has beneath it the common denominator of this cycle of creation, growth, decay and death. And that is the repeated, continuous cycle everywhere you look.

Now we come back to I, which is simply "Be a foot back of your head." And we make this comment that "Move a foot back of your head" is not as good as "Be a foot back of your head," because "be" applies to space (which material I will cover) and "move" applies to energy.

And let's look at energy, and we'll find energy has three characteristics: start, change and stop. And that compares to creation — all the other things -alteration and death. And we find that's what energy does: it can start, it can change and it can stop. Oh, boy, are these things starting to fit together very nicely.

So we have then a rundown on this Issue 2. Issue 2 then goes in this fashion: The first thing that happens is that you tell the individual to be a foot back of his head. The next thing you tell this individual to do — he can't be; he says, "I don't know, I — maybe I'm — zob-zob-zob-zob-zob. What are you talking about? Uh — uh — moon, green cheese. I'm — I don't know," and so forth.

Now, let's see if that applies to an individual. Does it apply to an individual to such a degree that by using the definition of self-determinism in times of the highest electronics so far extant here, do we suddenly get a preclear weller faster? Oh, boy, do we. By about ten thousand to one. It's just fabulous! The technique works. You can ask any early first class. They'll tell you, "Well, yes, Standard Operating Procedures works. Yeah, placing things in time... yeah, yeah." You try it yourself, "Yeah, yeah, that works." That's how you get a fellow well; that's how he becomes more selfdetermined; that's how he becomes able to handle this material universe. He goes on up the line.

And you say, "Well, try not to be a foot back of your head."

Now, let's take another one: Creative Processing. Creative Processing, Scientology 8-8008, the rehabilitation of the individual's own universe and the reduction of the MEST universe in terms of importance to him. Now, we just take that process; let's look at it. Is it a good valid process? Yes, we can take Creative Processing all by itself and make a person well Just like that. Isn't that fascinating? Don't have to pay any attention to this MEST universe at all. Tells you immediately there's tons of universes. There'd have to be. There just have to be.

And by the way, I still believe the first class doesn't follow Standard Operating Procedure. And the reason why I believe that is because there's two or three guys in the first class that aren't in tiptop condition. It's the most routine thing. You can dream up all sorts of things.

All right. You're in the high and rarefied air of theory. But that theory actually boils down to something very simple: a static and a kinetic. You have a no-motion acting against an all-motion. And a no-motion acting against an all-motion gives you energy. And what's motion? It's time and space. What are the capabilities of theta? Creation, conservation, alteration, perhaps destruction, of matter and energy and time and space. What's self-determinism? Same as theta.

There's eighty thousand hours of investigation back of Standard Operating Procedure Issue 1, and it works. It doesn't break down, and I have never had it break down — just routine use of it. Somebody tells me there are three cases that aren't solved — that's impossible. I mean, that isn't just unlikely — it's impossible, if persons were using Standard Operating Procedure.

And so, if you want action, if you want these other things, can we just shift these factors around, just willy-nilly, and fit them this way and fit them that way and fit them any other way and invent six processes now and a hundred tomorrow and you can't think up a good one, just remember your definition and say, "Well, it ought to work this way" — zing, zing — and bang, break a case? Sure. Yeah. That's very interesting.

So you want to get this thing better than you know a musical scale. And always go through this same rote; always go through the same steps. Start at I, and go to II, go to III, go to IV, and go to V, and go to VI.

All of a sudden, we've burst out into the sunshine of a very, very clear concept. Highest potentiality of theta is evidently the creation and management of universes. The way you create and manage a universe is you invent some space and then you have to invent some time. And between the time and the space you have to have something in them, so you put something in them. And you... to do that, you have to use energy, and that... congeal that into matter and you got a universe. And that's very simple to do. Nothing much about this, and there's actually no limitations upon the creation of this; I mean, that's all you do.

And if you get down to VI, and you suddenly find out this person can't remember anything real, something like that, you're still in a very workable case. You can patch this case up, do some interesting things to this case.

Now you... Let's take a writer sitting at his desk, and he's pounding a typewriter, and so what's he doing? Inventing time and space, and energy and matter and so on. Only trouble is, he takes it out and he compares it to the real universe and the real universe says, "I'm real because I can kick your shins in, but that cliff you just invented in that story, it isn't even vaguely going to hurt anybody." And the fellow has been beaten down like this for an awful long space of time, so he doesn't bother to fix up his cliffs so that if you kick them they kick back. This doesn't say he can't. Doesn't say he can either, but it just doesn't say he can't.

If the case can't see black and white, can't remember anything real, they're actually probably neurotic — very neurotic — in spite of what meets the eye.

Now, when you guide this poor writer, who has been comparing his universe toward the MESTuniverse, the MEST universe has been saying, "I'm real, yours is not." Everybody tells him that, by the way. All criticism and everything sums down to this: "What you've just thought of is not real because here is the real universe and it's much bigger and tougher and it's an ally of mine, and we're going to crush you with it." If you're going to get into an involved argument — criticism of arts, invalidation of Joe Louis as a boxer, the way you wipe out companies with stocks and bonds sales, or any of these things — you'll have somebody rushing in with a conclusive, proven fact which crushes out an imagined or unsupported fact, and there you go. So this universe was designed on the beautiful basis of "You'd better agree with me or else." And so is that a basic design of any universe; otherwise it won't hold together. But of course, very few universes get so slopped over as this one seems to have done.

All right. Let's run this whole thing now backwards. The first thing you do, then, is tell a fellow to be a foot back of his head, be two feet back of his head, be three feet back of his head, whatever you want. Best is three feet: "Be three feet back of your head." The fellow is three feet back of his head, you can tell him, "Okay."

