This is the November the 25th "getting close to Turkey Day" lecture. First morning lecture, 25th November, Second Unit, 1953. That is the third year after Dianetics. This morning we're going to take up some more material on SOP 8-C.
And you, so far, have been progressing very, very well. And you've been doing a very good "what wall?" on this data. But don't be upset if in the next couple of days, I suddenly throw you a quiz on the fundamentals which we have been going over very explicitly, and ask you to do freehand, and without any further thought, an entire rundown on SOP 8-C. Because, you see, you will be taking that examination sitting in front of many a preclear, you see? I mean, you all of a sudden say, "Step III, Step III — oh, so we're here on this page," you know, and the preclear will get some notion of the fact that you're maybe a little vague at what you're doing! And this spoils his certainty.
Well, we've gone from Steps I through III pretty well. And we've gotten down to Steps IV and V a little bit, and VI and VII, hardly at all. So let's just take a fast rundown: What's Step I — what do you do in Step I, in SOP 8-C? At Step I, that's locational, directly locational procedures, and what we do is do negative location: "Who isn't there? What isn't there? Where isn't he?" and so forth, on negative location in the mest universe and in his body. And then ask him to be in various places. And then take over ownership of anchor points by giving them the entire category of emotions and so forth, and getting them back from walls. And that — in addition to that, you do that on two other universes, to do it complete. That is to say, you put up mock-ups; and you put up mock-ups of your own universe with emotion in them. And this way, we sort of get the fellow over a confusion to which, I am told, some Homo sapiens are slightly liable.
Now we take Step II. What do we do with Step II? That is where we handle automaticity immediately. And of course we start this step out by having the fellow mock up his body in front of him a few feet away. And after he does this a few times, two or three times, a person who's going to exteriorize, who didn't immediately exteriorize on Step I — which of course the key words to it, although you don't always use them is, "Be three feet back of your head." We just ask him to mock up his body a few times in front of him, and he all of a sudden finds that there's no liability in being out of his head. You can even ask him again to be out of his head.
Because the body is so automatic, people depend on it slightly to move them around. Well, the more and more they depend upon it to move them around, the less and less they move, and the more they move the body. Till we get down to Burke with his stunt of being beautifully exteriorized, seeing the back of his head, he — wonderfully oriented for the first time — and then his body's hand reaches up and clutches him, and he sees this hand closing on him. (audience laughter) I don't know what machine went into effect there.
But it was very interesting that part of the process used on him — we had to get him over effort, by the way. And part of the process which was used, was not the development of effort, but having the body — just giving them repeated commands: "All right, now have the body move you into the top of its head. Now have the body move you into the chin. Now have the body move you above the body." So these auditing commands might have had a little bit of something to do with that. But he all of a sudden was coming out with a wild protest: "The body doesn't move me anyplace!" Well, about three minutes before, he never would have believed that, you see. Now, actually, he belonged into the lower categories, and by this trick he was exteriorized at Step II and did pretty well at it. All right.
Now we get down to Step III, and that's everything there is to do with space. That's lots of space. Space is a viewpoint of dimension, and we handle dimensions in terms of anchor points, and so, space. Space: "Reach to the back of the room and hold two corners of the room. Mock up two corners of another room behind you and hold on to those." And "Mock up the corners of somebody else's universe and hold on to those." This all, by the way, sitting there and not thinking, you know, each time, is very productive of results.
But quite often, by the way, a person who is — normally would belong in V or VI will hold on to the two back corners of the room, just that, you see, and they hold on to this for a half an hour (they belong in a lower category) and they all of a sudden will be in the corner of the room, looking at the room. See, they just flip out of their bodies.
This is quite an ordinary experience for auditors, to do this to preclears, so don't overlook this little trick. This character shows up and they don't exteriorize on Steps I and Steps II, tell them to grab ahold of the two back corners of the room and sit there and don't think.
If you wanted to be completely lazy about it, you could just go on with that process. Preclears are very often delighted with it, just delighted with this process. Just pull them in off the street and tell them to do this, and they just sit there and not think and all of their current restimulations and so forth just fall away, and they keep interested in the two corners of the room, and the next thing you know, why, they're out in one of the corners. And they feel fine about it, and the auditor hasn't told them a thing (you've just sit there and dozed for a couple of hours). (audience laughter) It's been reported to me case after case after case, from auditors all over the world — have been writing in about this fact, as though it's surprising or something.
But, I'm very surprised that an auditor actually — I am surprised about one thing: that an auditor actually has patience enough just to tell a preclear to sit there and grab hold of two back corners of the room and just sit there. It isn't that there's anything wrong with this, but the auditor normally thinks he has to be active and put in some effort and strain, and put on a good show for the preclear — cause an effect, you see.
I've seen auditors, by the way, who did nothing but amuse the preclear. And this was very worthwhile, everybody considered him a very good auditor, but after you'd looked at the preclears, you found out that nothing had happened to them, which of course is what an auditor's supposed to do: He's supposed to have something happen to the preclear. All right.
There are other techniques that come in under III. And they're any technique that has to do with the immediate creation of space. One of the most elementary techniques, by the way, which I used not very many days ago with considerable significant result on somebody who had no space (and not only didn't have any space, but had moved into negative space and was buttered all over this section of the universe), was to have him, have this preclear, take four flags — well, he got a staff, four flags on a staff — and have this preclear plant those flags immediately in front of his body, two of them, and two of them immediately behind his body, and then just sit there. Of course, what's he got? He's got eight points, which make space.
