This is January 19, evening lecture, London. And this lecture goes consecutive to the second hour of the January 16 evening lecture. This is in consecutive line to the Standard Operating Procedure Issue 5 lectures.

This is the second lecture of the — what is it, the nineteenth? Having to do — our consecutive line on space and continuing the material on Step III. And right here at the beginning I'm going to give you a technique that I've tried out and found quite successful, that is in conjunction with Self Analysis and therefore could be worked by an auditor upon himself and could be worked by an auditor using Self Analysis on a preclear. This is quite an extension to Self Analysis. All Self Analysis gives you is a random number of highly differentiated mock-ups. That's quite valuable, because that's at 40.0 on the tone scale.

Now, just a little bit earlier in these London talks, I gave you material which dubbed in earlier into the Philadelphia Series. That material is not — possibly if one were merely listening to it straight out, he would find it a little complex for him, because we jump into Step I and Step II before the Philadelphia Series starts to talk about Standard Operating Procedure. And then he comes along and he finds Standard Operating Procedure delineated as something very, very specific and so on, and not quite as broad.

Now, what you do with those mock-ups is a professional auditor's job. You can simply sit there and get those mock-ups, and you can get quite a bit of benefit out of it. But there are many other things you can do with mock-ups besides just get mock-ups. And that's what we're covering now.

Now, this talk is coming consecutive to the concise form or Short Form of Standard Operating Procedure Number 5. Instead of calling it Standard Operating Procedure 6 or 10 or something of this sort, we're going to call these things two things. We're going to have Standard Operating Procedure Short Form and Standard Operating Procedure Long Form. This is possible along this line: You will very often use Standard Operating Procedure Short Form solely and only, and it will produce the results necessary. And that just merely consists of the number of steps that you take to spring somebody and to get the thetan oriented property.

Now, I wanted to tell you before we start into the rest of this material, want you to use this technique and want you to put this technique down and I would like particularly if you gave me a report on it. It is using the mock-ups of Self Analysis in order to establish a Spacation.

Now, every one of the steps in Standard Operating Procedure Number 5 is actually a broad subject in itself. And with this London Series, I am amplifying this into the longer form, showing where Creative Processing fits with each one and showing you specifically what it covers with each one. Actually, Standard Operating Procedure had a bigger design than was given in Philadelphia. Creative Processing, for instance matches up with every one of these steps.

Now, let's get somebody with claustrophobia and — or let's get somebody where the dimensions are just too vast to grasp, and let's do this trick. Let's get mock-ups and get them close and far, at every quarter, and above and below. And let's do those mockups in rotation, not necessarily moving the mock-up. We won't worry too much about moving it. Not even necessarily making it disappear. We don't worry about these fine points. But let's use the mock-up seen as an anchor point.

The short form simply goes: You tell somebody to be back of his head; he's not back of his head. You try to get him out with beams and Orientation; he doesn't do that. You immediately go into Spacation; he can't hold a small ball still before him. You immediately then go into trying to mock up the old home, and you go in from that into Black and White Control Processing. And you merely do these steps until you find the one he can do. You find that and you finish it off in its short form, and then you go offand finish the rest of the five off, all in their short form. You will have that also in a little text which gives this in a short form. Now we're giving it in a longer form.

"All right. You enjoyed doing something. Put that out to the right, ten feet away from you." We won't use a perceptic or cloud him up on the perceptics, we'll just use that.

Each one of these steps — each one of these steps has a specific purpose. And all seven of the steps give you a complete technique which applies to a certain level of case.

We'll say, "All right. Put that out to the right, slightly to the right, ten feet before you."

You could, then, take Standard Operating Procedure Number 5 in its long form and take that step which applies to any individual and do that step completely and utterly, and you would do such things as knocking out chronic somatics or aberrations. You would resolve what is wrong with this case, in other words.

"Okay. Now, let's get you ate dinner (mock-up) and let's put that out to the left about ten feet in front of you."

So it gives you an office technique that doesn't have anything to do with Theta Clearing. We look up at the top and we find Step I: "Be two feet back of your head." That's Theta Clearing.

"All right. Now let's get you petted a dog, and lets put thatback of you about ten feet and to the left. Oh, you can't get it ten feet? Well, put it three feet."

Now, every one of these steps can be done by the thetan outside the body or the thetan inside the body, except I: "Be two feet back of your head." He, of course, is outside the body. And that's the only place where it specifies "Get outside."

"Okay, you got that? Now let's put another one out to the left and back of you, and let's get it about five feet out there."

In Step II it does mock-ups of being outside. That's preparatory to Step I. When we get to Step III, we don't have very much said about being outside; in fact, we don't have anything said about being outside. And we can just do Step III. Step III is Spacation. We can do Step IV, V, VI and VII without even mentioning being outside the body.

And you've given him the mock-up. "Now let's get one out there about eight feet."

It's quite interesting because it gives you then, you might say, a short — how would you run an intensive on somebody you weren't trying to theta-clear? Well, they could do III, IV or V. If you were running a psychotic, you could do VI or VII. And each one is a specific thing, applies to a specific level of case, and — what do you know? — addresses a primary factor in processing, and addresses it exhaustively.

"You got that? All right. Now let's get one out there at ten feet. You say it quivers? Well, get another one at eight feet."

You'll notice that Step I has to do with a division between the thetan and the body, and getting the thetan well exteriorized and stable outside. All right.

"Now get one at ten feet."

Step II is devoted to the handling and uses of energy by a thetan, and curing him of doing it. So if you say, "We want to cure this person of handling energy," what do you do? You use Step II and everything that Step II does.

Each time giving him a new line from Self Analysis and each time giving him a new mock-up. You catch why? That is to keep randomity rolling.

Now, what's Step III? That's space. Any trouble your preclear is having about space is remedied by Step III. It is very simple.

Now get him to put a mock-up a couple of feet below his feet; now the next one, let's put it down a little bit further. Now these people that get things out at infinity, have them get mock-ups as far out as they can possibly get them. Increase, in other words, this tendency. Let's get mock-ups way out, and then let's get mock-ups a little closer. Use them as anchor points.

Any trouble he's having about space.

Theoretically there are six anchor points that you use in this type of processing. One would be — there would be sort of the preclear sitting on a cross. One would be out to the right and in front, to the left and back, to the left and in front, to the right and back, They'd be quadrants, you see. Instead of before, behind, to the right and to the left. Now, the other two would be above and below, and those would be the mock-ups that you would get.

Now, you've heard such things as claustrophobia and thisaphobia and thataphobia and cataphobia and psychoanalyticaphobia and Freudophobia and all of these terrible diseases that have afflicted this society. Well, I won't go so far as to say that investigators in the past were a flock of punks; there just weren't investigators in the past. Because if they'd looked cross-eyed at the human mind, they would have found that the human mind is completely disoriented in terms of space.

Of course, you can put an infinite number of points out there to make a sphere. But let's try this on your claustrophobia, on your vast distance, and on people who get their space all mixed up.

I mean, just — let's be — let's be very factual about this.

And let's have them put these mock-ups in present time, and let's make sure that they are putting them in present time, and so on.

They talked about claustrophobia, and then they talked about some other brand where things were — they were afraid of big spaces and they were afraid of small spaces. So what?

A little trick there in Self Analysis: it remakes the past track.

I mean, why didn't somebody knock a couple of brain cells together, if they had any, and find out what was the disorientation with regard to space? Are people disoriented with regard to space? Now, let's just take a took at a human being.

See, it says "a time when you did it." It's not "Get a — create a scene where you are enjoying something." It says, "Create a scene where you enjoyed something." That's just — it's just patching up the track, you see? It's just changing the past all over the place. And you want to make sure that the fellow is getting created scenes. All of the things apply. In other words, use then, for the sake of randomity, line after line of Self Analysis, and use them as anchor points. Also, use them to make things stable. Try to get a stable proposition.

That itself would be so original, you wouldn't have ever expected anybody to have done it.

Now, this is a technique sitting there all by itself; it's doing this in the wide aggregate of what we are doing otherwise, but this would be a method of handling Spacation. And I may say it is probably a very important piece of processing. I underscore this as a piece of processing, because it has a great deal of latitude.

Let's take a look at a human being and the subject of space, and we find the most fantastic things! Two ways? Space is too big and space is too small? Let's all go back to our primers and spell cat. Actually that is about the level of space too big and space too small on the subject of space.

You can do, then, with the mock-ups of Self Analysis everything that you might be doing with the anchor points, just as such. But anchor points aren't interesting. So if you run into that one, switch off to Self Analysis — created scenes instead of anchor points.

Boy, when you enter the subject of space, you pick up an awfully big book when it comes to the human mind. It can be so confoundedly disoriented, upset, backwards on the subject of space, that it will stun you as an auditor to look at the variety of aberration connected with space.

But in particular, in just curing a person's misconcepts and inability to handle space, let's just take that and put those mock-ups out further and further away or closer and closer. Person has an idea that he's got everything too close to him. Well, that's fine, let's see how close we can get a mock-up to him: "Oh, you can get it much closer than that."

Why is this? Space is at 40.0. Nobody's up that high, so anybody that's below 20.0 has a disorientation with regard to space. I mean that's the end of it. I mean, we can then expect countless manifestations.

All right, let's just set that aside as a little wedge there in these talks, as a technique, and you'll find out — I've done some of this — you'll find out that it's very productive. This, by the way, as a technique runs over into GITA (Step IV) but is particularly addressed to space so that it — and Step IV is space and objects. Possibly it belongs in Step IV, but I would say it belongs in Step III because it teaches one to handle anchor points.

We can have people who see linear time. Now, that's one of the first ones: Space is time. Oh, no! At no time could space ever be time. Yet 50, 60, 70, maybe even 80 percent of the preclears that you get your hands on is seeing time in terms of space. Time is linear.

Now, the rest of this talk here, I'm going to talk to you about some quite pertinent affairs. Don't make a mistake, by the way, that theory is unimportant. Too many times in the past, a Foundation-trained auditor had that opinion.

You ask him, "What are you doing with your mock-up when you put it in yesterday?"