Now, this universe, of course, doesn't occupy all the space there is and it doesn't occupy all the time there is. You could compose another universe and it wouldn't go at right angles to this universe, because this universe, if you knew the truth of it, isn't here. But boy, it's sure got a way to say it's real.

Now, just don't get hysterical and excited and ask him a lot of questions and run around the room, and jump through hoops and open windows at this point and jump out, or do other things which a person way down the line would ordinarily do at this point. He'd say, "Oh, my God, somebody is out of the head. Let's see, I'll have to sound the general alarm and get the fire engines here or do something else unpredictable or remarkable."

This universe really isn't here; it's an illusion.

No, this doesn't call for that; that just calls for you as an auditor to sit there very calmly — and not with any enforced calm — and just say rather offhandedly, say, "All right, now, move up two feet. Can you be two feet higher than that? Okay, let's be four feet lower than that. All right, let's be three feet over to the side. Let's be three feet over to the other side. Okay. Now, let's see what the temperature of the wall is."

The most interesting part about it is, as hard as physicists have worked to prove, in natural history, all sorts of things and so on... Natural philosophy, they used to call it; yeah, that's right. Way up since the time of Aristotle, one of the things they really concentrated on proving all the way along the thing: materialism — it's real, it's real, it's real, it's real. And they kept pointing at it. They kept saying, "It's real, it's real, it's real, it's real," and then their finger went through. And when you got up to that stage, why, you walk up to a physicist, he doesn't know whether he's a monk or a scientist today, because he has proven conclusively that what he's working with really isn't there.

Because you enter Standard Operating Procedure with these postulates: "It's going to happen. It's inevitable that it will happen." This just prevents you from doing wild things or getting worried. "It's going to happen." And the other thing: "It'll happen on this procedure." And you enter it with that postulate. You enter it with a postulate, "I wonder if this works," and you'll depart from the rote. You'll do other strange things.

You get Sir James Jeans and others and they think and they think and they think and they think and they finally say, "It finally boils down to a thought, as near as we can think it out." And it's very fascinating, but that is physics. Its evolution has been toward the direction of demonstrating with great conclusiveness that they are working very materialistic with something that is quite illusory and really isn't there.

You just keep him out there then, and by orientation — orienting him, making him do Creative Processing, and changing postulates; do those three things — you'll bring him way up the line!

But if you agreed and everybody else agreed and if you're... as a theta being, if you were forced to agree continually that it was there and it was there — do you realize that you're able to create time and space? So if you create time and space, if you've agreed and agreed and agreed with the MEST universe, the time and space which you create is the MEST universe time and space. The energy which you find in the MEST universe — you can create it and put it there.

And if I catch an auditor trying to get this preclear to validate whether or not he's outside by what he perceives and the accuracy of what he perceives, I'll have him shot. I'll have him shot. I'll send up to Mars — I'll tap one of their cables and I'll give them orders that so-and-so is needed immediately because he's causing a lot of trouble. He's mixed up in Dianetics or something. (audience laughter)

And so you all sit around and here's the MEST universe, here's the MEST universe — create time and space, time and space, time and space, and oh, boy, we mustn't get out of agreement on this. Let's put it in there very carefully.

Now, let's not ask this preclear to validate or invalidate himself, because you're not even vaguely interested in his perceptions. This preclear has been using a body as a perception meter to orient himself in space and time. He will perceive, eventually. But the fellow who perceives accurately the first moment he comes out is something like being mad at a baby — being mad at a baby — because the baby doesn't immediately get up and write the check to pay for the delivery at birth.

I bet if one of you went away and stayed on a desert island for several years, and stayed very much out of connection with things and there was nothing there, like a sun cycle or something, to demonstrate things to you; you'd come back and find that you have missed it. You'd probably get back here in 1954 when it ought to be 1955 or something, and it'd be very embarrassing to you.

I mean, you're not going to say, "Well, the baby can't be out! He can't be out because he isn't in a full state of knowingness, beingness. He's not completely oriented," so on. "Throw him in the garbage can. The dickens with it — lost case."

Men get very anxious about this. Even Robinson Crusoe, with no calendars, time clocks or anything to worry about, carefully kept the passing of each day. Great. Awful concern about this — horrible anxiety. That's because you don't think, anymore, you could create one. Of course, you've got to keep this one. Now, the funny part of it is, is there really is no real concern about that, because this universe is very easy to find. There's too many people concentrating on this moment of time and space.

Well, it's just as ridiculous as that, really. It's even more ridiculous than that. All right. Now, then we're going to just go put him through the paces, after that.

What happens to your preclear when you send him back down the track?

Now, in the first two seconds of play, you'll learn that he is not back of his head. You say, "Be three feet back of your head."

He can create the time and space of his past, he can put it in there. Or he can read it off actual energy, which is sort of suspended.

And he says, "Um-uh-um-uh-um-er-uh . . ." Every once in a while you'll be quite surprised .. .

Now, what's all this have to do with be, have and do? Well, it has a great deal to do with be, have and do because when you translate, now, from selfdeterminism into matter, energy, space and time, you can get a direct result in terms of experience. You can say "time is" in terms of experience, "beingness is" in terms of experience, "doingness, then, is" in terms of experience.

You'll say, "Are you?"

And if you can do those tricks, and if I could communicate it to you, you wouldn't be wandering around in a fog about what time is.

He'll say, "No, I'm not."

What's time? "It just sort of goes by, I mean..." Only it doesn't go by, because you're right here. "Well, it's change, you see, in space. Well, oh, clocks. Heh-heh." Big relief, you see, you say, "Watches! Yeah, watches.