Now, another preclear I used this on very recently: I found out that she couldn't get these flags but, on looking around, she found a cleared space — and by the way, all mock-ups previously on this case had been in blackness; she'd get a little blackness and then slide a mock-up into it. You know, a black mock-up in a blackness, that was the only way she'd get a mock-up. Well, she looked around and looked over — way over to the left somewhere, a light-year or two — and found that there was nothing over there, and she could erect these flags with great presence of beingness. I mean, she had them and she put these four flags over there and they stayed there and fell down, and she put them back and they fell down and they wobbled, and she put them there again and pretty soon, why, she had these flags steady; and she could see them quite clearly sitting over there.
This case was so out of space that when asked to put emotion and so forth into the anchor points of the room, would go into an instant dope-off — pang! the second she put any emotion into the room. And the more emotion that was put into the corners of the room, the more this case had a tendency to dope off. In other words, you were asking this case to furnish some space and the case knew it couldn't create space, and you were just fighting against these two facts. Continuous dope-off — bang, bang, bang. There was negative, negative, negative space, as far as this case was concerned. All right. And she did find a place where she could put in four flags on their staffs and see them, and these flags started collapsing and falling in, and she finally — adjust them; when she got them steady, she had some space. It was the first space she'd ever had in, oh, probably many generations.
So, after that, the flags were put in various other places that she could see, and finally she put four flags around her, and although they set up a terrific flow in all directions and whipped and streamed and tried to fall down, they stayed there steady, and the next thing you know the flow stopped in her vicinity, and she exteriorized.
Now, there is the use of eight points making space on a case. Now, you can have somebody run space in brackets. And there is a write-up for issue here on the eleven points having to do with space.
See, that is to say, somebody putting eight anchor points around you, and you putting eight anchor points around somebody else, and somebody putting eight anchor points around somebody for somebody else, and somebody putting eight anchor points around you for somebody else. And the five different ways of putting around the room: You holding on to eight corners of the room, somebody else holding on to the eight corners of the room, somebody else holding on to eight corners of the room for you, you holding on to eight corners of the room for somebody else, and somebody holding on to the eight corners of the room for somebody else. And there's six commands in the "putting space around people," and there are five in "holding on to the corners of the room," and this makes an eleven. Now that's actually a full space bracket. It's a very interesting process.
But remember that every time you're handling space you are, to some degree, validating limits. So remember that — to interlace this and interlard it every once in a while with "finding a lot of nothing." Don't get somebody fixated on space any more than anything else. You have a higher goal than space which is certainty, and certainty is knowingness, and a person doesn't have to have space to be certain. But a person who is out of space is never going to get certain. So you have to give him some space. Okay.
They're so afraid of space they can't have any space, so if they can't have any space, of course, they can't know because they've got to be able to have space, and then not have to have space in order to get up into a point of knowingness — that's just backtracking on agreement.
Now, that's Step IV [Step III]. There's those eleven commands: holding on to the anchor points — at least two anchor points in each of three universes — and putting up four flags, and all kinds of other ramifications having to do with space. Now, there aren't too many of them. But if you were just doing this down the line, you would simply ask somebody to hold on to the two back corners of the room for a few minutes and find out if he exteriorized. If he exteriorized on that, why, you've got him exteriorized, that's all, and you just gave him that much space. Okay?
Now we get into Step IV. And Step IV is, of course, now in SOP 8-C. It sounded awfully laborious to you yesterday. You actually don't have to make it that laborious. Nevertheless, I gave you the full parade of what you could do with "things which make," "things which cause to persist" and "things which destroy" — machines, that is. Wasting them, saving them, accepting them, desiring them and being curious about them, in that order, in brackets. And machines which do all the things which are listed in SOP 8, plus one that isn't listed in its 16-G write-up, which is "nothing." And stressing, when you do a V, you come back to that step, and I told you there were several very important ones there. There was "work," there was "pain," as two very important ones. There's another type of machine that people pay very little attention to, which is "unconsciousness." And then there's "viewpoint machines," which are actually, in essence, locational machines — machines which give you viewpoints.
When you get a V, remember to run "the machine that makes blackness." "Makes," "makes persist" or "destroys," in brackets — waste, save, accept, desire and be curious about "machines that make blackness" and "machines that occlude." You'll find cases will break up on that one little step, black cases will. And with that, in II, we're handling automaticity as directly related to being in a body, and we're handling automaticity in general.
Now, we're handling the barriers of thought in IV. In IV we're handling the barriers of thought. You understand that? We've got the case down there who has a lot of things he can't do because he thinks he can't. His barriers have closed in on him to a point where he has — thought is his main barrier.
And now we get to a case level V. And a case level V, of course, is occluded. And I showed you how to put these spheres, outgoing spheres, that is to say further — black spheres — another black sphere out a little further, and look through the one you just put up and see the next one, and then put a new one out there, and then look through all spheres and see this new one and so on, as a very remarkable method of handling blackness. And, however, that again is just an effort to keep particles from discharging against particles.
What's essentially wrong with this case is collapsed terminals. Don't lose sight of that. And so we have all of Step V devoted to terminals. Anything to do with terminals falls under — directly under V. Of course now you do I, you start putting emotion into things, you're going to get a discharge against them; this is a double-terminal universe, a matched-terminal universe. All right.