Lord love us, the theory is the technique. The theory is the technique. What he's isolating as theory is really the technique. Nobody expects him to exhibit a great deal of virtuosity on this theory, nobody expects him to be able to change it around; but, boy, if he doesn't know what he's doing with that technique he won't know when the technique's done.

"Oh," he'll say, "I'm putting it over to the right, of course."

For instance, you take old theta-MEST. You can read Science of Survival today, and you can read the basic theory of theta-MEST. There's some fascinating material in it, by the way, which aid one's understanding of Homo sapiens a great deal, just on the theta-MEST theory. We postulate there's such a thing as enMEST; we postulate there's such a thing as entheta — just for the sake of argument — and then we see that entheta and enMEST go together and theta and MEST go together. Then we'll see that entheta will tackle theta, and we'll see enMEST will Mess Up MEST. See, we're just talking; I'm just giving you words. EnMEST would be MEST which has been organized but has been all loused up afterwards (technical definition).

Or "I'm putting it over to the left." (That's the commonest one.) Well, where is the past?

All right. Here we have — here we have our — a car. And we take this car, and it's an old, dilapidated car. And we put it on a parking lot or in a garage with a lot of brand-new, sleek, high- geared, beautiful cars. Now, by this theory, the presence of that piece of enMEST, enturbulated MEST — once organized and now in horrible condition — will actually demonstrate and show itself up in those beautiful big cars. Just park it in there, that's all. That's all you have to do, and you'll get it affecting those other cars. What do you know? It will! It drips oil, for one thing. Mechanics walk by, they pick up the oil on their feet, they get into the big cars and so forth, it gets on the carpeting. Small point, isn't it?

There's an American cartoon that's named "Pogo." They had a good time in the American cartoon there for a little while; they were asking each other which direction are various things. "Well, where is last week?"

When you start that car, it's got a lot of exhaust fumes. It coughs and spits and spreads exhaust fumes all over the place; and the first thing you know, the cars parked immediately near it have a thin coating of exhaust waste over the backs of them. A lot of other things happen.

"Well, it's way, way over behind that bush." And "Where's Tuesday?"

There's also another factor. Somebody comes in and takes a look at this old car, and it would seem apparently to accentuate the newness and beauty of these other cars. Actually it doesn't. It makes the whole place look run-down to him.

"Well, Tuesday is right in front of your face."

Now a person can get so concentrated upon enMEST that he never sees any MEST. And he can get so concentrated and down tone scale on enMEST, which is below 2 on the tone scale, that he will make enMEST out of every MEST he's got. You can just take such a person and hand him a good, solid piece of MEST and then get it back in twenty-four hours, and see what happens to it. You would be surprised. That much couldn't happen to a piece of MEST! (I see somebody looking very uncomfortable there; he's just been through that experience.)

There, of course, isn't any proposition about time in space, beyond this: Time is an energy and an object, and it hasn't any direction. So there's your first big upset.

All right. Now we take entheta. There's some weird attraction between entheta and theta. They seem to come together with a dull thump. Every time you put out a theta line, for some cockeyed reason below-2 will attack it madly, Either below-2 is trying to bail itself out on the strength of the entheta or thinks everything that is theta has to be entheta. Therefore you see the most confoundedly dull attacks on the subject of Dianetics or Scientology. You see the doggonedest things! I mean nobody could possibly think or believe those things: just nobody. There's more rumors and more garbage thrown around on this line.

Now, you'll have in the Philadelphia Series, the series contains this lecture about the energy required to think. And what do you find out? You'll find out that a large percentage of your preclears are looking over here to the right and forward to find the future, and are looking over here to the left and back to find the past. There are actual energy deposits in that area.

Well, the best reason is in this society today, possibly about the highest theta line that anybody is putting out rather consistently happens to be Dianetics and Scientology. It says you can have a chance to be free; it says you have a perfect right to your own sanity; it says you have a perfect right to your own life; it says you can help others to be free: it says lot of things, It says there's some hope, there's chance for us, and it says we might be able to do a lot of things with this. And it just says so consistently, and it isn't saying anything else. By this theory, you would then expect and predict that it would just be machine-gunned from every quarter.

There are vacuums in front of their face and so forth, and time moves from over here to the right and goes on past their face and back there. And therefore they think they have to have energy to think.

Now, they say there is a method of getting around this. And that is to say, for every good fact you put out, put out a bad fact.

Well, these are actually suspended energy deposits of the (quote) "energy used to think." And they're there, and they are a deposit. Well, that's daffy. That's utterly daffy. In fact, that could be said to be, in the standpoint of space and energy, the primary psychosis. It's not just a little, tiny, mild, thingamabob neurosis. It's a psychosis. It's horrible! And you start clicking that in on a preclear and knocking it out, and you will see some fantastic changes in a preclear. And maybe he won't change until you get that one out of the road.

That is to say, for every piece of good news, put out a piece of bad news. You know where you find yourself if you do that? You find yourself at 2.0 on the tone scale.

So when we talk about Step III, we're talking about space. And we're talking about all there is to know about space. And if we ever learn anything else about space, it'll come under the heading of Step III. Mud from there on down.

Who wants to be at 2.0? I don't. Because those entheta facts are going to snarl up the theta facts. So can you go out on an overt line of attack against entheta and come off with clean hands? No, you can't. What can you do with it? You ignore it. It won't ignore you, but — what do you know — if you ignore it, it'll disappear. And so it does. So it does. Where are the attackers of yesteryear? New crops come up. They go down. Too bad. It's not serious.

Now, I'm being kind of loud and bombastic on the subject of this business about space and the knuckleheaded idea that somebody was investigating the mind. Because they had the fact that the mind didn't exist in space, and then they never asked anybody if he was thinking in space.

But you take the newspaper. Let's take a society and just saturate it with entheta. Just saturate it. Pick up a newspaper; what do you find? Death, rape, wrecks, murder — oh, my! I mean, good facts we just can't do without! Drive in their anchor points is all that — the operation. And by the presence of that in the society, the presence of that alone driving in people's anchor points consistently, you get a down tone of the society. They say it sells newspapers. The devil it does! Has anybody ever tried putting out a newspaper that published good news? No, they sure didn't.

You know, this whole problem could have been cracked centuries and centuries and centuries ago, if somebody had just knocked those two facts together. He wouldn't have had to have any of the rest of the material at all.

So what do we get, then, out of the old theta-MEST theory? We come up to a higher technicality. We come up to a better explanation of what we were talking about with theta-MEST. It gets awfully simple. If you scramble up and drive in somebody's anchor points, you get enMEST and entheta.

They should have said, "What's space?" Do you know there is no definition for space? There isn't a definition in your physics textbook or anything else, and it's the commonest thing we've got around here — space. There's space all over the place.

The operation of entheta: what is entheta anatomically? It has to do with the corruption and mess-up of somebody's space. So we were right when we were saying it was sort of straight lines were good and crooked lines were bad. So we're right when we say aberration. Well, how do you create entheta, and what is entheta? Entheta is driven-in anchor points saying, "You can't occupy that space."

And they say, "What's space?"

As everybody has his own individual concept of space and as these concepts when combined make our collective concept and agreed- upon concept of space, it then becomes very interesting in a society to watch the contagion of aberration on "Drive in the anchor point." Somebody gets afraid, he gets scared. So he drives in somebody else's anchor points.

"Well, space is an enclosed area," or something. Or "Space is a cubic humahilatude that goes by the square root of the abstract," or something. It's nothing sensible.

There's nothing more embarrassing to an advancing army than to have a regiment in full retreat hit it as it's advancing. You know what happens? It takes the most seasoned veterans (in other words, guys that just don't give a damn anymore, they're in complete despair) — takes seasoned veterans to keep on advancing or holding a line. The militia comes back through them like shot rabbits. It's terribly depressing. And there is anchor points being driven in.

Space is a viewpoint of dimension, and that's all it is. Is there any space? No, there isn't any space. Well, why do you see space? Because you've got to see space, because if you're going to have objects you've got to have some space to have them in.

All right. We have somebody around whose anchor points, one conceives, are being driven in continually. So they have to react by driving in other people's anchor points. What they're basing their conclusion on is that there isn't enough space.

Well, if it isn't there it can be very easily aberrated, can't it, if everybody's going under a forced draft that it exists?

That's wonderful. I mean, you don't have any space anyhow, so of course there isn't enough space — couldn't be — and this person thinks they have to defend all this space by doing what? By driving in everybody else's anchor points. And so we get loose characters going around banging away, and we get newspapers banging away and banging away at everybody's anchor points.

Well, the only way you can keep away from anybody or have any identification of yourself and an identification of somebody else is to put some space between.

Why? To sell papers? No, they don't sell papers that way. They don't sell anywhere near the number of papers they should sell that way. They, to that degree, control public opinion. They seem to stabilize a tone scale below 2 for a whole populace, which is a great mission; and I think they ought to be complimented and at the same time sacked.

Are you different than anybody else? I don't think so. There's just too doggone much life in existence. There aren't that many thetans; there just can't be. And this is one of those things that assaults one actuarially.

So driving in anchor points is quite an operation. Now, any time you look at a whole-track incident that is really serious and that the preclear has in restimulation, it has first and foremost these characteristics: It was lots of space, and then suddenly it wasn't very much space. Somebody actively led out his anchor points to a vast distance and told him it was terribly desirable, and then drove them in, smash!

Everything we've got around has been a thetan. Oh no, I mean this is too many beings. How many? Ten to the twenty-first binary digits of thetans in your nervous system only. Every one of these cells is obeying all the laws that a thetan obeys. Well, isn't that interesting?

And that operation — out, in — locks a person up on the time track. What is being stuck on the time track? It is the way out, way in of the anchor points.

Maybe self-determinism and that sort of thing is a lower level than what we're actually looking at. Maybe there are two minds way up at the top, maybe there are six, maybe there are eight.

There used to be — I used to talk a lot about the suddenness of bad news or an accident determined its aberrative quality. Well, that's true enough. If you break bad news suddenly to somebody — it is actually the rate of change of distance to anchor points.

Well, how do those things feel up there then? I mean, if you go on up scale, how does something feel up there at 40, 50, 60, 80, 1000 on the tone scale? Where do they meet?

Here's this person; he's out there, a beautiful sunshiny day. And you walk up and you say, "Your father's dead." That would be the quickest and most wonderful way in the world to do it.