Well, for goodness sakes ascertain this: Is he four feet back? Because he quite often will give you that kind of lineup. They get very childishly exact about things. The fellow will say, "Will one foot do?" Or something of that sort.

They... " Then you stop to think for a moment. "Those hands are in the same place; they're just making a motion in space. Hmm. Closest we can get to time is motion." Gee, as close as we can get to time is motion. That's obvious, isn't it? Very, very obvious.

You just make sure that he didn't do it. And without changing your tone, demeanor, anything, simply say, "All right. Try not to be." See, that's the first couple of seconds of play. I mean, he isn't back of his head? Okay, he isn't back of his head, that's all.

Well, that's not as close as you can get to time.

He'll say, "Well, I don't think I am; I don't know. I might be . . ." and so on and so on and so on.

I'll tell you how close you can get to time: motion. But that really isn't the way you ought to say it. What you ought to say is "Time is the illusory word which you put up to describe as the existence of motion." And the truth of the matter is, time isn't there at all, but motion is. What's motion? Well, that's great. I mean, you could go around in circles like this just for hours and hours and get dizzier and dizzier and it wouldn't do your preclear any good at all.

Why, just give it to him. Just say, "Try not to be."

And that's what Homo sapiens has been doing. He has been agreeing to this motion, agreeing to this space, agreeing to this time, agreeing to this motion, agreeing to this space, agreeing to this time, until he doesn't feel he can create anything anymore, and so he just goes on agreeing and agreeing.

And in like proceeding, go straight on down through the steps.

And how sick can he get? How sick can he get? Just take at random a strata through the society and pick up your real sick ones, and what do you find? He has agreed almost 100 percent. How do you know he's agreed 100 percent? Because he has no more illusions of his own. He has no more hopes, he has no more dreams, he's a sick guy. In fact, if you want to find that fellow, I invite you to go out to the graveyard, because he's dead. He is no longer a living organism.

And let me tell you this: It should not take you five minutes to ascertain where this individual is on the scale. You do it that rapidly; you don't hurry, you don't loaf. Every time you find out he hasn't done what you asked him to do — he couldn't do what you asked him to do — why, you know where he is. You can tell immediately whether he can see black and white. Can he see black? All right, he sees nothing but black, therefore, he can see black and white.

Now, you want to find how bad off your preclear is. As a matter of fact, you can just take a look at a preclear and you'll know how bad off he is: how thoroughly he is agreeing with the material universe. And the more thoroughly he has agreed with the material universe, the worse he's going to be.

Just never occurs to auditors somehow, every once in a while just on that basis: that a fellow can see black, he's seeing black and white. He just doesn't happen to be seeing white at the moment, because the easiest thing to vanish under the sun is the white, and the black's there all the time. And Ridge Running will dig the white up, so there's nothing to that. Now, you just run right on down through the line and then there you go.

That's horrible, isn't it?

Now, you take him wherever he is, and you work him with that step until he's outside. Wherever he lands — wherever he lands, whatever he can do — you move him out. He's out — I mean, until he's outside.

Because... Several reasons for this. Agreement, by the way, is a oneway flow. You start to do something to the universe and the universe says, "Gonna do something to me, huh? Bap!" You go out, you're going to play.

Then flip back up and use from I down again. Never, never, never be dull enough to start a session without starting with I. Always start with I, Standard Operating Procedure. Don't get it fixed in your mind that you've got a III, or a II, and thereafter treat him like a III or a II.

You're going to be a steamboat, something, and you... little kid, and he goes running down the street, "Choo, choo, choo, choo, choo, choo" — Crash! Well, he didn't run into a dock, and he hasn't got any fenders out. He fell on concrete and it skinned his knee. He said, "I am a steamboat." And the MEST universe says, "You're a little boy in a very destructible body. We've got you taped. We've convinced you." And every time this little boy tried to put up a big illusion, every time he tried to do this, what happened to him? MEST universe said, "Nuh-unn." And yet, horribly enough, the only parts of the MEST universe that are habitable, the only parts of the MEST universe which have any meaning to life itself are those parts which have been conquered by life.

Now I'm going to give you Creative Processing. I keep wanting to call it "causative processing"; might even be a better name, "causative processing." Of course, all this processing is causative, so we'll call this Creative Processing.

The lichen, the moss, in operation together, in terms of soil. And you get some soil, then you get some little plants, and pretty soon — so on.

This processing uses Standard Operating Procedure 2. Two is different from 1 on issue just in this degree: You don't run DEDs and DEDEXes, overt acts and motivators on a V. You don't run facsimiles as facsimiles. You don't run locks as locks, so forth. So, therefore, we've departed from that with Issue 2, Standard Operating Procedure. You handle them, you don't run them.

It'd only be a psychotic that would devote his lifetime to making a pet out of a pebble. He would not be interested in any life form or anything of the sort. He'd just have this pebble. And this pebble, he'd pet it and this was...

All right. This Creative Processing does not suddenly absolve the auditor from adherence to the Auditor's Code — not even vaguely absolve him. And at all times the auditor is alert to the reactions of the preclear. That goes for any operating procedure. If this preclear says something you just can't quite make out, and you just don't know quite why this preclear is saying it, you find out. Make it your business to find out. In the first place, if you don't try to find out what he's doing or saying, he doesn't think you're interested in him, and his tone will sink.

Nuh-nn. Life is fondest of life, and only life graces this universe, really. The stark, utter chill of the outer dark above the ionosphere and the Heaviside layer is quite emphatic, quite emphatic. It's cold up there.

And the other thing is, is he might be processing the North Pole, or looking at the trains go by eight miles away, and you might not even know about it. You might think he's still sitting there inside of his head and you're still working this and that, and the fellow has jumped out and he's gone here and he's done this and he's doing that and he's just gotten a perception of this and it's a whole chain of past deaths and so on, and the only comment he's made on this is "Hm, that's strange."