What other steps, then, lie under this? Well, there's a very, very important process lies under this, and this is Change of Space. And, of course, there you're using the individual himself as one terminal and then the other terminal.
There's only one thing I'd add to earlier material which was released on this, is after you've got him into a location, you have him then look around at the location and as much as he can, just look through everything he finds there, finding, eventually, nothing there and then coming back to the location he's in.
Now you do this — the basic technique, it would — is something like this: "All right, be in your childhood home. Be here. Childhood home. Here." Doesn't matter whether the guy's exteriorized or not; you'll practically knock his brains out if he's not exteriorized and you do this because you're stretching and slapping and knocking into practically every ridge in his head, and it's murder. But that's all right. You'll just ask somebody to be in the childhood home and be here, in the childhood home and be here, in the childhood home and be here.
Now, a V has all this backwards. And we get the technique "Exteriorization by Scenery." And a V has to move the scenery under him and around him, and move it away. And so we get Exteriorization by Scenery. If done correctly, this is a very interesting process. You do this on three universes. You do this on three universes. And the way you do Exteriorization by Scenery would be: move the childhood home around you, and then move it back to Texas or wherever it is, and then move the childhood home around you, now move it back to Texas. (student sneezes) This is the most. . .
[to person who sneezed] What did we hit?
Male voice: Oh, childhood home, I think.
Is that right?
Male voice: Yeah, well, I — I was doing it the other day and I ended up with it right here sort of. . .
Okay. Okay. Look through it. All right.
Now when you have a V operating, you can just take all kinds of places, all through the universe, and just have him move them around him. Now, because terminals collapse on him easily, you'll have to move away — have him move away what he just moved around him, otherwise he winds up with a stack.
Now, you can take somebody and tell him, "All right, now, pick your childhood home up .. ." I'll give you an example of this one — this is kind of weird.
Here, you say you were just having trouble with your childhood home. Now pick it up around you and give it a yo-heave back to where it is.
Male voice: Yep.
Very easy. All right. Now pick it up where it is and pull it around you.
Male voice: Mm-hm.
Now pick it up and throw it back to where it is.
Male voice: Uh-huh.
Now pick it up and pull it around you.
Male voice: Uh-huh.
Now take it and throw it good and hard back to where it is again.
Male voice: Yeah.
Now put a pole out so it stretches that distance between you and it.
Male voice: Uh-huh.
Got that real good? Now look at it and find no pole and no barrier. (pause) What's it doing, coming in?
Male voice: Uh . . . Yeah, it wants to.
It wants to, huh?
Male voice: Uh-huh.
Well, move it in.
Male voice: Okay.
And throw it back out there again.
Male voice: Yeah.
And move it in.
Male voice: Yeah.
And throw it back out there again.
Male voice: Uh-huh.
And move it in.
Male voice: Mm-hm.
And throw it back out there again.
Male voice: Uh-huh.
Got that?
Male voice: Uh-huh.
Is it staying out there better?
Male voice: I can keep it out there.
All right. Keep it out there.
What you have is the V's dependency upon the mest universe. The mest universe has encroached upon him. Now, one of the things is the factor of time: He counts on the mest universe to regulate time for him. Well, don't forget this: He counts on the mest universe to regulate space for him, to hold all space stretched and stiff. Isn't it nice of this universe to hold everything apart the way it does! Isn't it swell that this universe holds one corner of the room away from some other corner of the room? Isn't that nice of this universe?
Oh, yeah? The only reason two corners of the room are apart for you, is that you have them apart. And, believe me, for a VII, VIII, DC or Step XXIII, they're not apart anymore — the very walls of the room fall in. He walks into a room, and he finds the walls of the room fallen in. Now, you see how this is? Nobody's holding the mest universe apart, frighteningly enough. Nobody — except you. And now you've counted on nothingness to hold apart distance. And as long as you think there is a somethingness to distance, and you're counting on nothingness to hold the distance there, you're in trouble. And that's why people are in trouble with this universe.
Now, you can do two things with a V level, just not talking — let's — we can talk interchangeably about Step V, a V level case. But remember this: after you have a thetan exteriorized, you do all these steps, one right after the other. I don't care what shape he's in. And you'll find out he'll run into the same problems anybody else runs into, but he won't occlude as badly and he'll handle them more ably, you see?
So let's look at this thing and recognize that the V has a tremendous dependency upon the universe. This is a universe made out of black space. He quite ordinarily is sitting in a black cube or he has black cubes. This is dependency on the mest universe to give him space, and the mest universe to give him time. You can take this case, by the way, you can take a V, interior, and just have him get a mock-up and have time throw it away or eat it up. And on some cases that are bordering closer to VI, who are still occluded, you get the most remarkable, remarkable results with this. They'll all of a sudden have sighs of relief on this. It's quite remarkable as a technique.
Because that's what they have depended upon: they've depended on time to take away their mock-ups; time to take away their sorrows, their machines, their barriers, you see? And that's DEI on the cycle again. There's your Desire, Enforce, Inhibit, as a cycle, going on. Now, they didn't want the universe to do it, and then they began to resist the universe, and then the universe started to do it for them, then they wanted the universe to do it for them. That's giving up their self-determinism, you might say, to one of their own machines.