Well, I can't tell you that. But I can tell you that the further a person goes up the tone scale, the more he feels like an individual and the more he pervades. He gets way up the tone scale, and there's a cat walks in the door. And he thinks Bark, and the cat would probably say, "Woof-woof." He pervades.

Now, there are other ways, there is a method of breaking bad news that must be broken, and that would be to take him out of the brightness and take him down to someplace that was fairly close and dark, and then say, "Well, I have something to tell you which you probably won't like very much, but I'm sure you can recover from it," and so on, "and that is the fact that your father..."

Way down the tone scale, he looks at the cat and he — two things happen. Fairly high on the tone scale he says, "I'm not a cat." A little lower on the tone scale the fellow sits there and if the cat hangs around too long and the cat looks dangerous, why, the person will say meow. That's right. He becomes whatever he sees. That's the mockery at the bottom of the scale: one becomes what one sees.

And they say, "What!" and "He's hurt?" and you say nothing, and they say, "He's dead?"

When you get an auditor going into the valence of a preclear, two things are messed up: His beingness. He's seeking an identity, seeking it furiously, because he hasn't got one. So he shifts into every identity that turns up. Well, that's an interesting thing, isn't it?

Well, you — they told themselves.

And the other thing is, he's got to put space between things, and lots of space between things, because things are dangerous near things. And of course, this is — you just look at this case and you won't find — you'll find, in any insane asylum you go into, patients being bedposts and patients being this and patients being almost anything you can think of. Well, that means that something must be wrong about space, huh? He's occupying the wrong space.

And you say, "Okay, that's that." You find out the amount of shock would not be very great.

Now you take any human being that you want to pick up anywhere on the street and snap your fingers at him with this question: "How old are you? " Snap!

I saw a person told this one time, and often wondered afterwards why it produced such a shock value. It was a crippling shock: the person went immediately to the hospital, just bong! And yet they didn't care very much about this relative. Until I just the other day was going over this and suddenly remembered that it was told to them in the most beautiful, expansive scene that a fellow could possibly put together. Just gorgeous scenery: lots of space, warm, balmy day; and all of a sudden, bang! somebody dropped this one on them. And they collapsed.

Well, he doesn't even have to be neurotic to say, "Six. No, well, I'm not six," and so on. He's stuck on the time track.

Now, the technical point is, Would they have collapsed if it had been told to them in another scenery? No, I don't think so.

How can he be stuck on a time track? The only way he could be stuck on the time track would be to have an aberration about space.

So what are you looking for when you're looking for a very, very bad incident? You're looking for the way-out and way-in speed. Not so much speed out, but good and solid anchored anchor points way out in all directions and the person's owning everything and so forth, and then you drop a boom on him quick. Now you can drop that boom simply by shooting him in the — between the eyes.

Well now, Step IV goes a little bit further and tears up anchor points and objects — anchor points as objects, but therefore is a lower-level step than III. It's addressed to energy and space, which form up into objects. But Step III is simply addressed to space, and that's all it's addressed to.

That's a very fast way to drive in a person's anchor points. Drives them all in to between the eyes. Look what this thing is working out to: this thing is working out to the theory of a somatic. Now we're talking about pain, aren't we?

Now I won't bother to give you the elementary procedure, the short form of Step III. It's simply getting a preclear to hold something steady as a point and then build space. Very simple. But we'll go into the long form, and that has to do with straighten up and square around any aberration he has about space.

In the Axioms, when we say attention units, put in anchor points. And so, too fast a motion on the part of those anchor points produces the manifestations of pain, the manifestations of unconsciousness. More optimum motion and change of the anchor points produces what we know as the sensation of pleasure.

How do you do this? You do this with mock-ups. And how do you do this in particular? (Boy, this is — this is one — this is one we should have had a long time ago.)

The preclear does not happen to be a particle. He hasn't any particles. He hasn't any other anchor points than those he himself postulates. Follow this closely. He doesn't have a particle! He is not a particle. Therefore how in the name of common sense can any particle impinge itself upon him to create within him a sensation of pain? Answer: It can't. How can he then feel pain? Or how, as far as that's concerned, can he feel pleasure? He has to be interested in at least two particles. In other words, he's interested in these two particles; and the distance from one particle to the other particle and the rate of change of that distance between those two particles establishes whether or not he feels pain or pleasure, unconsciousness.

There isn't any space, but there's a concept of space; and space is used in various ways by people, and space can be manufactured by a thetan. But just as there can be a scarcity of food (as taken up very definitely in Step IV) there can be a scarcity of space.

Now there's — look at your preclear as a thetan. He's sitting there and he will get interested, then, in terms of twos. This whole universe is built out of twos — dichotomies. So he's interested in two bodies more than he's interested in one.

How can there be a scarcity of space? Well, there is. There is.

Marriage and interpersonal relations. Groups, group activity.

The fellow gets sold on the idea of a scarcity of space, and he gets sold two ways. Q 1 tells us the location of energy and matter in space, doesn't it? That's a mission of the thetan. So a lot of the thetan's time is taken up in the rather aberrated clawing around of trying to find something in space.

He'll get an interaction between two bodies more, much more, than he'll get an interaction with just one. There isn't anything to interact in the body except one body, so there's no body to act against the body. So if he's just interested in one body it'll start to fall apart. Why? Because he's got to have it in separate chunks in order to have it produce an interaction between.

The reason Creative Processing works so hot sometimes is he's putting something in space. He stops trying to find something in space, and he's putting something in space. Because there isn't anything in space, because there isn't any space there. So how can there be anybody finding anything in space?

And you'll actually get somebody who's been very lonely and who has lost a great many partners and that sort of thing, somebody like that, and you will wonder why he seems to be so fascinated with his liver. Well, the only way he can — he'll actually run pain. Pain is sensation, isn't it? He thinks he has to have sensation to convince him he's alive, so he runs the liver impinging against the backbone or something of the sort. And he gets this proximity and changes the distance between the two, and he gets pain. And he'll go around savoring this. He says this is horrible, but he knows he's alive.

So we've gotten up now with this talk tonight to a higher level of aberration than we've ever had before. It is utterly haywire that a thetan should locate something in space.

Now, when you get too close a proximity, in other words high nervous tension: you want to know what high nervous tension is, you want to know why a guy's shoulder muscles, for instance, get very tight and that sort of thing when he isn't in very good shape? He's actually doing this. He's thinking up ways and means to crowd these things together to produce a sensation! And because of the reversal of flows of the MEST universe, when he tries to spread them apart they crowd together. You get all sorts of manifestations on that reversal flow.

What is an occluded case trying to do? The toughest space to locate anything in is black space. So he's holding on to black space because that's dangerous space, and looking and seeing if anything is in it. And he's searching all the way through it trying to find something in it, and of course there isn't anything in it because it's not there.

This fellow absolutely detests watermelons. Watermelons drive in his anchor points, drive in his anchor points, drive in his anchor points. So he winds up growing watermelons. Why does he? It's the only thing that he could possibly do. You see? I mean, that's the one thing that drives in his anchor points. So therefore, every time he tries to put out anchor points and that sort of things, he runs into watermelons (he thinks) or something. So the best thing to do is to at least have the damn watermelons where you can locate them.

This is the spookiest, dullest game that was invented and possibly is the first rule of trickery in the MEST universe: "There is some space; now find something in it."

Now you're controlling that which drives in the anchor points. And a person will make a whole profession out of this, controlling that which drives in the anchor points or that which is an anchor point.

Now, that's fascinating. The fellow will keep holding on to space and holding on to space and holding on to space and holding on to space, and what's he holding on to it for? He wants to look in it and make sure there's nothing there. Well, phooey.

Now don't omit the fact that a body is an anchor point. People get very interested in this big particle, which is a composite of small particles, called a body. Therefore you find marital affairs get very, very involved; and they have a lot to do with proximity. Marital partners like to be certain distances, and they don't like to stretch those distances or shorten them suddenly. And all hell results when you suddenly stretch them or collapse them. That's why traveling salesmen never have any happy home life.

Now, it gets very silly. Location of something in space.

That's one of these big, high generalities, this. I think it was Rube Goldberg who was collecting wonderful generalities, and one of those generalities was "Jewelers never go anywhere." You can add that one, "Traveling salesmen never have any home life."

Did you ever watch anybody get frantic because he's lost a pencil, or he's lost his hat, or he's lost something or other?

Anyway, you get people spread apart and brought back together again and they will tend to stabilize at a certain distance. Now, when somebody else comes along it adds a new complication to the situation and you get this distance, you get a diversion. And one of the thetans in this pair is keeping this distance constant.

Well, why is he looking? Well, that's the surest way in the world to keep one from pervading.

Now somebody else comes along and makes this second particle — the other body — go in some other direction, and it leaves a vacuum because he's already established a communication line there between two vacuums. I mean, he's got two solid places which have vacuums in them and it leaves a hole, because it's all adjusted so that there's a solid something in the second position. Now all of a sudden there isn't any solid something in that second position, so of course that's a vacuum.

How do you prevent somebody from pervading? You get him to locating. Dangerous to have people pervade. They'd know everything that was going on and where everything was, and do a lot of interesting things.

You can locate these vacuums in the geographical vicinity of your preclear. You can say, "Where is there a vacuum around you?"

So in order — in order to have good, honest, hardworking slaves, you'd have to stop people from pervading.

And he'll tell you, "There." "All right, who belongs in it?"

And how would you stop people from pervading? You would simply stop them by making them locate. Make him think they had to see and find. That is a trick. It is a trick to see and find, and it's no trick at all to pervade.

Fellow will say, "I don't know... My mother! Ha-ha! Yes, that's my mother."

You come up tone scale a bit, try this trick. You suddenly realize you've lost something; you can't remember where it is. Instead of going and looking for it, just sit right where you are and look in a 360-degree sphere until you encounter it. And then go pick it up. Very simple. You'll find you won't trust yourself. Why won't you trust yourself? Well, you'll do it as well as you trust yourself.

Sure enough, he's been trying to fit everything into that vacuum and all he was trying to get there was one anchor point called "Mother." And he married Mother, and he did this with Mother and that with Mother, but he never got Mother in there. That's because she's gone.