All right. Now, what's an illusion? An illusion is a universe, in embryo -unformed, thin, gauzy. But gee, a universe of the illusion characteristic, theoretically, could be as strong and as tough and as resistant as this stuff.

Well, then, just don't just keep on pounding him with rote — you say, "What's strange?" Right then. You don't find that out later, you find it out right then — "What's strange?"

Theoretically. And what is the thing which delights audiences most? Stage magic. People are always showing that something solid has just turned up where it shouldn't be. He can create matter. Fascinating. He can also reduce space, and so on. These are the tricks of the magician. Audiences are delighted with them. Why? If the audience was just supposed to agree with the material universe, they'd get awful mad at that magician. He just keeps on telling them, "You can disagree with the material universe." All right. Let's look this over very carefully and not strain too hard on it, because it's awfully easy. And the definitions which are necessary to an auditor and to a very good understanding of Scientology are that selfdeterminism tends to attain the goals of theta. The goals of theta are to achieve the potentialities of theta, and this is the creation of matter and energy in space and time, and the creation of space and time in which to create matter and energy. And that puts you up above the level of space, time, matter and energy, and we can get off of that racetrack for the first time. And how do you get off the racetrack?

"Well I don't know, the smell of this girl's hair." You see? The smell of this girl's hair, that's what's strange.

You're waiting to hear about this. Here's space. Down here at the lefthand corner of the triangle we have time, and over here we have energy.

"Well, what girl?"

Now, what on earth... how do you relate those things to experience?

"The girl whose hat I am sitting on." And you want to know how in the name of golly he got on a girl's hat. Just don't bother to try to track that up; just accept the fact that he's on this girl's hat and proceed from there. Because a thetan can suddenly leave the head.

Well, that's very simple. Except you can't relate time to experience, because that's an abstract; you know that.

You won't know quite when, very often, you triggered it. It's sometimes a shot-from-guns process; he goes boom! And actually you can look for manifestations, and you will notice the manifestations of a thetan really being out of the head, and those manifestations are very precise. He pulls the head back. No matter how slightly, he will pull the head back. And if you see that chin tuck in — oh-oh, he's out.

And space, of course, doesn't relate to experience either, because, well, actually, how big is a piece of space? Well, it's as big as it's bounded. Mmm, that's awfully suspicious; it's as big as it's bounded.

Now, the fellow can sit there and so forth, so on, say, "Yeah, I guess, I am. Guess . . ." Uh-uh. See? There are other little signs that you will notice. There's a certain difference of coloration takes place. Now, these are really minute observations, and you pick them up actually not by my describing them, but by working preclears. But observe your preclear; learn to observe your preclear.

And energy — well, nobody sees the motion of energy, so... but energy is obviously there and we kind of take that one for granted, too.

I add this in at the beginning of this process for this reason: is every time I come up with a new process everybody thinks we've thrown all the old processes away; we've thrown them into ashcans and garbage cans, and they're all sitting out there on trucks ready to be hauled off to the dump. We are in the beautiful circumstance of having assembled a puzzle called human beingness, and in the assembly of that puzzle called human beingness we have recovered unto ourselves an enormous amount of data. That data is valid data.

And now we know all about the material universe, and we don't need to know any more to relate this to experience. And now that we're all straightened out, why, just the realization that we know all about it should make us all Clear.

Let's take sound. Why is it we were processing words out of engrams? Well, it's because a person has no lids on his ears, therefore he can't control sound. Sound can come in on him anytime it wants. Therefore he finds sound very aberrative, because things are aberrative to the individual to the degree that he cannot control them. And he cannot control sound very easily because he doesn't have any way to shut it out. And as a consequence, sound-sound-sound pounding him, pounding him, pounding him continually will make him feel like he is out of control in the presence of sound. Therefore people can order him to do things and he will do them. Therefore the words — words become quite aberrative. So we have picked on, willy-nilly, the most aberrative perceptic there was — sonic — and we were driving this to the limit.

Well, it hasn't made physics clear, not clear for anybody for an awful long time. It's been getting worse and worse and worse. They're at a frantic stage now. They have a mathematics born out of Planck's quantum of energy.

A man can shut his eyes, a man can withdraw his tactile, but he can't get away from sound unless he locks himself in a soundproof room and they're not always handy.

And quantum mechanics are the most gorgeous mathematics — if you want to call them that — that you ever laid your eyes on. They throw three factors and a guess and equate it with a maybe and they've got it! And that is a symptom of getting frantic.

All right. What you find in that first book, you could take any preclear you walk into and you'll find it working. But that first book and Science of Survival — those two books — are actually all the books we have which makes a fairly exhaustive examination of the mechanisms of behavior of man. And those books button up and finish off dynamic psychology, and they're very good — very good. That's fine, it finished a subject and it started ours.

By the way, they don't work any... I'm sure they don't work anything, really, by quantum mechanics. I think they go in and they take bars of uranium, or something, and they juggle them around, you see? "Yeah, quick! Write up the formula. Yeah, we found out it's this many bars and that much ener — Write up the formula, huh? That's right. That makes forty millicuries. Now, put down the answer there. Now, write backwards. Now, we'll put in the constant and the c and the quantum, so on. Now, turn it in to the front office, quick." I'm sure they must do it this way.

All right. Now, there are manifestations in there. There's types of Lock Scanning. I could tell you that when you lock-scan, always make sure that you get out all the tractors and pressors of other people's and other person's. That's why people hang up on Lock Scanning. That'd be the only new thing I had to add on that whole book. All that technique works; those techniques all work.