What machine are they giving it up to? The machine that makes the universe for them. That's very simple. Well, they won't tamper with this machine unless they get some other things fairly straight. But they'll let time eat up their mock-ups and time eat up their sorrows. And this is something on the order of putting a "forgetter machine," and now we have a forgetter machine closing in with a "time eater-upper of mock-ups." And you say, "All right, now let's ..." You could tell somebody to get a mock-up . ..
I'll give you an example of this: Somebody here get a mock-up. Get a mock-up. All right. Let forgetfulness eat it up. Real easy, huh?
Male voice: Yeah.
And you get somebody whose mock-ups are busily persisting, of course I told you there's several things wrong with him, but you got — on Matched Terminals, he's got collapsed terminals to a point where when he throws something away from him, it comes back. Well, he's tried to get rid of mock-ups, he's tried to jettison bodies and he's tried to shove off one way or the other and go here and go there and he's been inhibited from doing so. Distance and other things have kept him — responsibility, mental barriers.
He has to be — it would be too much of a shock to his parents to blow his brains out. And practically . . . There's hardly anybody here who hasn't thought that — hardly anybody — that they actually had some responsibility for those poor old dumb dodos, their parents. Had some responsibility for them, and the shock would be too great for them, and it would be absolutely murderous to these people if one disposed of himself or something. And this limitation, so-called "responsibility," is fascinating because it chains a guy down. What basically chained him down is he failed one day, for best reasons known to the incident itself, to knock off a mock-up that he was tired of. And he kept on with it, and then he had to have a reason why he was doing it. And so he added all these other justifications and reasons for that earliest incident.
Well now, in V, whether we're doing a Step V process on a thetan who is exteriorized, or whether we're doing somebody who is occluded and is yet interior, we do practically the same things. We're trying to give him back the idea that he can hold two terminals apart, himself. And time they're holding apart, to a point where he can regulate their location in consecutive spaces — which is itself time. He's the boy that makes time. He's the fellow that makes space. Nobody else does.
Now, we talk about "own universe." He can tailor this universe up and fix this universe up so it's quite habitable from his standpoint and from his viewpoint. What do you think a little kid does? A little kid's got this universe duded up the like of which you never saw. Roy Rogers rides down one block regularly and — these movie actors would be surprised how often they are conjured into existence to rescue them from the savage hands of Father and so forth; they — these people are patron saints. And they've got a whole religious society all built up on the idea of the cowboy in the white hat and the cowboy in the black hat. It's a religious society, and they have their rituals which consist of TV movies — movies produced by Vitagraph and shown today.
And this whole world they live in is quite habitable, and their command of time is tremendous. There is nothing as long as a summer afternoon when one is three. It just stretches forever. And there's nothing as short as a summer afternoon — nothing quite as short or quite as brief, at eighty. See, I mean, that's just poof! "Oh, what happened to the day?"
And the odd part of it is, is the amount of things can — that can be accomplished in that day. That's what's fabulous. You'd think that this time was actual, you see, and you look around on some days and boy, you've just got time all over the place and you're getting lots accomplished; and on another day you worked hard all day and were in a complete flat-out rush and at the end of the day, you did nothing. Of course, you never let it sneak up on you — the fact that you're putting these lags and lapses and condensations there.
Well, let's look at this factor about this universe: Why does an electric motor develop electricity? It's got two poles — actually four poles, the top and the bottom of each of the two poles. A plus terminal has to be minus, and the minus terminal has to be plus, simultaneously with the other ones, in order to produce any current. They neglect that. They have the most beautiful pictures in the textbooks that utterly don't describe how electric generators make electricity. They just couldn't work the way they're fixed there. And they make no mention, no mention at all, of the only important part of the machine, which is the base. That thing which imposes space upon the terminals so that you get an interchange between these terminals.
Now, we find this base has imposed space and time actually upon these two terminals. Well, what — how'd it do that? Well, it's sitting on a piece of concrete — it's a motor bed, and it's sitting on a piece of concrete, and the piece of concrete is sitting on Earth and Earth is ... Each time we're getting space and time imposed upon the base, and then Earth and the Sun, you see, are in position to each other and you've got space imposed there by the various forces involved; you have time imposed there too. And we find out why is the Sun there? Well, it's in balance with other planets and units and so on, and we move right on out of the universe. On what? Imposition of space. You could say this — imposition of consecutive spaces — and you have said space and time.
And so we just take a good — good, hard look at this fact, and we find out that an individual is as powerful as he can impose consecutive spaces on something. And a fellow thinks he's weak and he can't do much if his idea is that he can't impose consecutive spaces on something.
You take almost any real strongman, his effort at demonstration — just pure strength and so on — will be to show you that he can hold something apart or hold something together, against all comers. And, it's a basis of hold it apart or hold it together.
Normally, you go out to swim meets and things like that there, and you go out to various types of athletics, such as track, and you find thin guys. And they're not talking much about strength or holding something apart or putting something together. What they're mainly talking about is speed, you see. The speed with which they can take one object which is here, and put it there.
Well now, speed and competence, and force and competence, form actually, a gradient scale. But speed is actually just how fast you could impose space on two terminals, not how much terminal can you impose space on. You see, you get — that inverts, you see, and goes to how much terminal can you impose space on? Well, there you've got your hammer thrower and your weight lifter. Boy, are those guys muscle-bound. It's all right; I mean there's nothing wrong with being a good weight lifter.