So you don't know where that letter is from Uncle Zero. That letter's gone and so forth, and you say, "Well, I guess I put it in a drawer downstairs and so on. I'll go look downstairs. Now I'll go look someplace else. Now I'll go took someplace else. Now I'll go look someplace else."

Now somebody dying leaves one of these vacuums. And people sort of try to fill that vacuum with anything, everything. All you've got to find out as an auditor is what belongs in that vacuum, and the preclear will come out of that manifestation and get over Mother's death and so forth, just snap!

Now the — one of the proofs of this thing is as a person starts to search, his activity and behavior follows the same course as a dramatization. The more a person dramatizes something, the worse it gets. Have you noticed that?

Do you have to run a grief charge to do this? No, you don't. You don't have to run grief charges to cure loss anymore. That all comes under GITA, next step, which I'll take up next series.

A person dramatizes an engram, and then his dramatization will get worse, and his dramatization will get worse and it'll get worse, because the engram is controlling him. All right. As a person starts to search, he searches more and more frantically, and more and more earnestly.

But this tells you then that this individual must have a feeling that there's a scarcity of space. Space around him must be valuable, because it has to be filled and emptied. Why doesn't he get some more space? That's a good question. Why doesn't he — why doesn't he just go get some more space?

And as was mentioned to me, a little girl who had lost a penny eraser — who had lots of pennies, who lost a penny eraser in a vacant lot, had her little brother and her little sister looking endlessly through this lot and just getting completely black (because the lot had been burned over), to find that penny eraser. Just hours looking for an eraser. And any moment — she had money — all she had to do was go across the road and buy a penny eraser. Interesting, isn't it?

Now, have you ever had a preclear who couldn't move an object or a mock-up from A to B in front of him? Well, you'll find them that have difficulties in doing so. Well, they have difficulties in doing so because A to B was never a motion that was undertaken by this object you're trying to get him to move. What moved was the environment.

Demonstrates — seems to demonstrate, then, that as a person starts locating, trying to find, why, he gets more and more into the same state that a person gets into when he starts dramatizing. And this is a clue to the fact that it's an implant and that a dramatization of that implant is very aberrative, and that the implant itself is pretty aberrative.

Reverse the thing. Move the space around the object. That sounds like it's somewhat fast and non sequitur to you maybe, but you've got a preclear here that has a tendency not to want to move himself or a mock-up or anything else. Well, shift the environments around him. In other words, keep running space under this mock-up and around this mock-up and over this mock-up and so forth. Just run its various and assorted space. You'll find out the space will move. Mother will stay right there, but the space will move in all directions. And all of a sudden he'll say, "Well, the dickens with that vacuum!"

So we go back and we look at Q 1, and we find out Q 1 — location of something in time and space — and we find out the thetan goes up above that level. Creation and destruction of things in time and space is a little higher level than Q 1. And that location of things, which observable — it's observable to us that you can locate things and that a thetan is doing that, and that it actually picks up his morale to locate things and that sort of thing — that can be put down as a little bit lower-level Q and can be put down now into the aberration instead of the truth level. See, we're looking for a highest possible truth.

Why? You've shown him that there was never a scarcity of space. That's another way of giving somebody space. The reason why people can't get things to move easily in mock-up is because they think there's a scarcity of space. There's a scarcity of space because it's only MEST-universe space that they can have and there's only so much area on the top of a planet. That's the way they figure it out.

So the creation of things in time and space, the creation of space and the creation of energy are then things which the thetan can do and are considered at this time not in an aberrative strand, but location of things in time and space is an implanted aberration.

There are people who advocate all sorts of birthcontrol and starvation measures. They even go to the point of saying it was a good thing there was a famine because places like India are overcrowded, and therefore they have to have a famine to wipe them out; and disease is good, and we'd certainly better not clear out yellow fever or malaria out of some area because it'd get overpopulated otherwise. That's space!

Now, how does this modify processing? It doesn't matter. You can go ahead and use all the processes we have had to date. You can go ahead, and the person can go on and locate things. And all of a sudden he finds out he can locate things in time and space, and so he feels rather happy about it and he'll go on up tone. But you won't get him up tone as high as if you realize that he doesn't have to locate anything in time and space. It's much easier for him to create and destroy things in time and space. And if he does that he comes way up tone fast, and the other one he comes up tone slowly and lowly. Okay?

Well, they're operating on the delusion — they're operating on the delusion in the first place that there is some space; and the next, they're saying there's a scarcity of it.

I want to make that very clear then, that as far as space is concerned — the location of something in space was a technique. It was. Good old straightwire and that sort of thing.

Now in Self Analysis there's a chapter there it has on the abundance of things. You have to have abundance to survive, it says. Well doggone it, you have to have abundance of space to survive, but if space is a concept then you'd better get the concept of abundance of space into the head of your preclear to make him well. Because he won't get well as long as he thinks there's a scarcity of space, because there's space back of every object and space back of every energy and space back of every being and space back of everything there is on the track.

Still highly beneficial on a psychotic and so forth. This psychotic is evidently demonstrating an aberration about space.

And therefore, unless you hit for space and by Spacation cure up this idea (I use that word cure up for lack of English; the language doesn't give us as many words as it ought to), unless you orient your preclear property — wrong word, you see. You know why — you know why these are all wrong words (unless you "cure up" space and so on)? It's a simple thing that space, in terms of English, is an arbitrary; and we're dealing on a basic denominator of English, and the basic denominators of English are matter, energy, space and time. And in view of that fact, there are no further abstracts than that, and the second that you start hitting one of these and start discussing it: in the past they started just talking about it in terms of the other three; and they thought that was making sense, and it never made sense. Never will.

So, you demonstrate to him that he can locate something in terms of incident, and he in turn considers this as locating something in space. And so he feels better. He's reassured. "It isn't all lost," he says to himself. And so he feels better, and his psychosis will crack.

So we talk about curing up somebody, we talk about altering his concept of. And he has this concept of space, all right, and he's got a concept that space is scarce.

In other words, "Remember a time that's absolutely real to you." Recall a time this, recall a time that — actual incidents — recall one way, the other way, whatever it is. And we get what? We get an improved condition on the part of the psychotic. But we're still permitting him, evidently, to dramatize an implant.

Why does he stick on the time track? Because space is scarce.

Much more important than locating something in time and space is creating and destroying things in time and space. Oh so much more important, they don't even make a dichotomy. That's why Creative Processing works. I can tell you that with some — well, a little bit of triumph. I've been trying to fish out this fact here for some time.

Why does he think he has to have other beings around him? Because space is scarce.

Why is it that Creative Processing works with such fantastic superiority? It's just way up there. And location of things in time and space doesn't work so well. At this point, with this talk, we part company — without tipping our hats — from psychotherapy in any way, shape or form that it has ever been practiced or existed.

Why can't he tolerate other beings in his vicinity? Because space is scarce.

And all those auditors, you're all supposed to act like ladies and gentlemen. You can pop anybody in the nose now that says these things are connected. Because that is the primary motive of psychotherapy and is the one thing that we took from Sigmund Freud in the early part of Dianetics, was locating things in time, particularly the past. And we were busy doing that, and it does produce a limited result. But the limitedness of that result depends upon the fact that it is a dramatization of an aberration and accounts for the fact why people under psychotherapy very often (to be technical) flip their lids. It's a dramatization.

Why has he got so many things identified with so many things that he's — that he's so loopy that he has to work for the government? Because space is scarce.

All right then, we've moved up. Creation, change, destruction of space, energy, objects is above, now, Q 1. And we spot location of energy and objects in time and space as an aberration. But if permitted to dramatize it, a person will quite often recover slightly. Because he's gotten so frantic — it is a capability, you see; I mean, a person can locate things in time and space. But if you go too far with this you get minimal returns, and your returns get less and less and less.

Why does he think objects are so supervaluable? Well, that's a funny one. A condensed space, condensed object, is the most valuable object. So therefore space is very scarce, so therefore we have value.

Maybe you understand now, perhaps a little better, why Creative Processing works as it does and why something like — with as much randomity as Self Analysis will produce over a long period of use such a fantastically higher result than Dianetics: The Modern Science of Mental Health and its techniques. Because it was locating things in time and space, and it was wearing away energy — Dianetics: The Modern Science of Mental Health. Well, let's pass up above that then; create, change and destroy things in time and space.

What is the basic definition for us in terms of value? It means — it means a space which is — which is possessed or which can be possessed, which is scarcer than other pieces of scarcity. That's all. Value is determined by scarcity.

Cycles of action. Cycles of action as they relate to space, energy and objects. That's what's important. All right.

Don't think your capitalista doesn't know that. Boy, how he works and slaves to create a scarcity! He would starve — isn't that horrible? — if anybody came along and broke the theory of scarcity. If anybody just took it and busted its spine, those poor fellows would starve. They wouldn't have any Cadillacs and nobody would have any diamonds and mink coats, and they wouldn't be able to control people and kick them around, and they wouldn't be able to starve little babies so they could make another penny out of the milk and everything. Isn't that terrible?

Another, by the way, just — I'll throw this in on occlusion.

So let's not breathe of anything about this scarcity. Let's keep that strictly amongst ourselves and under no circumstances let it out that scarcity of space is the thing which creates extreme value, and that the cure for a sick society is giving it space.

Very interesting thing about occlusion. Occlusion is most common — I'm awfully sorry to have to keep bringing up space opera. I feel somewhat in the way of somebody who is — well, perhaps, a liveryman would feel if he knew there was — very well there was a hitching post outside of the door, and he always tied the horses up to it. But everybody else who came along — the horses knew it and he knew it, you see, and a few others knew it — every body else that came along said, "Aren't those nice horses standing there without being tied? There's no hitching post there."

Any time you want to cure a society, cure this concept of scarcity of space. Just as — I don't care whether you're doing it in propaganda or anything else.

And it seems sort of daffy to me but people have a terrible allergy, some of them, to space opera. Well, this allergy, by the way — if you get a very occluded case, this allergy is curable on a person.

By the way, you probably think I'm anticapitalist. I'm not anticapitalist, not even vaguely anticapitalist. In fact I think the capitalists are good people, and I think that they ought to be all put together and made very scarce.