All right. What can we put here then? We know these three factors.

We know more about the mind. Evaluation. You can use that Tone Scale. If you don't use that Tone Scale in auditing — if you just don't turn around and use the Tone Scale and the Chart of Attitudes in auditing — you're missing a terrible bet.

What can we put here? There's something belongs here. Mm-hm. Space is "be." Let's relate this to experience. Space is "be." Now, the reason space is "be" is because one can be without acting. That right? He doesn't require motion to be. Let's just look at that. But he would require — let us hypothesize — some space to be. He'd have to be where? Well, all right — there. But you notice, also, that even in the English language, the verb to be does not require an object. In fact, it can't take one. All right.

Now, as far as assessment is concerned, I'm going to give you an assessment that has to do with creation and destruction. What won't or can't a person create? What won't or can't a person destroy? What does a person insist on creating? What does he insist on destroying? You go down all eight dynamics and you've got his case — and you've got his case!

That's true in practically any language, by the way. In other words, beingness; isness. Isness. All right, that's just space. That's simple; be is space.

Now, you do your assessment on your preclear with Creative Processing — do your assessment on the preclear. You don't just sit down and let the whole thing run off and that's the end of that. You do this assessment in a very precise method — a very, very precise manner. There's no reason to have big forms printed up for this.

Now, here you are; you're sitting in this space. Now, we can chop it off, as far as time is concerned. And even though we chop that very thin and stop time down to zero, you would still be in this room. You wouldn't fly out of this room, just because we stopped time. But boy, you'd sure fly out of it if we stopped space.

But every time you do a preclear, you take a piece of paper and pencil, and you mark this down here. You mark down this little graph. It looks like this. Just mark that down for the sake of formality; for heaven's sakes, for the sake of formality.

All right. So, we have space is "be." Well, now, over here we have time.

On the left-hand side at the top we have the word "creation." On the right-hand side at the top we have the word "destruction." Under the word "creation" pointing straight down we have an arrow. Under the word "destruction" pointing straight down we have an arrow. And 100 percent fixation on creation or 100 percent fixation on destruction, either one, we mark "insane." And this middle between "creation" and "destruction" — a well-balanced creation and destruction means and adds up to sanity.

And everybody knows that time is just an interrelationship, but it's a very funny thing about time. Let me tell you how I ran into this. I kind of collided with this thing on a dark night with a preclear that was mighty skittish. I had tried everything on this preclear

Now, we want to find out where the preclear is sane and where he is insane, and so the way we find this out is very simple — very, very simple. Under "creation" we have — you don't have to write these down, the words "insane" — but under this we have two columns and we simply make a notation, 1, 2, 3, 4 (in a vertical column going down), 5, 6, 7 and 8, and again over here, 1, 2, 3, 4, 5, 6, 7, 8. Now, that's "cannot," "would not." Under "creation" then, we have "cannot" and "would not." And we have the column of dynamics underneath there.

& including paragoric and this preclear kept insisting that this symptom was still there, and the symptom was still there, and the symptom was still there, and the symptom was still there. I started running — well, all right... She seemed so proud to have it; that was what started to get me. "Now, get having it." "Now, get not having it." "Now get having it." "Now get having to have it." "Now having not to have it." Ptock, ptock, ptock, ptock, ptock, ptock. The dichotomy of "have" and "not have," you see — back and forth.

Now, you can allow yourself a lot of paper, but "Creation c" would be "creation cannot" — capital C, small c. "Capital C, small c 1" would mean "cannot create self." "Capital C, small w 1" — "would not create self." Get the subtle difference between the two. The subtle fact is that even if he could, he wouldn't! What's that add up to for you? That adds up to something very, very clean and clear: It means he hates himself. And if he hates himself, ho-ho! he's stuck, because hate is hold. On your energy levels of the Tone Scale, as you'll find in other lectures, hate is hold.

She says, "It's gone." "Oh?" Now, I had run a lot of other things, and any one of those — I'd run responsibility and I'd run this and I'd run that and I'd run other things, and Papa and Mama and husbands and pet cats and pet cows and anything I could think of. And all of a sudden I ran that little simple dichotomy — which is the first time I ever ran it, by the way — and kaboom! The symptom's gone.

All right. Now, it's just as important to find out where the preclear is sane as it is to find out where he's insane — just as important, just as important. So we make two more columns under "sane" — and these two columns, by the way, could be very interesting. They could add up on "bored" and look right to you, but they wouldn't be right. Your preclear would be a 2.5 all the way down.

So, not too long later, I run into this preclear and this preclear is one of these can't see, can't hear, what space? what universe? what wall? sort of a normal. And I started running this and that, and this preclear was very anxious to get rid of a bad knee. So we started in on the basis of whose knee was it, and let's get a communication line through it, and he kept saying, "Ah, yeah, what knee?" And, "Oh, the knee. You know, the one you complained about." "Well, what, what... oh, oh, the knee. Yeah. Yeah, all right. All right.

So if he's perfectly willing to create himself, and if by test in Creative Processing he can apparently make a stab at it, and if he's perfectly willing to destroy that thing which he created in Creative Processing and so forth, he's sane on the first dynamic. He can create and he can destroy in creative illusion, the first dynamic. So we'll just check that one off.

All right. All right. No. No, I don't like Chaucer." I mean, the case was not very good.

But we have two columns here: One is "for sure" and the other column is "bored about it." And you watch those "bored about it," because they suddenly turn out to be ringtailed snorters, suddenly — the fellow who's awfully bored about it.

But I finally pinned the case's attention down on a number of things and ran a number of things and we got a little bit of alleviation, we got a little bit of change of mind about this and that. The person got happier. Then all of a sudden I said, just out of thin air, "Well now, get having to have that knee." "... not having to have the knee." "... having to have... " zig-dig — ptock, ptock, ptock, ptock. No knee pain.