But, there isn't any reason, you see, why you can't weigh fifty-six pounds and handle a thousand-ton weight. I mean, you don't have to go train for it. If you were sufficiently cleared, you could just pick one up and give it a pitch. You know, truck in your road — ten-ton truck in your road — pick it up and put it behind your car. This "mass" is an idea which creeps in, as the idea of space creeps out.
So, we have followed this normally with a — with your people who have hit V, and you've got to go back up through this whole thing again with a thetan who is exteriorized. He has to be able to impose space. You know? He has to be able to put up a couple of anchor points and hold them there. And he has to pull them in on himself, and he has to push them away, and do all sorts of exercises with these. But these are kind of — what kind of exercises? These aren't, purely speaking, space exercises — they're space change exercises. And if you say space change, you then evolve every technique that can be evolved around Step V and any way you can do it.
Well, the most significant process that comes out of this is simply, "Be in one place. Be in another place. Now mock up a world of cats. Now be in it. Now be here. Now mock up this place as a den of snakes. Now be in the world of cats. Be here. Be in the world of cats. Be here. Be in the world of cats. Be in this den of snakes here. Now be in the world of cats," and so forth. And you're — you're . . .
"Now have somebody else mock his universe up here and fill it full of spiders. Now, good — spiders that are all poisonous. That's real good. Now get them crawling all around the floor. That's right. And get them on the ceiling. Now have a different kind of floor and a different kind of ceiling at different distances from them. Now get this place all fixed up and get the spiders dropping on your neck. All right. Now be in the world of cats. Be in the world of spiders." I mean, you could just go on and on. I'm just showing you some extremities of imagination. You can get this — three universes, you see.
Change of Space Processing only falls down when it too thoroughly validates existing barriers which are already overevaluated.
So, "Childhood home. Here. Childhood home. Here. Well, now fix up the castle in Mongula."
"Well, where is Mongula?"
"Well, Mongula sits eight mile south of your last idea. All right. Now fix up this castle and get it so that that was the place where you were born and raised, this life. All right. Now, Mongula. Here. Mongula. Here. Mongula. Here. All right."
And after a while, "Now be in this castle and look all around and look right straight through all of its walls and find nothing in six different directions from you as you're there. Now be here and find nothing in six different directions from you there."
And this takes off this validation.
Now, actually, just validating space all by itself becomes, at long last, a drawback and a limitation on processing. So in Change of Space and in "finding nothing" and so on, it's a very good thing to return your preclear where you think he is or should be; and you just say, "Now, just sit there and know." Like, "Cease perceiving and know."
Perception only reduces because of the imposition of limitations. You have too many walls, and when you have walls and want to look at them, you have to say, "My sight will now stop at that wall."
I had a very peculiar experience the other day. I was driving along in a car, and there were very, very beautiful clouds up in the sky and I tried, while I was driving along, to find out if any perception of the clouds whatsoever — any real perception of the clouds, ever reached the body. I was outside of the car and I was trying to study the photon — so-called, much heralded, much written about, photon arrangement. We're too prone, you see, to take for granted the half-squint glances and careless notes which people have put down as cold, calculated scientific fact. We're much too prone to believe that it is fact. And, by golly, I couldn't find any photons.
And as near as I could find out, any sight of the clouds that were reaching my body was there because I had posed a beingness with relationship to the clouds, and therefore had a good perception of the clouds. Now, you could always argue if you take a photographic ...
By the way, they're always invalidating — (quote) "invalidating" (unquote) — Hindu magic or fakirism by saying, "Well, if you took a picture of it, you wouldn't find the boy on the rope." I'm going to surprise people one of these days, I've got to put in a little time on this. Because what are you validating there? You're validating the barrier of a camera. Now, you can study a camera all you want to, and you'll find a camera is slavishly being obedient to certain impositions. Well, this means that a camera is obedient, it doesn't mean that the impositions are, you see, irrevocable, unmovable and so forth. You've got to grant that the camera is unmovable or unremovable, and that all these other things are unremovable, and all of this, in order to get — come up with the idea that we have solid, unalterable fact.
This "science," so-called, is always trying to put across a fast one across home plate — that's always trying to. I mean, you — if you don't watch carefully, you won't even see it come. And all of a sudden the fellow will be sitting back there with a catcher's mitt saying, "See, heh! Baseball, ha! You struck out that time." And that is, they announce so fast and so furiously this word "fact," and it's supposed to mean such a substantial thing, that you very often don't examine the parade of facts which go to make this conclusion; and they always start with an absurdity. And actually, the whole line of them are salted with it.
Well, I couldn't find any of these photons. So what I did was, I triggered a little automatic mechanism that was set up to impose space on things to see. I could see that this thing was very, very busy in the body — it was just being very, very busy while I was looking at these clouds and the beautiful day and all this, and this was being real busy, and this was all that was being busy. And I examined it thoroughly, and it was to "impose a space to perceive." And I triggered it, and blew it up, and I had the awfulest time putting it back together again because, boy, it was imposed space the like of which you never found in an iron bar.