This person says, "Well, I never had anything to do. I never lived before," and so forth. "And I just got born, and there isn't any such thing as that sort of thing. And I read Time magazine all the time and I read the Herald Express and other papers, huhuh, and I'm perfectly sane, huhuh," and so on.

I've had my bellyful of what they've tried to do to Dianetics and Scientology. If once more one of those characters walks up to me and says, "You've got to make it scarce," I swear to God I'll throttle him, just like...

In other words, a Homo sapiens gets into this groove. Pick him up if he's occluded and ask him to do this horrible thing:

Now therefore, if there's a scarcity of space, it follows then that — in view of the fact that you think you occupy space — there must be a scarcity of you. Interesting concept, isn't it?

You say, "You can't see anything when you have your eyes closed? Oh, you don't see anything, huh? Mm-hm. Mm-hm. All right. Now, try to keep from seeing something coming in on you."

Then why — how come you're not there? How come your preclear isn't present? How come he's operating through his MEST perceptics but he's sitting someplace else, or he's dispersed around in an area or so forth? It means space is so scarce that he has no space which he can honestly occupy and he can only pretend to occupy a small amount of space.

He'll say, "How's that?"

So you say, "Get out of your head." He can't get out of his head: there is no space to get into, of course. Space is scarce.

You say, "Just get the — get the feeling like you're trying to see something which is coming in on you, but avoid it at the same time."

How do you cure this? Just cure the scarcity of space, that's all. Give him lots of space — lots of space. Have him mock up space. Have him mock up lots of space, and mock up some more space and throw it away. How do you mock up space? You put out anchor points. You put something terribly valuable in it, and then make the whole thing disappear.

He'll be standing on the bridge of a spaceship as a lookout. Oh, it's just wonderful.

Scarcity of you. Well, it goes further than this. Do you know that you don't occupy space? And yet you've got to come up scale to the point where you occupy space, not to have to occupy space again. You're in negative space. You're in a space scarcity where there's no space at all. You get the idea? There's not only no space at all, there's got to be a lot of space before there is any.

LRH: What's the matter, Dennis, didn't you like that? You don't like that?

Now that sounds very weird, and you could only get a condition like that in terms of concepts, which is one of the most interesting demonstrations that space is a concept. You can have a negative concept, but you certainly couldn't have a negative space if there were space.

Well, look a little harder. Go ahead, look a little harder. Voice: Oh, this is terrible!

So you want intervening distances between you and other people. That gives you an identity, that gives them an identity. That gives you something to perceive across. It gives you all sorts of things. It's very interesting. And you've gone all the way down the line to be sure and agree with this so that you can have these differences. Well, that's fine, there's nothing wrong with that, but that does not create a difference. With a typical MEST- universe flow, this longing to have a scarcity of space so that you can always estimate space also delivers to you pain.

LRH: Oh, you don't like that at all! All right. Anybody else around here that has one of these deep, dark, dyed occlusions?

You've got to have that object there, haven't you? It can't be anyplace else, can it? Well, if you've got to have an object in a fixed position and you can't move it fast enough, you're certainly going to get it hurt — you're going to lose it. This is the history with bodies. You find your preclear can't get out of a body because the body needs him too much. Well, basically what's wrong is not the supervalue of bodies, but the scarcity of himself. He knows he can't exist very much.

All right. Let's just stand there and try not to see something coming in, in black space.

You know, this is a very interesting concept. If you want to run a concept, ask somebody to run just this one (this is a dirty trick, by the way, because this is ruinous): just ask him, "You mustn't multiply any more of you." Run a bracket on it on somebody and see what happens.

Voice: Christ, it does now! LRH: Right. What do you get? Voice: Well...

"You mustn't multiply any more of you." The guy's got an idea he can only be one place at once, you see?

LRH: You don't like that? Voice: No, I don't.

He's got an idea there can be only one of him.

LRH: Oh, I'm sorry. Look, all right, I tell you what. Mock up a spaceship out here — you too, Dennis. Just get it conceptually if you have to. Mock up a spaceship out here. Mock up a nice spaceship sailing along. You got that? Make it beautiful summer sun, you know, nice spaceship, all quiet and everything happy aboard it.

There is no reason under the sun why a fellow can't exist in ten hundred thousand billion places simultaneously. So he — because there's scarcity of space, there has to be a scarcity of him then. He can't multiply himself all this time because if he did, you see, why, he'd be in terrible straits. So therefore he gets stuck on the time track. Get the idea? He can't be back on the time track, he thinks, over here to the left and rear. You see, he — that's space. And so he can't be back there on the time track unless — there's so little of him that he has to divide what is of him in present time to be back on the time track. You get the idea.

Now take a hammer and hit it on the bow. Can you hit it on the bow?

When he left the body or wherever he's stuck, when he left that body, he had to have the idea that there was just so much of him to leave and not all left. That's why there had to be some sort of a scarcity of him. In other words, he was a finite quantity.

All right. Take a little swizzle stick — one of these little sticks that they stir drinks with — and just tap it very, very tiny little tap on the bow.

A thetan is not a finite quantity. He could be — there's enough of him to be stuck in every engram and incident on the whole track, liberally and awarely stuck, and have enough of him in present time to be more of him than you will ever see in present time, and aware of only present time and not even vaguely affected by past time.

Voice: It'll blow up if I do.

You see, it's only scarcity that makes him so valuable to him that he has to worry about what's happening to him. So if he operates freely — in order to operate freely, he's got to have a scarcity of space cured and he's got to have the scarcity of self cured. A person doesn't operate freely: Why doesn't a person operate freely? Why doesn't he go out of here and throw himself under the wheels of a truck? Why not?

LRH: Well, just touch it. Just touch it. Can you get it? Just touch it on the nose, hm? You get it, Dennis?

Well, there's only that much of him, you see? I mean, a fellow, by the way, just for amusement's sake might stand on a curb and sort of throw himself under the trucks as they go by, just to scare the truck drivers or something of the sort. There is no reason why he shouldn't do it. Wouldn't hurt him any.

Okay. Now, just hook that thing to the nose and just lead it around inside a brightly lighted room. Just lead it around with that little stick touched to the nose on it. Just pull it around until you feel very happy about it. Did you get that? Did you get that, Dennis? Did you get it going around?

But he's got to bring two items in proximity, he thinks, in order to get a sensation. When you bring them in too intimate a proximity and try to crowd them into the same space, it says right here in the rule book, MEST universe (I think they're still running on Issue 1!) — it says right here that he can get in bad trouble.

Voice: I'm getting it.

How can two particles come so close together as to create pain? Well, that's because there isn't enough space between them. Well, how can you keep more space from getting in between them? Well, if you're not careful, there won't be any space between them. And if you're not real careful, there won't be any particles there.

LRH: Good. Good.

So this is scarcity deluxe, you see? Scarcity of you-ness. You have to be very careful not to get stuck anyplace, because you can't be elsewhere than where you are.

Well, I'll go on talking. You just make sure that that's in a brightly lighted room. Now if you just see that brightly lighted and perfectly motionless, and now have it land on a space port and sit there quietly, like Ferdinand quietly smelling the flowers. That much better? Have it sit there on the space port.

Now we take Step II, and that teaches a person to be here and to be there and to be someplace else. Now let's add another one in Creative Processing under Step III. Let's take the Step II mock- ups that create him here and there and so forth, and in terms of space let's just create lots of him, as a thetan. Just create lots of him. All kinds of identities and so forth all in present time or... Then get linear distances and stretch them all up and down the line. And now instead of running a cycle of action, let's have a new thetan be in each moment of the time track. Be a brand-new beingness with the full knowingness of the past beingness, but a brand-new beingness with great amplitude being in each new moment. Leave him stuck in every moment of the time track, in other words. He's trying not to be stuck; let's fix him up with mock-ups so that he's stuck in every moment. "All right. Let's have him being beheaded."

You see, there's nothing to space opera. And, of course, what the fellow is doing, he's sitting there, and he's probably going at two or three light-years, or maybe way up from that in terms of speed, because Einstein evidently hasn't got enough space opera on the track to know that you can exceed the speed of light. (The — I'll have to give him a pass on one of the Martian transport lines.)

"That's good. That's good. Now get the thetan being crowded down and staying right there in that beheaded body."

Anyway, what we — what we get — what we get with this poor guy is he's traveling at that speed and any kind of space bric-a-brac might be ahead, and the chances of his seeing it and — hitting him before he sees it are so good that he has to be just most fantastically alert to get any space dust coming in.

"Okay? You got that there? All right. Now let's mock up a new body of yours" — — The fellow says, "Wait a minute, I didn't get out of that last one."

Any little space dust, a piece of rock a couple of feet by a couple of feet, coming through the bow of a ship or across the bridge and so forth would practically wipe the thing out.

"That's all right. That's all right, just be right there. Now mock up this new body of yours be hanged. That's good, you got that body hanging there?"

So he's traveling at this fantastic speed and having to be that alert. That's very interesting, isn't it? Of course, he can't see it before he gets to it. That's what's hideous about it.

"All right. Get yourself being stuck completely in that body."

Voice: I know when this keyed in. LRH: You know? When?

"You got yourself stuck there? No possibility of you getting out? All right. That's fine. Now mock yourself up over here in eighteenth-century clothes and so forth, being killed in the Crimean War."

Voice: During the war.

Now the fellow says, "Wait a minute!"

LRH: During the war. That's right. Voice: On a merchant ship.

And you say, "Wait a minute: that's what you're trying to do. You just wait in those two bodies all you please."

LRH: Uh-huh.

Let's get mock-ups all over the place under Step III, and let's cure this scarcity of you-ness. Let's just get lots of mock-ups and get him stuck in every mock-up, till he all of a sudden gets the idea (which is the true idea) that he has unlimited amplitude, unlimited volume, unlimited beingness.

Voice: Doing lookout.

Now what do you think returns to him? Differentiation of the widest sort on facts. Oh, he can get lots of distance.

LRH: Uh-huh.

What else returns to him? Immunity from pain. There's so much space between particles that unless he wants to put them in proximity they won't go into proximity. Pain is enforced proximity of particles.

Voice: Looking for mines. LRH: Uh-huh.

