You remember now, my talking to you about facsimiles. We're going to talk now about Creative Processes which handle facsimiles, mock-ups, so on.

It's quite interesting to get a case that's been audited considerably and to find that some of his mock-ups are stuck on his time track. In other words, he's been asked to make certain mock-ups and you run back and you find these mock-ups still exist on his time track.

In other words, if you were to make a picture of a man today and next week or something be scanned through just returned to yesterday and scanned through that — you would, in way of passing, find that facsimile you made today. Do you understand?

Well, similarly, every time a facsimile is made or a dub-in is made or a mock-up is made, it is parked in a certain time-space spot — in a certain time, in a certain space, there it exists.

Now, some facsimiles are so signally a failure that they float. They go skidding forward in time. That is survival; it's no effect. They weren't pegged on the track. They weren't nailed down, in other words, and they came right along with the preclear and he's carrying them all the time. Then we could say therefore, somewhat incorrectly, that he was stuck in that moment of time; you see, he was stuck. Because he has the picture of that moment of time, he would actually consider he was stuck at that moment of time.

Similarly, we're apt to find somebody who is ninety-nine years of age — not ninety-nine — somebody who is fifty-five years of age who looks like a boy of five, let us say. He's stuck in a boy of five facsimile. Something happened to him when he was five and there he was stuck.

You can actually walk up to a person — the number of tricks associated with this are legion — you walk up to a person and say, "When I snap my fingers, an age will flash." (snap)

And he will say, "Six. Well, I wonder why I said that."

Well, if you were not an auditor and if you were exceedingly impolite, you could simply say, "Huh, it's because you're stuck there, you dope."

And you will find certain physiological, sexual, strength, speech mechanisms and manifestations of the age of five have floated on forward to the age of fifty-five. You follow me?

In other words, he is in a reaction pattern of the age of five. There is this little gimmick called a file clerk that we don't use anymore except to play with once in a while; it's a demon circuit sort of thing. It's probably a thetan dug in and a thetan is probably answering himself and doesn't know it. And he'll always usually tell you the truth, sometimes. And …

The fact is however that the age of a facsimile will flash. Furthermore, more importantly, you take an E-Meter and put a person on the E-Meter and when you can ask him various times and dates, you will see by the behavior of the needle where he is stuck. Actually, where he has charge, in other words motion, you will see the needle in motion; and where he is stuck, you will see the needle freeze right on down and become completely still when you're on the exact moment of stuckness.

Now, what causes these moments? A fellow is hit on the head with a sledgehammer and you find him halfway through this incident. And there he still is, five years of age, hit on the head with a sledgehammer, see? Fifty-five, why, he still has this facsimile.

Now, what is that all about? And what is the entire mechanism of getting stuck, getting bounced, getting grouped and all the rest of this on the track? Is it perception? No, it isn't. Perception — sight, sound and the rest of it, in the facsimiles themselves — are discovered to be, at this very advanced period in Scientology, a simple key-in of motions and solids.

A person is stuck when he wishes to escape motion. Here is an individual in a high game condition. He is in motion. The game gets to be too high. The motion is too high in the game. There is too much game, too many enemies, too much danger. And so one day he's being hunted across the prairie or something of the sort and somebody shoots him. And he drops behind a bush and is thereupon overlooked. Now, if he got up again and ran, he would be in a condition of motion again, wouldn't he? He'd be back in the game. So he goes into a no-game condition. And you could call this a rest point on the track. It would be best described as that because that leads at once to its auditing solution.

He was in a high motion, you see — that's high game condition — he didn't like it anymore, he found a stop point and he stopped. And maybe centuries later you will find him there. Whenever he's reminded of this high motion, he remembers that there was a stop point on the track: shot dead behind a bush. So he goes and lies down back of the bush — reactive bankly. You see?

Let's say this chap was in a war and he was in a — I'll show you how these things, what you call the actual incident and the key-in — he was out, let us say, in India and he was involved with some of the early wars of India. And the shot and shell and number of knives and screams were very, very loud and he lost a lot of friends and that sort of thing, and after a while he decided that these games called the wars of India were not so good anymore. And one fine day he was standing on a battlement and directing the troops and he knew that he was going to be overwhelmed any moment, and a spear came by and that was the end of him.

But what a beautiful stop point. Now, because of the anaten, the force of the spear against his chest, his force back against the spear, he has a picture which will hold solid. And if he can get into the picture again, he'll stop. There's an exact stop there. It's a rest point. That was the end of that game. In other words, that was the answer or solution to all that danger and motion. You got it?

The solution then reactively to danger and motion is a stop point. It's terribly important to modern auditing. It's a stop point.