It was so good that it could impose space from a cloud up here to the right, to the end of a cloud over here to the left, and impose the space from the center of the cloud to the body, so as to have a complete perception of the cloud. But it was riding along on — all the time — on an auxiliary viewpoint, which was viewing the agreement of perception of those around it. And it was taking that as a clue and making it all up. It was picking up part of it from the engram bank. There was a viewpoint in there looking at experience.
This little machine was having the most wonderful time mocking up mock-ups, that would mock up, that would agree with. What exactness! What exactness! And what terrific, steel-clad, armor-plated, diamond-studded rigidity! You just never saw anything like this. I mean, the idea of — if I could take this ashtray with my two MEST hands and crush it together before the space in ... I mean, and that much strength wouldn't even have fazed this little machine. Oh, boy! You talk about imposed space! Now, that was perception. The second it was tampered with, mest vision just started going haywire. The — what was being picked up on mest vision, see, it was — just started going blooey in all directions and made it rather difficult to drive the car.
And so I hooked up another viewpoint to the Samoan Islands and the clouds got much prettier, much prettier (they have much prettier clouds down there); and hooked the machine back up again, and managed to pump it full of enough space and get enough hate into it and out of it, and rigidity and so forth into the machine, and after that it really saw some clouds. I could sit there and watch the most gorgeous clouds you ever saw, right up there in the New Jersey sky. They weren't in Samoa because the agreement with them was being taken from the viewpoint of people in Samoa who like to look at clouds. See? It was taken straight out of their agreement banks as an entirely different thing: a viewpoint of a past agreement that clouds are beautiful.
Well, there's the darnedest rigs. Honest to golly, it looks like anything — Rube Goldberg never built anything like the foolishness with which we fool ourselves. The little man who drops and — steps on the dog's tail, dog barks, canary bird hits top of cage, and this fills the water in the radiator in some fashion. The left hand to the right hand, and above and below and around — it is awfully, awfully complex. Exit the most remarkable thing about all this is, is that you can do it just right where you sit, and do a lot of it all at once, and not even vaguely be lost. But you wouldn't get very many surprises if you did it very directly and were forthright about the whole thing. And you'd have to choose up sides or something like that, and have a war or something about it in order to get any randomity concerning it. You see that?
Anything that you can do, you obviously have the ability to do. That's pretty — that's one of those Q-and-A statements that might not strike you until it's stated. Anything you can do, you have the ability to do. And you start thinking of the number of things you can do, and you realize that you must be a pretty competent person, you must be a pretty competent guy. But your greatest competence is in fooling yourself that you don't have the ability to do what you are doing. And that really takes a competence.
You know, you have to say, "Now, here's the ashtray and we put it on this side of the desk." Now you have to say to yourself, "You know, I — it's very nice of that ashtray to have moved from one side of the desk to the other desk. I wish I could do that."
Somebody observed you do it, say, "Well, you damn fool, you just did it."
He'll say, "No, no, I didn't. I'll tell you, ashtrays just have a will of their own. Now, you notice that — it moved back to the other corner of the desk, and I have nothing to do with it, nothing at all. It's wonderful. Ashtrays bought at Penney's always do that — at Woolworth's, they don't, they're too cheap there."
You go on with this endless stream of fabrications, this endless stream of them, a lot of which are very carefully couched to convince people that you're utterly truthful. That's the rarest one of all: all these machines which are set up to tell the truth. Well, we have to examine what people consider to be true.
If something was agreed upon to have happened, it is true. So all truth is in the past, isn't it? If it's that kind of truth.
You get a preclear who's bad off, and you say, "All right, tell me now a small lie." And the fellow will just sit there. He will be incapable of telling you a lie. He might tell you that a gazelle just jumped through the window, but if he tells you this, he's crazy — he doesn't think it's a lie, he thinks it's the truth. In other words, his truth machines are out of whack.
Now, a preclear who is pretty bad off will... You say, "Tell me a lie."
Honest, he'll just sit there and struggle and strain and so on. And finally he'll look at you kind of self-consciously and he says, "I just took off my right shoe. I didn't, did I?"
One preclear's case just blew up in smoke by invalidating for him and putting back over to his control one machine. The machine was called "the have to have a reason for machine." And that's the finest machine there is. There's nothing like it. The endless concatenations of logic. You talk about automaticity — just double-terminal the word logic a few times and you'll find some remarkable things happen. Automaticity all over the place. It's like you double-terminal men trying to stop the motions of women. You get all kinds of automaticity, too.
So this case was told by the auditor, "Well, go over to the window and take a look."
This fellow's — "I can't."
"Why not?"
"There is no reason for me to go over to the window."
The auditor says, "Well, don't have a reason. Just go over to the window."
"No! I couldn't do that."
And it was a knockdown-drag-out argument for about twenty minutes and the auditor finally persuaded the guy to go to the window and look out, without any reason whatsoever, and the fellow did, and all of a sudden started to line charge, and came back and sat down in his chair, didn't take any more processing, went home, was well from that moment henceforward — ping! He had done something without a reason, which means he'd just blown to glory his "got to have a reason" machine. People expect everybody else to have a reason in this tremendous network of "I have to fool myself and I hope they're fooled."