There is no scarcity of you. There is no reason why you can't be here fully knowingly, and sitting home in your own living room at this moment fully knowingly listening to the radio, too. There's no reason why not.

Voice: That was pathetic. You know when — we used to call it hitting a monster. You know, when the seas bounce...

You think, "Well, I wouldn't have an identity if I did that." You know why you want an identity? I'll tell you why you've got to have an identity: so that others will be wrong. How could you possibly ever prove anybody wrong unless you had an identity?

LRH: Yeah.

"How could you — what do — why do you want to be famous?" "Well, it'll make them so wrong."

Voice: ...big thoonk.

"Make who wrong?" "Them."

LRH: Yeah.

"Well, who's them?"

Voice: Horrible!

"I don't know. They..." Probably all degenerated into cells by this time, or they're in trouble so many other ways they don't need any further trouble about you making them wrong.

LRH: Sure.

You'll be surprised. The only reason a person wants an identity or he has to have a face is to prove them wrong. Now, you don't think that's — you don't think that that's right or that that connects? Well, just put it down in your notebook and run it on somebody, and find out what happens.

I was running one of these one time on a guy. And he was lying in his bunk, and a whole shower of this stuff went right straight through the ship. Of course, there was nothing left of the ship at all. But one of them — they missed him above and below and around, and there was a Petty girt calendar (Only it wasn't a Petty girl, you understand. This is several million years back.)

"All right. Let's prove them wrong now. Let's run a bracket on proving them wrong."

— and it was a pretty girl calendar up above the bunk and his still visio was a flash of this girl. And he had piled halfway out of the bunk and reached for a helmet, and the rest of the things took him and they chopped him in half.

"Let's get people proving you wrong."

And of course, there was nothing but a vacuum in the ship there almost instantly as the air rushed out of it, and he exploded, you might say, in space. Leaving him with what? An almost completely untraceable engram, with a terrible allergy to anything that looked like a Petty girt calendar or a Petty girl.

This goes, by the way, right downhill, and having an identity is below having force. Here's the terrible trick: You feel like if you get enough of an identity and you get famous enough, that you can't then be limited in what you do. And of course that is exactly the way you get limited. Just try and get a little bit famous sometime and find out all of the — all of the shackles that go onto you.

Wasn't that silly? I mean the thing — the thing you'd think would have to have far better connection than that. But that was such a shock to him, that every time he was awakened during the last war it keyed in. And what do you think his fellow officer had above his bunk? A Petty girl.

Look at some of these characters around; that was one of the first things that struck me down in Hollywood. I used to look at these stars. My God, they might as well have been anchored with elephant posts at the studio, and they might as well have been in cages and been wheeled from their homes down to the studio every day and wheeled back again. You talk about captive by fame! They were objects, and they were valuable.

Well, you don't have to pay any attention to this as far as a process is concerned; I'm just talking about space. So there was lots of space out there. It's always somebody else's space and it goes at very high velocity, so you very often will find somebody that is so spooky about space and is so certain they can't locate anything in space that they've gone over to the other side of it and want to sit still and not be located themselves in space.

Person says, "No, someday I'm going to get famous and do anything I want to do. I'm going to be president of the United States." Do you know what the president of the United States runs into every time he turns around? Secret Service. I would hate to tell you some of his activities that have to be supervised by the Secret Service!

See, it's just done a reversal.

Now Harun al-Rashid had a cure for this. All Harun al-Rashid used to do was mock himself up as a beggar and go on out and talk with the common people. But I noticed he was always cracking out with "I am Harun al-Rashid." That was the only way he could solve anything. What a dope. The only way he could solve anything or award somebody for doing something was by suddenly disclosing the fact that he was the sultan. Boy, was he low on the tone scale!

So quite often your occluded preclear is not sitting in his head, he's sitting halfway between here and the moon or something. He's out in space. He really is out in black space.

There's so many things you can do besides disclosing an identity or calling upon a hoarded wealth, but of course you have to be a Scientologist to do that. And you have to be a good one. And so we won't blame Harun al-Rashid.

And you say look at something, and he'll look around. Sometimes you'll tell one of these characters, "Well now, look behind your back." And his occlusion will receive a terrible shock, because he's sitting there with his back to earth and earth is sitting there with horrible three-dimensional luminosity. He just never dares look in that direction. But he's sitting there in black space. He can't be located.

But the track leads you to believe that you should become an identity, that you should have a face, that people should know your name. Why? So you'll have rights. Why do you want rights? I'll tell you why you want rights. Well, the reason you've got to have rights is because you're liable to be hurt if you don't have rights.

So this location in space gives us hide. What's the worst thing that could happen then? That something could be hidden from you in space. So you'll find preclears ransacking their tracks, which exist in space, I assure you. (Like the devil they do! You see, that track doesn't exist in space.) But he's ransacking space all over the place because something is hidden from him. Or he's protecting something from something in the space in his vicinity.

So the need for identity and the need for rights is the effort to avoid pain. And so a person becomes an identity, becomes a solid object — as handled as a solid object, really — when he's got all the fame he can stand. And he has no rights anymore. He's got all the rights in the world, only he hasn't got any rights. And that is the very, very spooky trap that the MEST universe has all pegged out. The more of an identity you become, the more of an object you become, why, the safer you are, you think. Uh-uh.

So you've got space, space, space, space. And the hideous joke is, the best thing he can do is create it. You've never seen a mock-up like the mock-up you'll get after you've done a Spacation. In other words, you've created the space and then you've created the mock-up.

Boy, you really have to be a tough guy to help anybody. I'm not kidding you. You have to be tough enough to knock somebody's block off before you can help them. You have to be real strong. Because the only way you can get famous is to help somebody or something. That's a lower level than being able to command people to do something, so what are we doing? We're falling down from a postulate.

You have carefully created and stabilized the space, and then you create the mock-up. And boy, that's a mock-up. And you say, "For heaven's sakes, what I've been getting before this I thought were mockups. And here's this crystal-clear, three-dimensional mock- up, like you could lean over and say, 'How are you Joe?'" Sure, your space.

"Boy, would I like to be king!" somebody says. "Then I could do anything I want to do." Except wear the pants you want; except eat the things you want to eat; except be where you want to be.

Well, that's very interesting just as little side comments here, and I'm just throwing in some notes on the thing. But space, you will find people living in two-dimensional space. You will find people completely convinced that there can be beings in two- dimensional space. Well, why can't there be?

Did you ever see one of these fellows running around, and they christen ships and so forth? I've never — Edward, Prince of Wales and so forth: my father had something to do with a part of a tour that Edward was on, and the poor kid had to change his clothes in the back of a Rolls Royce about four times a day to go to these new meetings and appointments and that sort of thing. I mean, it was wonderful! He was just a walking clotheshorse. And was he handled!

There is no space. You sit right there and look at me across an intervening gap of space, and I tell you there is no space.

One day the most horrible thing that happened in the — over here, one day in one headquarters was the fact that he turned up missing. One time during the war he was able to cut off across country and jump a fence and get away from the colonel and a couple of troops that were shepherding him. And he was taking a run one morning before breakfast and he all of a sudden realized that these guys couldn't get over the fence on their horses, and so he just skidded through the barbed wire and took a run across a plowed field and went and found a tree and sat down someplace and relaxed. And he had practically half the Allied army on its ear. Everybody got worried because he wanted some freedom.

Well, you see, that's very — a very handy crutch for you. If you didn't have this intervening concept of dimension and unless you had agreed upon it utterly, you would be here or I would be there. And you would feel that you would have a hard time disentangling personalities.

And that's the way it goes. So how do you restore this? What's the cure for an identity? The cure for an identity is the possession of power. And what's above power? Space. You have to recover the ability to use power before you can get into space.

No, you wouldn't have any hard time. If you were up scale high enough where you could create or destroy this space at will, you wouldn't have any difficulty with personalities.

And so we get a whole technique that has to do with that. I've written it down up here: "Is unable to use force or display force." So we put that under the heading of Demonstration of Power, and we put that as the bridge to be crossed — one of the bridges to be crossed in III.

Now a person gets his anchor points driven in. In other words, he gets all these anchor points driven in when he has had them led out into somebody else's space.

And why is it sitting there in III? Well, it's sitting there in III because it's the bridge that goes from III up to II.

Now if you get — if you get somebody: He has a terrible occlusion on somebody or other in the past. He just can't see Aunt Isabel, and Aunt Isabel and he are not on visio terms at all. And this is very peculiar because he can get Uncle Bosco and he can get Great-grandpappy Snooks, and all the personnel of the past seem to be there but Isabel.

Somewhere on these five steps we've got to rehabilitate power, so let's rehabilitate it in III.

Well, you can just make up your mind without questioning him further — you could probably startle him and put yourself on the same level as a fortuneteller. (Such as Derricke Ridgway has Self Analysis and Dianetics in his literature. We're going to have to do something about that book. Anyway, if he hears this tape, why, I have no apology to make.)

We disabuse the fellow completely from using force in Step II and get him to use postulates. All right. Where's the bridge to that?

Anyway where we have — where we have a conceptual distance instead of an actual distance, that distance is subject to enormous variation from person to person. And this person that we're talking about can't see Aunt Isabel because he conceives Aunt Isabel to be right there, right up on his nose.

Well, the bridge to that comes up from being an identity up through the ability to use power. And when he's able to use power, he doesn't give a damn what identity he is.

Well, why? Because Aunt Isabel was always shortening the distance from her to him. Always shortening it by doing what? Bad news, bad news, bad news, and leading him out to good things, or leading him out to noble things, or leading him out to pure things that he ought to be looking at and he ought to be doing and he shouldn't be doing something else. And the second that she's got his attention out there on these noble, pure or good things, she shows him how ugly it all is, in some fashion, so that he's going through a continual level like this.

Why does somebody want to be king?

She reaches over and gets him to put his concentration on an anchor point, like "Now, you want to be a good boy, don't you?" This is sort of — he's got all mixed up with energy; thought and energy are all mixed up with him. So, "You want to be a good boy, don't you?"

"Cause I could have all their heads chopped off." "Why do you want their heads chopped off?" "Well, because they've done me in."