Now, you don't know really; he's perfectly willing to create himself, and he'd be perfectly willing to destroy himself, he's just not interested in it. You go to the next subject then — not interested in it. You'll find some subject where he isn't as vague as this. All of a sudden you'll say, "Well, all right, now you take girls — take girls. Now, would you be willing to create a girl and ... ?"

I thought, "That's peculiar. In this whole mess, it suddenly occurs to one that having does not quite compare with being. There's something strange and peculiar about having that is different than these other things, that sort of hits a button." Boom! Hits this little button. And you can sometimes produce results with this confounded "having" and "not having" that you don't produce with this enormous battery of terrifically logical this-and-that. I mean, some of this stuff is almost as logical as Germanic logic. And havingness, havingness.

"Oh yes."

Till I was fooling around the other day — and you won't credit this when you first look at it, you won't credit it at all, but that's time. That actually works out to be time. Fantastic, but true. Time is "have." "Had," "have," "will have" gives you a time track. Now, you stop and you say to a preclear... Hey, by the way, take this little exercise right now.

And, "Would you be willing to destroy a girl?"

I'd say: Mock up something. Just mock up anything. Now put it in yesterday. How'd you put it in yesterday?

And, "Oh, no! No, no, no, no." There's the entrance to the case. The second you find this — the second you find this entrance to the case, you do something very interesting. You just take a list of all categories of girls of all ages and all the girls he ever knew, and you just write them down ad nauseam. There was Gertrude, there was Emily, there was this one, there was that one, there was this one, there was his mother, and there was his grandmother, and "I had twelve aunts," and so on.

All right. Now, put it in present time.

And, "What were their names?"

Now put it in tomorrow.

"Oh, you wouldn't ask me to remember that?"

How'd you get it into tomorrow?

"Oh, yes. Yes, I would." And just get all of those — boom, boom, boom, boom — and this entire list falls out at that point.

Male voice: Moved it along.

You find something which he is unwilling to create, or you find something he is unwilling to destroy, and that stands up sharply — then you find out everything connected with it that he can think of in terms of objects and energy and spaces and times. You just get a complete category on this subject. This case is going to fall apart in your hands if you do this technique.

Hm.

Over here is "destroy" — of course, is "cannot" and "would not." They're actually just differences of grade, a subtle difference between the two.

Male voice: Pushed it along; pushed it back.

All right. Now, we'll go down over the eight dynamics and you get to eighth dynamic. Now, the eighth dynamic is the supreme being. But remember throughout the world there are many, many supreme beings, really, in people's minds. You will find from individual to individual there are different supreme beings. This would surprise a religionist and would shock him and would be considered blasphemous really, if you suddenly announced this fact.

Sure, you moved it along and moved it back, but let's have it right there.

But an examination of people demonstrates to you completely that this is true. We find out in many cases the supreme being is Father. We find out in many other cases the supreme being is the president. We find out in many other cases the supreme being is a dog. And you say, "A what?"

Right there.

And the fellow says, "Well, he says, "I never thought about it before, but he sort of sits up there and he — yeah, he's a dog."

All right. Let's put that item again that you thought up, and it's right there, it's right there. Now let's put it in yesterday.

You know, you say, "Yeah?" and so on, because you have an infinity. That supreme being, that eight stands for an infinity, you see? But it's what he has been assigning the overall responsibility for the universe to.

Can't do it? Hm. We were using space for time, and that's quite aberrative, because a guy gets confused about it.

"Who created all this?"

All right. I want you to put here, I want you to put here a little girl with curls, little girl with curls right in the middle of her forehead. Put this little girl with curls there.

"Well, I don't know; nobody did. It just rose from mud, and so forth." And you say, "Well, all right, then, mud is the supreme being."

Now, put her right there yesterday.

"No, no, no, you get me wrong, but come to think about it, that's right.

Oh yes, you can. You got her there right now?

Yeah, mud. And yeah, mud — that's the supreme being. It would be, wouldn't it?

All right. Just remember she was there yesterday.

Yeah."

Male voice: But she wasn't. I just put her there.

And you say, "Now, well, let's think about this a little bit further. Is mud — be the supreme being and so on?"

Ah. I said, though, put her in yesterday. That's part of the exercise.

"Oh, well," he says, "it's really just chance, chance."

All right. Now, just remember she was there yesterday. That's — how could you put her in yesterday unless you did that? All right. Remember she was in yesterday. Can you remember she was in yesterday?

"The supreme being, then, is chance. That's what created the universe."

All right. Now, let's put her there tomorrow. Now, that's an easy one.

The fellow says, "Well, come to think about it, that's true. That's true — yeah, that's right! Yeah, that's right! That's why I carry this rabbit's foot and I never go out when the moon comes full, and de-dah, de-dah, de-dah-de — brrrrrrr." There's his life going off in front of you. It's that thing to which he's assigned the full responsibility for this universe. And that's what you want to know there: Who made the universe? is the salient question that goes in there.

That'll become on your consecutive track.

Now you ask him this horrible question: "Would you destroy him?" "Me?"

Put her there tomorrow, now. Put her there tomorrow.

You'll get some wonderful reactions from that one.

Now, how do you get her there tomorrow?

You say, "Well, all right, would you?"

Female voice: By not having her today.

"Oh, I couldn't! I just couldn't, that's all. It isn't a question of wouldn't; it's just I couldn't do that — I mean, gee!"

I'll tell you, the actual...