Once in a while you get somebody up Tone Scale and he suddenly gets this idea, "You know I'm — oh, I'm terribly — um-mm. It's all pretense. I'm a very false person and I don't dare let anybody know." And he'll start to look at the auditor, you know, kind of out of the corner of his eyes and sort of look sheepish and so forth. This is pretense kicking in. He thinks pretense is bad. Well, as a matter of fact, the only way he'll ever be any good is just to pretend the hell out of things. Because if you can't pretend well, you can't hit a target well; if you can't pretend well, you don't put a room up there so it'll stay there. You have to keep looking around every once in a while and putting your finger up in the corner and then saying, "Well, I reassured myself and so forth that the room was there." Just put it there, see, and then you ... It's sort of like a vanishing trick.
Well, the V is doing this consistently. You get that pretense level. Now let's get this next level: he unmocks it — he's so accustomed to fooling himself by unmocking something that he has just done, and saying he didn't do it, and he has so much automaticity that does this, that he gets to a point finally where he unmocks something before it's created. And he says he does this because he's afraid things will hit him or he's afraid he'll be hit by particles which he perceives.
Now, I — as I said, I'm unable to find anything like a photon. They register on film, but I can't find one. They — the things I do find aren't even vaguely related to what I've read about in textbooks as photons. All the perception being done of the cloud is all very well and beautifully orderly and we have agreed upon it all and this is just sweet and swell and so forth, but there isn't any such flow. If there were, it'd be real interesting. It's just like sound — it's fantastic that people can agree upon sound. Bodies are agreed upon sound and so forth. But you can do this with sound. You could do all kinds of tampering with your machinery without anything breaking down.
Well, all right. He's got the idea he's liable to be hit. Well, the mest universe has a lag, he believes. At any instant in the mest universe, from one corner to the other, if you could be at every point of the mest universe simultaneously, you would have present time.
But if you think that you have to see something arriving as a measure of present time — oh boy! The stuff's been on the way a long time, and you're watching something travel along, so you're watching consecutive times. Well, all right.
What bearing does this have on the V? Well, he's waiting for this to come, and he gets used to the fact that there's a lag between — he finally finds out. . . You see, he — one day, he starts to help this guy or something over here that's a light-year away; he notices the fellow was about to be hit, and he perceives it with mest vision — that is to say, he's counted on the time lag. (It's more fun to have a time lag than to have an instantaneousness.) So he's perceived it with a time lag, and now he's reached over to help the fellow, and the fellow blew up a year ago. So he's too late, and he thinks he must have caused it. See, he thinks by reaching, that he caused the fellow to blow up.
One of the worst shocks that a person can get is processing something which makes — one of the worst shocks he can get in this universe (not processing something — you process this out, you'll find it) is when something started to fall off which would have landed safely, and by reaching for it, he gave it such a belt that it flew off at an angle and broke to smithereens. But it wouldn't have been hurt if he just wouldn't have touched it. You get that same thing — yeah, he's assisted it, therefore he's guilty for its breakage.
Now, here we have the problem of time lag. And so he says, "Well, if I just mock up some kind of a machine — if I've just got a machine here which will uncreate things before they get into my zone, I'll be all set." And eventually it's just starting to uncreate everything; and that machine is, in essence, time itself. How do you uncreate things? You put them in vanquished spaces or collapsed spaces or gone spaces or anything you want to call it — or just gone spaces, invisible spaces. And this consecutively put away, is the machine called time.
You know, you fill up one space and then it goes by, and you fill up another space, and you fill up another space, and you've got to throw those spaces away at first and this becomes boresome, just throwing things away; so you've set up a machine that throws it away. And then you start agreeing on everybody else's machine that throws away and you say, "We all throw away at a uniform rate. And then we can see what each other has and we don't get this business where you come up here and I say, 'Die yesterday,' and you — somebody else has said something just to you — just earlier, and we can't find you until next week. And this is bad."
So, the progress is that the V unmocks before mock, which is your inversion — your communication lag, in other words. You have him eat — time eating things up and so on.
Well, what's this? He's just reversed the motor. Where everybody above that level would be flowing from A to B, he's trying to flow from B to A. He's trying to back up a communication. And you'll find out that this is indicative of his behavior: He tries to back up communications. Simple. He handles, very often, communications that way: backs them up, he inverts them. He'll much more easily — if you can have him run an explosion backwards, he very often gets an explosion quite clearly; but you ask him to run one forwards and he can't do it. He's trying to uncreate before it's created.
Now, the one person he doesn't trust is himself. He trusts everybody else, really, to some degree. He doesn't trust himself. He doesn't trust himself with unlimited powers because he's blown up too many things by (quote) "accident" (unquote) in getting his machinery assembled. So he must have lost the idea that he can create things. So he must have had a lot of automatic machinery which created things, which must, at this time, be running faster than himself and be occluded and held in abeyance and stopped, which means he can't create things.
So let's superspecialize with this case on creativeness. Now, he observably can't destroy — he can observe that. But what he doesn't readily observe is he's not creating. You might process him for a little while and he'll say, "Well, wait till I gather up some more blackness to cover it with."
And you say, "Gather up some more blackness? What are you doing?"
And the fellow says, "Well, I have to, I..."
"Why don't you just create some?"
And this will come as a startling new idea to him. "Why don't you just make a sheet of blackness?"
So he does. So he covers it up with that sheet of blackness he just made. He'll notice that he can't destroy. See, he won't look at the fact he's not creating. You have to call it to his attention.