Now, he takes "You want to be a good boy, don't you?" — "Like little Johnny Jones who lives down the street!" And he'll start to put out this anchor point and, boy, will he snap it back. This kid's a sissy! He'll get unhappy about this.

"Well, what have they done to you?" "Well, they did this and they did that."

And now the other trick that is pulled is "God is everywhere and is looking at you all the time" sort of a thing that they pull on kids. And the way they start it out is this way: "Beautiful, lovely, angels, thoughts, lovely, beautiful. And God's everywhere and he's really going to get you. Heh-heh! " See, out and smack! Out and smack!

"Well now, they did all that; well, why do you want to be king then? Maybe you couldn't get at them."

You're getting the same thing as you would get if you were standing on the bridge of a space vessel going very, very fast.

"Well, I could at least show'em they were wrong."

You see ahead of you somewhere a spot of light or something. This is stuff that was coming off a star, Lord knows how long ago, and you're following up a photon track, so you know that there is a star there or there was one there and you hope it hasn't changed position. You're going faster than it can shine at you. And there's that star out there, and what would happen? You're looking at a spot of light out there and all of a sudden you hit some space dust or something of the sort: You're dead. Obviously the anchor point came in. In the last split second you saw it coming in.

"Well, why do you want to — why do you want to be this famous? Why do you want to be able to do all these things any — "

Then there's this one that — called the Empire Builder. Fellow keeps mounding up a pile of rocks out in space. All various reasons and so forth — a very wise, smart thing to do, to rack up a pile of rocks. I'm not quite sure of the fascination in having a pile of rocks. But you get a pile of radioactive rocks, you get a very fascinating engram. Your preclear is standing right there, and he's been there for a long time. Running what? Radioactive rocks.

"Well, I'll show my teacher. She didn't think I was any good."

All right. Now a new rock comes in from over here on the — on his starboard quarter and comes flying in and goes by and sails on down the line a mile or so until its speed is checked utterly by the gravity of this pile of rocks which he has hold of. Then it turns around and comes back and flies into the pile of rocks.

Wonderful motivation, isn't it? But the truth of the matter is, nobody gives you permission to go way up tone scale to 40. You don't have to ask permission from anybody to go in that direction.

What do we get? And this is applicable in Step IV, which is GITA. You'll find this condition. What do we get? We get "Every time something goes out, it comes in."

So beware of all routes where you have to ask for approbation and permission in order to be.

He can only get a girl out there twenty-five yards. He can get her twenty-five yards and if he gets her to twenty-five yards, she all of a sudden turns around and comes back in — smash! Now he tries to overcome this, so you'll get some kind of a silly proposition of the further he puts something away, the bigger it gets. He's just reversed it, you see?

And boy, you sure have to ask everybody's permission to get famous. If you go along and don't give a doggone what people think of you, and you just go on and you do your job and you let them chatter and you let them yak and you don't care about anything, boy, you'll really get in Dutch sooner or later. Of course, all things come to an end — if you can stand the gaff, if you don't wear out. But the only possible way that you can get any freedom is to stop asking everybody's permission to be.

The reason he's done this is because he's telling himself that he's putting it further away. Actually he's hit this proposition that everything that goes away from him and goes out there comes back again. And, of course, when it comes back it gets bigger. So very often in the past he has looked at something pass him, and then has seen it come back so fast that it apparently was getting bigger as it went on away. You get this idea?

And beware if you start operating in your community and you're operating in an area, and you get yourself way up tone scale and you're able to do some tricks, people start finding out what you can do about ills and that sort of thing: beware, as you would of the plague, of a thirst for fame.

Because it's — this is very easy to get aberrated, because it's just an illusion that things get smaller the further they go.

I've had to do a very bad thing in Scientology and Dianetics. In order to secure the line of research, I've had to hang my name on it continually.

There really isn't any reason why they shouldn't get bigger, except we just agreed they better get smaller. Otherwise the space out thataway would get too full.

You can ask anybody who was in the first Foundation. One day I raged and stormed and beat the desk until I was fit to — I scared everybody. As a matter of fact the whole board of trustees said, "Oh, why, Ron, I never knew anybody..." They thought that just because, you see, I'd do something like Dianetics and Scientology that automatically and immediately I would thereafter have to be completely controlled and be a perfect gentleman.

Now, you can — you can get this driven-in anchor point proposition in, then, on the whole track in numberless ways. All kinds of things can happen to cause a fellow to think that everything that goes out comes back, or anything that comes in at him will stick, or everything that leaves him will keep on going forever and he'll never be able to get it back; and all of these various conditions which you will run into in doing GITA are counted here on aberrations with regard to space.

There isn't any — that doesn't follow. It's non sequitur. I'm much more at home on a quarterdeck. They were trying to tell me something or other and I got mad about the thing because (this was very early) they wanted me to put my name on some things, and I had it all beautifully rigged up into the most wonderful little swindle, up to that time, you ever heard of. And more people believed this swindle. They believed that Dianetics was the creation of a number of engineers, of which I wasn't even one. (You can ask them, the early Foundation, about this.)

Because the first and foremost thing he's got to believe is that there is a scarcity of space. Before he can believe anything that happens in IV, he's got to believe that space is space and that's all the space there is. So if you cure that, you will to some degree cure GITA. And GITA will to some degree cure Spacation, difficulties with. So we have here this step is — III is devoted to space; IV is devoted to collecting and getting rid of objects.

And then, what do you know! All these engineers that were named turned into prima donnas and started turning up and saying, "What you should do is all go out to church...." and some of the others said that what you should do would be to go over and change all of this and that, and they were going off in all different directions except the direction to make anybody well. They hadn't even bothered to learn this subject before they began to become authorities on it. They became such horrible authorities that everything got mopped up.

Well now, all this is very interesting. I tell you there are all these various and weird things about space. You had better check up and find out how far the lamppost is from your preclear.

Well, somebody pointed this out to me, and I went into a storming rage on it. I said, "You know what'll happen from here on out?" I said, "My good name won't be worth two cents. If I want to go up to the Alaskan tundra and thumb my nose to all this, I'll have to stay here. No!" They won. Not five months later I was all over the pages of the Los Angeles newspapers with the darnedest bunch of garbage you ever looked... A gal I wasn't even married to was suing me for divorce. Fame!

That's my advice. Just in general. Let's just find out how far the lamppost is; and how far is it with his eyes open, how far is it with his eyes shut?

All right. We got this name on it as a trademark. But at any day — at any day, you're liable to having a ten-year-old boy or something showing up here to draw any paycheck I might be drawing from this operation — any day. And this body just beautifully buried with the nicest ceremony. Much as your life's worth. So that's a bad route.

You'll find two different distances. Interesting, isn't it? And you'll find out that the room is this size as long as he's got his eyes open. The second he shuts his eyes, why, the room is the size of an inch cube. He's way out someplace looking at it.

I'm using — I'm using this as a horrible example. You — it probably doesn't come home because you don't know how horrible the example is. It's a roughie. For the last two and a half years this has been just pure, unadulterated hell on the subject of public repute.

Here you've got a boy who is sitting in space, by the way. He isn't here in this room at all. He's operating on what he considers to be a remote-control mechanism. He knows it's not safe to be in that body. He knows. So he's as far from it as he can get.

You know I used to be able to go into New York City and they knew me as an explorer and as a writer, and they used to run nice columns in the New York Times about me. Not now. No, I'm the leader of a cult or something. Devil with that!

All right. We figure — you'll find out somebody else, the ends of the room to the left and the right are infinitely far away.

Now, if there was to be a prevention of that, it would be through the field of force. When is a person unable to use force? It's when he's got a public repute to protect. You can't use force. I haven't thrown a tantrum for years. Yet I well remember with what satisfying memory an ink bottle, as I hit the desk, jumping off of it and landing in the lap of the person I was talking to, upside down. Boy, that was the last satisfying view.

They're blocks away. But the room wall in front of him and the room wall behind him are within one foot of the back of his head and one foot of the front of his face: one foot and one foot. And he opens his eyes and the room's square.

Now, actually you'd have to be anonymous to use force. If you used unlimited force you'd better be sure anonymous because these cops, they've got Bertillons and everything else. What do you know, they can't list a thetan yet.

One of the first symptoms of delirium, by the way, is an aberration of space. A fellow starts thinking space is going haywire. You'll recognize this if you ever practice on a psychotic. Don't look for his grandmother's kittens or some goddamn Freudian thing; look for space and get his space stable. You'll find out that you can do this rather readily and rather easily by mock-ups or that sort of thing. Or you get his eyes wide open and let him find one wall. And get him to hold on to that wall till he knows it's there. He'll say (sigh), and he won't want to close his eyes either.

Why do you want to use force? Well, it's just to use force, that's to... Well, it's a good reason it must have. So many people want to use it. It's all backwards, by the way; it's unusable. You can do things by postulates but not by force, but in order to do things by postulate you've got to have complete control of force. Awfully interesting idea, but it happens to be true.

Now, you've got that one wall located, holding on to it very gingerly, have him locate another wall. And when he gets these walls stabilized, he gets accustomed to a stability of those walls, he'll feel much better. But when he closes his eyes and they insist on shutting out all the lights in the ward or something like that, and he's no longer got a hold of those walls, he'll spin like mad again because he needs something to help him stabilize himself in space.

So, demonstrate force. Now how do — what's the mock-up of this — not to get long-winded and windy about this sort of thing — what's the mock-up? (You're not interested in me and my problems; you're interested in this mock-up.) All right. This mock-up that we do to get this is to mock the individual up using unlimited quantities of force. Do mock-ups of using unlimited quantities of force. Now, remember we had in II (or was it I?) — stage fright was in II. You had to cure a person of stage fright.

You'll find out your little kid that is crying in his room is doing the same thing. The lights have been turned out on him, and he can't find anchor points. Of course, he's in a sad state that he can't make anchor points. If he knew how to make some anchor points, he wouldn't worry about finding any, because it's much more comfortable to make them. It's much better to make anchor points than it is to locate them. Of course, that follows from our reinterpretation of Q 1. Much better to create something than it is to locate something.

All right. Now that would be the last rungs of it. Let's cure a person in III of being wary of using force before witnesses: mock-ups which give demonstrations of temper, unlimited quantities of force, destruction and so forth, before witnesses.