By the way, you will have people who will have painted — all through their childhood will have seen God in the terms of Moloch. Moloch, for instance, will have been dug up way back on the track someplace, and every time somebody in Sunday school said, "God," they saw Moloch. They kept keying this facsimile in, keying this facsimile in, you see, because nobody is very definite about God. Nobody gives you a good solid description and, as a result, the little kid when he's trained gets the strangest notions, and you'll find those underlying that regard.

Male voice: The whole time she's there.

Regardless of what your religionist intends, regardless of what religion is or isn't or anything else, you'll just have to just say, "Well, that's a theoretical thing, it possibly could be a very actual thing, in my category it's this way, it's that way." But people don't look at it the same way, and it's an aberrative fact.

The actual way you do it... the actual way you do it, is you kind of say to yourself, "Well, I'll walk in tomorrow morning and there she'll be." Now let's go through that again. This will straighten you out on time faster than anything else I know.

Now, the only reason we have to treat this, and the only reason I have to talk about this subject at all is because you walk down the aisles of an insane asylum, you'll find that three out of five in that insane asylum are saying something about God. God is the symbol. It means that thing to which we assign responsibility; it can also mean that thing by which we avoid responsibility. And you'd better find out what it is in your preclear.

Put this little girl here.

And you just say, "Who made the universe?" or "Who's responsible for the universe?" And he'll never have thought about it before, but the darnedest answers will turn up.

Now, put her in yesterday.

He'll keep saying, "But I'm an atheist, I tell you. I'm an atheist, I'm an atheist, I don't believe in God! I don't believe in God! What do you mean asking me a question like that? I don't believe in God!" Wonderful, some of the reactions you get. I mean, you just — you kind of feel like just getting out of there before something explodes. This fellow doesn't believe in God, obviously.

How do you get her into yesterday?

So do your assessment. We call this an assessment. This is a creation — destruction assessment, and its goal is to find out what the preclear will destroy, what the preclear will create, along all dynamics. And when you find one where he just won't — boom! won't — then you sit down and on a next page, on the back of that page, you make yourself a complete list of everything you can dig up out of his case concerning this subject. You just dig that up.

You just pretend she was there and you remember it. It's easy.

Now, it's a moot point whether or not you should really make an assessment before you tell somebody to step a foot back of his head — for this reason: It's so much easier to process somebody a couple of feet back of the head. But you're liable to get so excited about this preclear who is doing this, and he looks into your wallet and says you've got three dollars, and he goes around pulling the darnedest tricks, and he pushes the policeman's hat down over his eyes down on the corner, and he comes back, and he says, "I didn't do anything."

All right. Now, let's put her in present time. Let's put her right there, now, get her good and solid. She shouldn't use pomade on her hair. Put her right there.

You say, "What's that riot down there?"

All right. Now, put her in tomorrow. Now, how do you know she's going to be there tomorrow?

"Oh, nothing."

All right. Now, blow her up.

And you'll get so interested, in other words, that you're liable to forget to do an assessment. And eighty hours later you are still processing this case and he doesn't seem to be able to get any further than this or over those points. And you say, "I wonder why this could be."

Actually, that's the way time works.

I taught myself a lesson on this not very long ago. I've had the experience one too many times. Every once in a while I'll get careless. I'll spend long periods of time saying, "Well, there's nothing to this case — kabop, kaboom. And all of a sudden — and then once in a while, I will find out that I've missed the boat. I didn't do an assessment — the only way I missed the boat. I just didn't assess the case. I would have found this out in the first few minutes of play. I would have found out exactly what was wrong with this case and I would have processed that.

All right. The second you find that out, you don't try to process it in the preclear. You just get a list of all these things, and you get all this data, and you put that data down.

& and you will find about 88 and 88 and 8/3rds of your preclears are completely fouled up on how they do thinking with ...

Now, he's going to change; he's going to change markedly, but what do you know? That data will be the data which primarily interferes with his communication with the body in his lifetime and this environment. And you've got the data — so you've got the data sitting right there, and you use that data.

Now, if you get somebody else's preclear and you know this person's working well, and everything's going fine and so forth, you say, "There's absolutely no reason under the sun — that other auditor is a good auditor, and therefore I'll just take this preclear, and he says he's a II and so on . . ." You do an assessment; you assess the case. Right straight down the line, you assess this case.

And once you've got the case assessed, you've got the data, and this is what you do with the data: You use the cycle of start, change and stop, or creation, growth, decay and destruction — you can draw that little curve in there — you use that cycle, and you go through this cycle placing and creating time and space with the object or the symbol of that thing which you found aberrative in the assessment.

And now, that doesn't mean that you do entirely — entirely creation of it. You do creation of it and learn how to destroy it. You get the preclear to a point where he can run any of these objects which he has discussed to you through the complete cycle of creation, growth, conservation, decay and destruction with full perceptic, because you're right there on the point that's suppressing his perception. He's afraid he will perceive this thing as it is in his environment. That is the thing which he is seeking to avoid; that is the thing — why he has his perceptics turned off.

Now, how do you start this? You find out, on that subject, what he can perceive. Now, you've got him out of his body — you've gone through Standard Operating Procedure — or you've gone down to Level V and he's not out of his body. How do we proceed at any one of these points? You've done these points, now we've found he's a V. You do this immediately on a V; he's still in the head, and you start this process.

Now, you do this by creating an object, or any part of the object, or any symbol of any part or action of the object, on any perceptic the preclear can get, and work with it — work with it — in terms of placing it in time and space, and making it run through the cycle of creation, growth, conservation, decay and destruction.