And so, machines which create. Because he's got a machine that destroys — he's fully equipped. It's a thing called time. It takes his mock-ups away. He puts one there and it fades. He looks back at it in a little while and it's gone. Nice, comfortable, happy. Don't ever ask him to look at all the mock-ups he ever made, though — he'll get a complete stack-up and a jam in front of him; because he never vanished any of them, he counted on something else to vanish them.
Another one — V's very often have automatic exploders. Sometime in their career, they've been very happy about explosive characteristics of this and that, and so they made automatic exploders. They've made exploders that will cause big explosions and surprise them. And boy, with one of these things around they eventually . . . They make up this, oh boy, they just — they worked over this, and design, and they thought it all over, and it was real nice, and they made this perfectly wonderful mock-up — a wonderful created figure. Gee, it was real good, and all of a sudden it blew up. And they said, "Who the hell — who's shooting at me? Somebody must be shooting at me." And they look around, and all of a sudden find out that their automatic exploder that was set up to explode, has blown up their own mock-up. In other words, they've crossed their lines. And they've considered that this was wonderfully beautiful and dramatic to punish themselves by fixing that exploder so it doesn't explode anymore — and they do it in a moment of anger.
And you process almost any V, you'll find an automatic exploder sitting someplace, and he'll start to get automatic explosions. Things will start going poom! over to the right, poom! over to the left. And he says, "Isn't this fine?" He said, "Isn't this fine?"
The truth of the matter is, he has capped this and capped that. He's gone down a process of muzzling everything which was inopportunely destructive. Each time he has said, "I can't create," when he has objected to destruction. When you object too much to destruction, you're saying you can't create. This is by objecting to war and so forth, and just admitting that I can't create nations at one fell swoop, see, or cultures or civilizations in a breath. Well, this doesn't appear unusual to you to admit that. You say you've got a nice culture there and so forth. As a matter of fact, it's very hard to propose something that complex, which contains that many surprises.
But your V doesn't trust himself with his own machinery, and the auditor is working around and about and through this one fact. He isn't going to let a discharge go between two terminals — he has too often done this with disastrous results.
Generally a person who gets into that category and is hanging fire there and is really in pretty good shape, although occluded as hell — generally this person has been a pretty wild one — pretty wild one. You look at these Vs and they're very mild and they're saying, "Help people," and all of that sort of thing. Don't look too quick, because you're dealing with a real tough character — real tough. And they're tough on processing only to the degree that they don't trust themselves to let go of things unless they see that you have a proper track with which they let go. And they audit very covertly. That is to say, they are audited, when they are preclears, very covertly.
And don't ever take your finger off of this: anytime anybody says he's occluded, grab ahold of an E-Meter. And that way you will save more time; because about every one out of four of those people is going to do nothing but lie to you — and know it. See? So you just grab that old E-Meter there, if you're really processing them to go for broke on this case — do an assessment, find out where they're latched up. Don't put up with any nonsense, keep that needle rising. And when it starts sticking again, do something else. Keep track of your case.
You'll find out he's latched up in this lifetime. You'll find out that he has uniformly tried to — without success — kill a body in this lifetime. And then his key-in is, he tried to kill somebody else, but knew he'd be arrested if he did it, and so he didn't. That's the key-in on him trying to knock himself off. He got in an operation — tonsillectomy or something, you see — and he normally shoved off from the body. After that he just paints everything black. "The hell with it. Rarrrrr! Well all right, I'll go on, I'll be good. I'll persist. I'll show them. Oh, you're an auditor, huh? Heh-heh! Well, I — my case is in real bad (go ahead, try and do something to me, see?) — real bad shape I'm in, and I think if you just audit (boy, am I going to lead him down the byways, hrrh!) . . . All right, I'll be audited, so I'll persist some more. My God, is there no end to this living!" (audience laughter)
Now, you see, you have success with this character the second that you start heading for the direction of no-persistence. You can audit them from the standpoint of you just — "It isn't you, a thing which handles a body, which is dependent upon the body being exteriorized, it's you being exteriorized." And you handle him accordingly, you get places.
Because the more you try to validate his body as a barrier — he's already got too many barriers. That's also his story: too many barriers. And the more you try to audit his and validate his body, the worse he's going to handle in your hands, believe me. Because that's one thing he has tried to knock off in this lifetime. Not that he's tried to be a suicide, but that he has been in an operation, he thought the body was dead, he wanted to leave it, he did leave it and he did what we'll call a "reassumption." The terminals between himself and the body collapsed on the sudden agony and pain in the body and pang! he was right back up against the body — generally in the wrong place at the wrong moment. And that's a reassumption.
Now, what's he trying to do? His idea was to kill the body and turn it into dust, absolutely dispose of it completely and utterly, and go back up to the between-lives areas and find his new body and go. Well, it will actually run as final if he goes from having killed the body and turned it into dust here on Earth — you just run Future Processing on this, you'll get the past — to the between-lives area, where he himself perishes. And he doesn't have to live anymore or do anything anymore. He's quite happy about this, this is real good. And that will run on out the incident in which he's primarily stuck.
So Step V has to do with any process that has to do with changing terminals, matching terminals or otherwise. Even putting up two people so they discharge one against the other. That's a Step V. And you do it exterior as well as interior. It happens that this is the main trouble with the V: He can't hold two terminals apart easily. So you have to remedy that while he's interiorized.
But don't think that this doesn't have to be run on a Step I. Because once you've got a person out of his body, you run all the remaining steps.
Okay.