All right. There he was. Now, he actually exteriorized from the body, went his way, picked up another body down in the Lotus Isles and spent two or three lifetimes just relaxing. He finally got over it and decided he'd like a new game — checkers or something.

And some chaps, by the way, will go clear on outside of Earth's air and so forth and just sit there or something — go find an asteroid, you know, and they just sit down after one of these high game periods.

Well now, that sit-down period is not something he can hold on to. He went there and he sat down. But now, let us say this life came along and he picked up a body here. And one fine day he was walking down the street and an Indian was struck or almost struck at a crosswalk.

The definition of an engram is a moment of pain and unconsciousness contained in a mental image picture and that is the exact definition of an engram. (The — they claim they knew all about engrams before, but they had no definition for them. Don't make the same mistake, don't know all about engrams and not have the definition.) A moment of pain or unconsciousness — pain and unconsciousness, really, in an exact moment of time is a mental image picture. See, it's a mental image picture. Doesn't matter much which way you state it, as long as you really know it. We're not asking for a poetic recapitulation here, we're asking for sense, you see? It's a moment of time which has been frozen into a mental image picture which contains pain and unconsciousness. An engram must contain a pain and unconsciousness. Now, that thing will have piled on top of it many other key-ins just like I'm describing to you.

So this Indian almost gets hit. He suddenly saw an Indian body or a brown body go zz-zz-rrrowh. See? And he said, "Oh, my god, that game again." So he instantly stands in there and gets hit with a spear in the chest. Now he comes down to see the local auditor and he says, "Wheeze, wheeze, wheeze, wheeze, wheeze."

See, analytically he knows very, very well that he isn't being hit in the chest and he can't quite account for all this because he's not-known all this but he hasn't not-known it enough. He's still got some of the pictures around. You get the idea?

Reactively he thought he was in the game again and he said, "Oh no, not all that motion!" and he stopped. Got the idea? It's really not mechanical, actually there's thinkingness that goes on. There is a low-level decision made by the person himself, but it's out of his own sight. There is no such thing as the unconscious subconscious but there is such a thing as a doped-off thetan.

So he actually decides it. He actually picks up the facsimile. And if you run him back through the incident, old Dianetics style, sort of slowly looking for these points, he will find the exact moment of decision when he simply reached into the bank — saw the flutter of the Indian's arm, he saw in the bank — and he picked out this facsimile and he said, "That's the right one that goes with it" and stuck it on his chest. But he did it so fast and it's so necessary to do and it's such a high moment of emergency and it's got so much not-know on it, you see, that he doesn't now know what's on his chest. But there he is, standing at the top of a battlement with a spear halfway through him, see? It's a rest point on the track.

Now, he'll go along like that for years. He intended to have an effect on the enemy and he got speared. That's one computation, which is countered by the fact that the game was not supposed to have an effect on him and it did, which is countered by the fact that he didn't like the game anyhow — it was getting too old and frayed and moth-eaten — which was countered by the fact that he had lost too many friends, which was countered by the fact that he knew a lot of better places to be, which is countered by the fact that he had to be there to take care of his troops.

You ask a thetan to start sorting out all of his computations out of one of these facsimiles and you'll have a picnic. Don't bother! Just don't bother. Just say, "Yes, yes. That's fine."

And he'll tell you, "And somebody screamed Yahweh at that moment."

And you say, "That's fine. Good. Go on," unless you like the local color yourself.

These things will run off like motion pictures. I don't know why anybody ever goes to the motion pictures, except to the motion pictures they are stuck. A motion picture is simply a dramatization of this sort of thing, by the way. I think motion pictures could have existed in any age in time, except nobody was crazy enough to need them.

Now, here we have, then, this exact mechanism. And you must look at that mechanism, you must know that mechanism because you have to work with that mechanism.

How do you get somebody out of a stuck point? He didn't want to be there, he himself has lost the power of discarding it. You'll find that as a person goes downscale he's less and less capable of discarding, he's more and more capable of collecting. His whole concentration has been, most of his span on the track, in collecting, so it's no wonder that he has more postulates which say "collect" than "discard." And when he starts to get into the idea of discarding, it still gets cluttered up into collection. So he collects more than he discards, and he's got this thing and it's stuck on his chest and it's giving him TB or it's giving him cancer or it's giving him something, you see? And there he is in this stuck point.

How do you get him off of it? Well, he was on it for one reason only: there was too much motion on either side of it. Got that? There was too much motion on both sides of the stuck point. So if he comes out of it, he runs into the rest of the motion of the Indian war; if he hadn't gone into it, he would still be in the motion of the attack, both of which he doesn't want. But the stuck point is okay. You got that now?