Now, the reason he can't destroy things is because he thinks he has to have things. You disabuse him of having to have this specific item by showing him he can create them by the dozens, the thousands, the millions — anything that it takes — and you do this very simply: He can't blow up one, make him create two. He can't blow up two, make him create four. If he can't blow up four, make him create eight. If he can't blow up eight, make him create sixteen. If he can't blow up sixteen, make him create thirty-two. And all of a sudden he says, "All right, I've blown all but one up."

And you say, "Blow that one up."

"Well, it doesn't quite blow up again."

"All right, get a — create another one. Okay, now let's take the two of them there, and let's place them in yesterday. Now let's put them in tomorrow. Now let's put them out on the street. Now let's put them on top of a lorry. Now let's put them in Samoa. Now, let's put them on Arcturus.

"That's fine. Now let's turn the picture you have upside down. Now let's add a taboret to the picture. Okay, let's have a horse standing on the taboret. Very well, now take the horse out of the taboret. Take the taboret out. Very good. Blow them up."

"Yeah, I can."

You find he can't throw something away; that's because he can't create something. And if you've gotten it on the first dynamic, and you've got the V, the first thing you start doing with the V is apply assessment. You just start that right off the bat. He can't get out of the body, so you just do this assessment and you apply this Creative Processing to that assessment, and you apply it with gradient scales.

I repeat, you apply it with gradient scales. I repeat, you apply it with gradient scales. And just in case you haven't missed that .. .

Don't mock up — have somebody mock up, "Mock up all your teammates now. Now just kill them all. Oh, you couldn't do that? Well, I don't know what we do next."

What do you do next? Well, you mock up one teammate and you see if you can push him a little bit. Oh, the guy can't even do that. Okay, your next step is to get, "Let's see, what football team do you dislike?"

"Oh, yeah, there was one."

"Well, mock them all up. You got them out there on the playing field and so forth? All right. Have one of them break a shoelace. Oh, you got a shoelace broken? Well, take the shoes off of all of them. Okay. Take the hats off of all of them. Oh, they aren't wearing hats. Well, take their jerseys off."

"Yeah, that would be a good joke; I'll take their jerseys off."

And here we go. And you work from that to where you can actually shoot one. And then you mock up more and more, and you get them up to a point and all of a sudden you've got the guy's teammates and he mows them down, and he said, "Yup, tsk! That's that. They're all dead. I blew up their bodies too." This is very strange; this was not his attitude ten minutes before — not his attitude, because what you're doing is changing attitudes.

And the essence of all processing is. changing attitudes. And the way you change an attitude is to demonstrate to somebody that he has this item toward which he has an aberrated attitude; he now has this item under his control.

And control means ability to handle in space and time, locate space and time for. And that's handling: locating in space and time, locating space and time for.

Now, what do you do with his memory bank? Supposing you've got him mocking up his body. You found out he's terribly upset on the first dynamic and noplace else, and he couldn't possibly create a body, and he just couldn't do that or anything of the sort. Well, have him create something that belongs to the body.

And he can't do that, and he can't do any of these things, and it's just impossible. Well, have him draw something. If he can't see anything, if he has no sight perceptic or something of the sort, he's got some kind of a ghost of a perceptic, so you get the kind of a noise a body makes when it's eating soup. And you'll get the idea, and you creep in on this.

"All right, get the kind of a noise a horse makes if it'd eat soup." "Oh," the fellow finally says, "yeah, I can get that."

"Okay. Now you got a horse eating soup, okay. Now, let's get the horse's bridle."

The fellow says, "You know, that's the first visio I ever had. There's one buckle sitting here in midair."

That's the way it's done, that's the way it's done — Creative Processing. Now, you can go over this and over it and over it.

Now, how do you make him handle the real experiences of his life? These things keep showing up and showing up and showing up — whole track.

Well, I'm going to give you a list of the bric-a-brac which surrounds most of the implants on the whole track, and you make him handle this bric-a-brac. It's just mock-ups of mock-ups, and he just handles this, and he places it here, and he places it there, and he turns it upside down, and that sort of thing. All right.

Now, how do you make him handle a real incident? A real incident is really bothering him. Do you run it out? No, you don't run it out. You can't get to this real incident, but he can get one still picture of Grandma, and you know Grandma is dead. She's been lying there moldering with the worms gnawing upon her for a long time, and he knows he can't survive without Grandma.

Actually, you go back on the track, and after you've run the track, you'll find Grandma beat him practically every morning and every afternoon or something like that. There'll be something there that he didn't quite suspect. And he can say, "Well, all I can get is this photograph of Grandma. I get this little, tiny, still picture of Grandma that's all still back there and I know she died, but I don't know when she died, and I don't know where she died. I haven't got any (mumble), and I know it's very aberrative, and I'm very upset about the whole thing," and so on.

What do you do with this? You take that little, tiny, still picture and you make him hold it an inch further away. Now you make him hold it a couple of inches further away. "Now move it a little tiny bit to the right. Now move it a little tiny bit to the left. Now move it a. little bit up. Now move it a little bit closer. Now a little bit further away. Now turn it upside down. You got that? All right, now let's turn it around and look at the back of it."

And he'll say, "Say, you know, I've got a visio of Grandma. Yeah, there's the old bat." Don't be surprised if his attitude changes that fast.

Now, get this little point: If his attitude doesn't change with remarkable speed, it's because you're not following your assessment! You're processing the wrong horse, or the wrong Grandma, or something of the sort, and his case is pinned down elsewhere by something else!

Creative Processing, in essence, is processing which is leveled to demonstrate to the preclear that he could create his own universe, and that takes the importance off of this one. And when he suddenly conceives this point, he becomes very, very active — extremely active — much more active than any other kind of processing ever could have made him.

And we've got it in the bag with Standard Operating Procedure Issue 2. The refinements on this will probably be just a little bit further out along this same line.

So, you get expert — you get expert now on that.