All right. Your little kid, the second the lights go out, nrrrr! down comes the room on him. Down come the walls. He can't locate himself. He's out of orientation. So give him a light, for heaven's sakes. Give him a light and let him find it. Or do a Spacation on him. Then he can always find his space. He can make some space and be in it.

And just a series of mock-ups which show him busting up everything and breaking everything through and everybody saying, "Tsk tsk tsk tsk tsk! " and so on and so on. This is not the same as stage fright exactly, but it has some bearing on it. So you make him use force, and always before witnesses. Just using force, you see, won't pull him out of it. So the long form of Standard Operating Procedure 5 on Spacation here, then calls for mock-ups using force.

There's nothing more happy or — happier or more cheerful, really, than having some space you've just made and being in it.

We get him up to a point where he believes he could use any kind of force on anything. Good. The second he does that, he will be cured of something else — thirst for identity — which lets him out of his body like that. Because about all his body is, is a very expensive, unusable method of having and carrying around an identification card. (Actually I have little cards, and we can issue cards here and code names and put your wavelength on file if you've got to be identified; but you won't want to be.) All right. There, then, is that problem: unlimited use of force.

That's really cheerful. Of course, the first few seconds after you do it, you say, "My God, now I am going to get my head knocked off," or something of the sort. You're going to feel like you're about to explode or something is going to happen. That's all right. Hold on to it. I've done this on quite a few people and nobody's exploded yet. There's always a chance, but nobody has yet. Besides, it'd be a good way to blow yourself out of your head. Just blow your head off.

Now, why are you afraid of space? You're afraid of black space because unlimited force is liable to come out of black space. So you do a series of mock-ups, under III, of locating the most horrible things in black space — not seeing them: creating them in the black space. Just think of all the things you could create and then not bother to look at them. Just keep creating things in black space till the fellow's completely accustomed to finding anything in that blackness. He just gets the — more locks will come off, by the way, (brrr!) the thousands. Locating things in black space.

Now, therefore, any and all of the processes that would have to do with making cubes and making them bigger and putting them behind the floor and above and below, those processes as part of Creative Processing would actually come under the broad form, the long form, of Operating Procedure Number 5 Step III.

Now, what do you know — white, dazzling space is just as important to locate things in because it's an electronic area. (What's smoking? Evidently smoking is merely energy.) And so we've got another one under Standard Operating Procedure 5 Long Form, and that is locating things in flaming energy. Get a big, great big ball of energy and the fellow thinks that's all there is; well, put a dragon in it. In other words, get them objects and energy flows, black and white. And get them around him and mock up things in that, and not even see them but just know they're there. And get him up to a point where he could know anything is in the black space. And you'll get him over a lot of fear.

And there are a lot of processes that orient space, and the first one is to handle a single light spot. Just take a spot, one dot. And any mock-ups that you would go on and do with one dot, or with geometric patterns, would be processes addressed to orientation in space.

Now there's one in the next step, number IV (which I'm not covering at the moment, I'll just mention it offhand) is we will have energy GITA. YOU mock up energy. A person getting energy and a person giving out energy is part of Step IV. So this is — this is just above that. It's a higher — it's a higher level. It's locating things in energy. GITA, we're just getting energy, getting the idea of taking energy in and putting it out. Well, let's get, in III, locating things in.

And you'll find out that people get awfully erratic. They'll have one spot out there and it'll get further and closer, and it comes in and hits them, disappears and jumps down on the floor and goes up on the ceiling and goes out the door, it's out in the hall, now it's out in the — now it comes back, and now it's... eeh!

And the goal of III is: For heaven's sakes, let's absolutely get a person over two things in III, if we don't get him over anything else. Of course, basically we're just getting him over any aberration in space, but let's get him over two things that are very specific. And one of those is being afraid of black or white space, that it might mask something.

Well, what do you do with this as an auditor? Do you just say, "Well, we'll go on to something else?" No, not if you're doing the long form. You're going to do all of this. You'll find this is the first condition. How do we remedy or how do we start a Spacation? We get one spot under control. And how do you get that under control? You increase its erraticity. You increase it. You make it more random and occasionally throw in a controlled motion. It's bouncing here and it's bouncing there and so forth, and you say, "Well, the next time it goes by that wall make it bounce twice." He does. And you do this a few times. "Now make it bounce three times. Now make it go here and go there," and the first thing you know he's got that spot under control and he brings it back in front of him.

At first he's liable to be into this circumstance: he's liable to have to put a bird cage or something around the thing or get a catcher's mitt and hold it down on the floor or something, with a lot of force and pressure, and it's liable to get away from him somehow or another. He's liable to be quite concerned about this thing. But that's all right. If he's still terribly concerned about this, there's more erraticity left in it. So just make it work out its erraticity, that's all. Let it fly around and fly around and get it in a little more control, a little more control, a little more control.

Run a cycle of action on it. It starts flying around, make it fly around more. Then make it fly around more. Now, decrease its flying around simply by controlling one of its motions from time to time and inhibiting it from doing something from time to time, and then bring it down to a point where it is finally very slow.

Don't try to get him to stop it, because he can't.

Now start it up again. Now make it go faster and faster, faster and faster, more and more random. Now add a few controlled motions to it, make it go a little bit slower and a little bit slower. All right. Now make it go faster and — you see, no time bring it to a fast stop. He can't bring it to a fast stop.

And you just keep this up until he's so sick of it that it will just lie there in front of him. And he can put it out five feet and he can bring it back five feet. He can put it out ten feet and he can bring it back ten feet. And he can have it five feet off the floor and five feet in front of his face or five feet behind him, and he can finally control that.

Now, it may take you longer than you think to make one point under control. Might take you longer than you think, with a preclear. Give him as many wins as you can on it, and get the thing under control.

I would say offhand that in the broad form of odds and ends of techniques, one of the most beneficial things you could do with a preclear is to bring one point under control. Maybe it's a little gold ball, maybe it's a spot of light — anything — under control.

Now we have a black and white spot down at Step V is some of this. But it actually is easier to bring under control and to see and so on than one of these little dots that can fly around in three dimensions.

All right then, we have — we have a number of things, then, turning up as part of Step III and they would be all those things summed together which would have anything to do with space.

Now I will give you a technique that I gave you the other — a little — couple, three lectures ago. Make somebody drive in the anchor points. Just get a concept of Aunt Isabel out there with a cricket bat or something, knocking in the anchor points and knocking them in and knocking them in and knocking them in. And leading them out and leading them out, and knocking them in and knocking them in, and leading them out and leading them out, and knocking them in and knocking them in. And going around and around and doing this and doing that. And he'd finally say, "To hell with this."

Now you mock up Aunt Isabel. He's never been able to get her before, and you mock her up and bash her head in. And your preclear's in good shape. Okay. That's one of the methods of ending occlusion. Now that's very handy, by the way: very handy indeed.

Now we have, in addition to these other remarks about space, we have the simple matter of resolving this ways to think — the number of ways to think. That's covered in an earlier Philadelphia Lecture. And over here to the right's the future.

So do a cycle of action from right to left and from left to right on a body. All kinds of things happening to it. It starts out, everything's fresh and it's growing, it's beautiful, then it finally runs into something, it wastes away and finally dies.

Boom! Usually what you'll get over here on the right is a tombstone or a grave or something like that.

You just do cycles of action. Then bring them around from behind the left shoulder and bring them around across the fellow's face and up into the, you might say, the right front quadrant of his body. And just keep that cycle of action going. Drift it back and forth.

Now start them. Get conception up here in the right front quadrant and run it backwards until you get a grave over on this side. That's really getting things royally backwards. He'll find himself quite confused about this.

Now another thing is, for God's sakes don't, don't, don't pass this one up, don't miss this one. If your preclear is making the past down or to the left or up or some such fashion, if the past has a linear distance or a dimension or a direction, for heaven's sakes make that your first primary mission. Cure it!

Now, you can just sometimes snap this out by saying to the fellow, "All right. Put it in the past."

And he says, "All right, I did."

And I say, "How do you know it's in the past? "Well, I put it down below and back."

"Well, do you — how do you know it's in the past?" "Oh, I can still see it there."

You say, "Now look, all we want that thing to do is disappear in the present and you know it was in the past," and a lot of your preclears — most of them — will just straighten right up on this. And out will go linear concept of dimension in time.

Time has no dimension. That crackpot that was dealing with "time has dimension" or "time is the fourth dimension" had this aberration. He had this aberration. There's nothing else substantiates time being a fourth dimension. Time isn't a fourth dimension.

Now, how do you cure it up on somebody who can't make a mock-up disappear?

He'd say, "Well, that's the only way I can make it disappear. I put it out there in front of me and I say, 'All right, now it's Tuesday,' and it's still there, and if I don't put it straight down, it's still there. I got to put it down in order to send..."

Strip the mock-up to make it disappear: make it disappear on a gradient scale. Make some tiny portion of it disappear and another tiny portion of it disappear and a little more disappear and a little more disappear, until all of a sudden it is gone.

And you've done that a few times, all of a sudden he can make mock-ups disappear.

Your primary upset in the past has been this business of time being in space. But let's get the idea of really high-class aberration is locating things in black space. Black space is something you can't see and you don't know what's in it.

Here's a very neat one. Getting a preclear to get an area of black space, and now get him to go on seeing it as black space and say it's red. Don't let any red spots occur in it, just have it go on being black space; you say, "It's now red space." That's different because he's — when he turns his black space red he generally gets a different piece of space. He's getting another piece of space. He's not convinced that he's got the black space. He hasn't turned the black space red; he's just put it aside, and he's got a red space now.

So this time let's make him make a complete liar out of his visio and everything else and have this black space and know that it's red space and still look at it as black space. Very interesting things occur to a preclear when you do that.

Now, mock-ups that have to do with space and the cure of space, as is given elsewhere in the Philadelphia Lectures, is terribly important because your preclear can be negatively there.

Now in the next hour immediately after this I'm going to give you a talk on the subject of scarcity in general, and we will take up scarcity of space and scarcity of you. And by taking up scarcity of space and scarcity of you we're going to cure this business of being stuck on the time track from now on and forevermore, and lay its ghost forever and aye. Let's take a break.