It's real, real important. Because if you run the motion which is before and after the stuck point, make him do it, you take over the automaticity — in other words, you bring into knownness and control that same motion which isn't going on anymore.

In other words, you just have him mock up motion — "Mock up some of the motion occurring before this." Don't let him get a facsimile. This is where you have to know facsimiles because — don't you start pulling facsimiles out of the bank and using them, because he likes them. Remember that. A motion-picture producer who has just had his latest film thrown on a bonfire is in a tame frame of mind compared to a thetan who has lost all of his beautiful facsimiles.

So you have him run by mock-up motion. You put new motion in, but show him by putting the new motion in that he can get the motion under control. That's before it happened. And after it happened, make him mock up motion of after it happened and he will shake loose from that point. He will come off of that stuck point. You don't even have to erase the stuck point. What you do is improve his tolerance of motion.

I make that clear. Dianetics is another thing. Dianetics erased engrams. We don't erase them today. We make the thetan capable of handling them. It's quite an important difference. So we make him capable of handling the motion and therefore he'll let go of the stuck point.

Don't run the stuck point! By actual test it will run for one hundred and sixty-five hours without release, if it is serious and contains a vacuum in the middle of it. You handle the vacuum by handling the motion. You handle the stop by handling the motion. In other words, you run the game condition and then leave the no-game condition alone.

Now, what happens to the poor chap who has no stuck points to sit in anymore? What happens to the fellow who was in a high game condition, moved over into a no-game condition — he could stick himself, in other words, right there on the track in a moment in time and a location in space — and who then and thereafter had so much motion he could no longer hang on to any stuck point? You've got your agitation cases, you've got your spastic, you have your — any other condition which has to do with high obsessed motion, you see?

Now, actually, high obsessed motion is lower on the scale than somebody who sleeps all the time. You get the idea? In other words, when the fellow has run totally out of stuck points he's now in trouble. So, what caution does this hand us in auditing? What caution does this give us?

If you start to handle this motion, for heaven's sakes, complete it. Because you will leave him in the middle of the Indian wars without a stuck point. You follow me? So we absolutely have to handle all the motion we can handle there and bring him all the way upscale on handling the motion of this period that turns up. We sort of sort the period out and then we have him put into mock-ups enough motion of that period in order to move him thoroughly out of the period. In other words, just don't jar him off the rest point and leave him over here in the motion because he'll go around duhh-huh-duhh, duhh-duhh. You get the idea?

In other words, you could make a mistake here as an auditor and it'd be a serious auditing blunder today not to handle all the motion there was there to handle. Now, you don't handle it by handling that motion, you put in new motion. And he says, "Oh I can — I can make things move that fast, the devil with it."

You'll find him in all sorts of old bodies and you'll find him stuck all over the place in all kinds of weird pictures and all kinds of odd and strange motions to account for, but for sure, don't move him halfway off a stuck point and then forget about it. You move him all the way off; otherwise, you leave him without his rest point. And he would rather have, it looks like, then, tuberculosis than your auditing. You follow that clearly?

He really has an objection and his objection is quite valid. He had found a rest point in the game and now you've denied him the rest point and he's back in all this horrible motion again. Nothing wrong with being in motion, but motion one objects to is bad to be in. All right.

As we look this over, then, we discover that the individual could be audited too briefly on any given type of motion, much too briefly. You understand that?

He could be moved out of a nice somnolent point on the track into too much motion and not be able to get back the stuck point. You know, he will really work to get back onto a stuck point again right after the session if you've — he'll hold on to things and he'll try to key himself in and he'll feel kind of dopey and he'll think of an engram so it'll stick better. "Ah, that good old tonsillectomy, you know? Ho, ho. Yeah, (choke) that's better. Ulp. Yeah, that's better. Here I am sitting still again." See what the idea is?

Well, one of the things that confuses all of this is the vacuum. A vacuum is a supercold object which attracts electronically into it (and we are auditing today electronic phenomenon, not bodies), and this vacuum attracts — you don't have to know anything about electronics to audit electronics because the people in electronics don't know anything about electronics. We know more about electronics than they do and we don't know very much. All we know is enough to handle them completely and eradicate them and create them and that sort of thing.

By the way, the whole field of electronics goes on the wrong assumption — the conservation of energy. There's no such thing. Any time a thetan mocks something up, he has violated the conservation of energy. Any time he not-knows and makes disappear something, he has violated conservation of energy. You're doing that all the time, so don't let it upset you.

Here is a supercold object — the thetan makes a contact with a supercold object via a body. Now, the thetan and his bank was in contact with the body and the body was not in contact with the supercold object. But all of a sudden the body went into contact with the supercold object and via, then, the relay point of the body, the whole track came in on the thetan, fewoom, thump. And boy, did he see a lot of motion. I just want to give you that point right there. That is a vacuum. But just preceding a vacuum is the most violent motion of facsimiles you ever cared to observe. And it is puzzling because it's maybe a million years' worth of pictures with a million years' worth of time and a million years' worth of places all condensed therein. Do I make my point there?

Female voice: Yes.

Oh, that is a wild one. In it comes, swish. So where is it? It's any time in the million years' worth of pictures, isn't it? Because a thetan considered that he depended on his pictures to tell him where he was and where he'd been. And so we get into this fantastic situation here of all of these pictures in motion. So now we have the bank itself — not the war in motion — we have the bank in violent motion. This supercold object, metal, actually attracted into it the energy of which the pictures were constructed. This stuff — you know, there's not any such thing as mental energy and then there's physical universe energy. That's not true. There aren't two kinds of energy. There's the kind of energy thetans mock up and the kind of energy thetans mock up. I'm afraid that's the end of it, see?

And so, here he saw this fantastic panorama rushing in at him and we get people commenting, "He fell off the yardarm and before he hit the deck, his whole life flashed before him." Oh no. That never took place. And very often I've talked to people who've fallen off yardarms and drowned and halfway drowned and so forth. "Did your whole life flash in front of your face?"

"No, it did not."

But we remember vaguely having had it happen sometimes. And in space opera it was quite common. It's 273 degrees below zero centigrade out in space and the metal of a spacesuit will take an enormous amount of energy. It has infinite capacitance and zero resistance — a piece of metal at minus 273 degrees centigrade. Infinite capacitance and zero resistance and it's hungry. And boy, it picks up that electrical energy just, well, it's — no sponge ever picked up water this fast. No sponge could be that dry. And he saw this stuff fly into the metal. And he says, "That's too much — even I now play tricks on me and I can't trust anybody, I can't even trust me anymore, because look what's happened here."

Well, of course, all this happened actually because of considerations and postulates which he made priorly, don't you see. And he already has agreed that this kind of thing would happen, that this is an electrical reaction, that this is how you brainwash himself and other people. He's probably walked up to many a thetan and said, "How are you, Joe?"

And Joe said, "Ah, go away."

So he says, "Well, I'll fix you, Joe." So he simply put a supercold bolt through Joe's energy bank and Joe's energy bank went slip.

And Joe said, "Where am I? Who am I? What am I doing here?"

It's an old trick and unless you leave the door open for an effect to occur, you'll get no effects occurring anywhere. And then every once in a while you leave your own door open and there you are.

So this is what happened. It's too much — too many facsimiles flying around too fast, too many mock-ups going in too many directions, and man, this really upsets our boy. This truly upsets him. This makes him feel neglected by his own reliability and so forth. It puts him out of the game because that is entirely too much motion.

How would you handle that condition? It would be very simple, very, very simple. It is again a stuck point and it does have electronic motion which he detests. He tried to come to a rest point and that was all right and then motion set into the bank and this baffled him. Already two-thirds defeated, he now got thoroughly defeated by his own bank.

Do you see this situation? So he goes into apathy about the whole thing. You actually have to make facsimiles fly around in mock-up. And you work on this for a while, he will accustom himself to facsimiles flying around the room.

You could do this simply by gradient scales. The old Dianetic Axiom of gradient scales should be very well known to any auditor. All things are gradient scales. You start in with a little and it works up to a much. So if you can make him move one little tiny piece of energy back and forth, you can eventually make him move two, you can make him move six, you can make him move any or some old scrap of a picture around, you can make him move five or six pictures around, the next thing you know he has avalanches and torrents of them tearing around. And he can start these and he can stop them and he can mock up and so forth and he says, "Vacuums? Ha, ha. Who cares?" Do you understand the solution to this thing?

Now the funny part of it is, a thetan must have a game and so the condition may also require that you have him invent some enemies and invent some individualities for that moment to get the rest of the game shaken out. In other words, a game doesn't just consist of motion, it consists of enemies and it consists of individualities to fight those enemies. And you have to handle these factors.

Now, the whole and entire subject of auditing has to take into account these factors. I don't care what development will come forward in future centuries, these factors do exist. To have a game or not to have a game, that is the question.

And if you're going to have any kind of a game, you're going to have to have some kind of objects in which to play the game. If you're going to have objects, you're going to get into trouble with them and people are going to become allergic to them. So auditing would always have to go in the direction of putting those objects back under the control of the individual. It's an unavoidable fact. And what I've told you here is probably the most important data in Scientology because Dianetics, wherever it broke down, failed simply because this information I have just given you wasn't well known.