Okay. Here we have R1-15.

I want to continue some of this material on Route 1.

R1-15: "Repair preclear's ability to communicate by having him copy many scenes in the physical universe." It says, "This step is actually the same as step R1-5 but it is run on a wider basis. The thetan is sent around to various parts of the world and the universe and asked to copy things. He copies each one many times till he is satisfied that his copy is exact in all respects with the original in the physical universe. When the thetan has accomplished this, he will be able to make things with adequate density and mass." Now, remember, an individual Will only shy off from being the effect of something when he himself can no longer do it.

We've been going over this material on Route 1 and we have covered a great deal about exteriorization.

You got this now?

Now, everything I've covered with you at this time is Route 1, Step 4 to Route 1, Step 11.

An individual who can climb a tent post and walk a tightwire seventy-five feet from the ground without any net is not impressed by somebody who can climb a tent post and walk a tightwire seventy-five feet above the ground. He will sit there, and possibly admire slightly, mildly, the man's technique in doing so or something of the sort. It's a mild affair, you see. But he is not a heavy effect of it.

Now we get into a more doubtful area of Route 1 when we get into Route 1-12. I want you to understand clearly that everything from 4 to 11, inclusively, is not simply something that's nice to do, but what you do do. And from Route 1-12 on up to Route 1-15, throughout, are things that are nice to do. See, this is not one of these things that the preclear will absolutely perish if you don't do these things.

Now, the fellow who can't do this, sits there in the circus seat saying, "Oh, huuu, ooh, my, oh, he almost slipped! Yes, gee, I can't even see the wire — it's that tall. Huuuuuu!"' And this fellow teeters a little bit and you'll hear the whole audience go Huuuuu!

Now, Intensive Procedure has a great many steps which you could omit or forget about. But certainly you wouldn't forget about R1-4 to R1-11 — but you could start getting a foggy memory along about R1-12. Because this step is only a minor step which usually takes place in the preclear. But nevertheless, it's a good thing to do with a preclear.

Wonderful to behold, isn't it? They can't do it.

Sometimes you'll get a preclear who, while exteriorized, still is banked-up by facsimiles. He's got facsimileosis. And everything he looks at ... You tell him to "Go out and look at that dog," and he'll see a facsimile of a dog, not a real dog, you know. You tell him to go through the stomach of that goat and he doesn't appear a bit alarmed. Whereas, as a matter of fact, the first time you tell somebody to sail through the stomach of a goat, and he's actually exteriorized, he's liable to be quite alarmed with you. That seems to be a fairly strange place to go.

So the only thing wrong with cause-distance-effect is the person who is convinced he can no longer do the thing. If he can no longer do it, boy, can he be the effect of it.

Actually, he's used to being eaten, you know. And being eaten by a goat is quite degrading. And he'll balk somewhat.

You want to know what you can be the effect of? Then just check over the things which you believe you cannot do. That's a simple rule, isn't it?

So we have this person with facsimileosis. It's merely the fact that this person has not yet gotten into a state where he can create or destroy energy.

Well, let's get the most basic thing about this universe. If you can't make a universe the same as this universe — if you couldn't copy this universe with the same density and mass — you would then, to some slight degree, be the effect of this universe, wouldn't you?

Of course, this whole universe is dead set against either creation or destruction. These two things you mustn't do. "Survive" is the motto of this universe. "Creation, destruction" — these definitely are not the mottoes of this universe.

All right. This is an exteriorized process. And what you do is you just have the fellow practice, while exteriorized, until he can copy things and copy them and copy them and copy them. And you have him copy them many times.

If you want to believe this more thoroughly, just go around and ask a nuclear physicist sometime. Ask him what he thinks of this new idea of yours. And do you know, usually, long before you have any chance to state the idea, he will have told you just this (which is a real funny one): "There isn't anything new; it's all been done before." He's certain of this. This is a big conviction on his part: "It's all been done before." Oh, the devil it has!

Writers who are all written out, fogged down and have finally become editors will tell you that there is no such thing as a new idea.

All right. Then this step consists of exteriorizing somebody and chasing him all over the universe, having him copy everything he can lay his eyes on. Now, of course, we had him doing that, didn't we, in R1-5 — which is to say, you said, "Be three feet back of your head." And the fellow says, "All right." And you say, "Whatcha you looking at?"

One of the first things that they teach in some of those decadent places known as "the university," in the creative-writing class they will tell you there are some ... I don't know. What is it, eight jokes? No, that's over in public speaking — eight basic jokes and no others.

"Well, I don't know, I see all of this blackness." You say, "Copy it." If he'd said, "Elephants," you'd have said, "Copy it." If he had said, "Tigers," you'd have said, "Copy it." If he'd said, "Nothing," you'd have said, "Copy it." Follow me? Your immediate reply to whatever he said was "Copy it." This is, of course, an extension of R1-5 — to let a person out of the universe 100 percent. And you would just simply ask him to copy everything he laid his eyes on, but this time you would send him all over the place. Instead of permissively having him copy everything he set his eyes on, R1-15 varies. It varies like this: You would send him someplace and you would select some-thing for him to copy.

They'll tell you that there are something like thirty-six dramatic situations and fifty-five associations (or maybe that's Heinz products, or is that fifty-seven?) — something like this — but there's just exactly a finite number of plots.

You'd say, "All right. Now, just go over to the Sahara Desert. What do you see?

Well, there was a fellow one time, wrote a book called "Plotto" or "The Plot Jinni" — and he went mad doing it by the way. But it's all possible combinations based upon these thirty-six standard situations. I wonder why he went mad. It doesn't seem to me like you'd go mad doing this.

He'll say, "I see the Sahara Desert, I guess," and so forth.

Well, he had to assume basically that there were just so many plots and then just so many combinations of these plots. And having assumed that, he was dead. That's the way you kill a writer: You tell him there's thirty-six dramatic situations.

You'd say, "Well, go find a camel." "Okay, copy it. Make another copy. Make another copy. Make another copy. Make another copy. Make another copy of the camel, and another copy of the camel. Now, while you're copying ... Throw those all away. Now, while you're copying this camel, make the copy of the desert around him. Copy of the camel in the desert. Copy of the camel in the desert. Copy of the camel in the desert. Copy of the camel in the desert. Copy of the camel in the desert. Now push all those things together and do whatever you want to do with them. Now, copy the camel and as far as you can see to all horizons. And now make a copy of everything you can see now. Everything you can see now. Everything you see" — in other words, gradient scale: camel, a little more desert, the whole desert that he can lay his eyes on.

Actually there aren't. There aren't any dramatic situations as far as the instructor is concerned. He has lost all sense of drama. The world is dead as far as he's concerned. It's all deduced down to a certain mechanic.

Finally, you will have him backed off to a point of where he'll be copying Earth — have a copy of Earth. And finally he'll get so good that he'll be copying Earth, and he suddenly remembers he's not putting people on there, you know. He's not putting plants. There isn't any intricate detail in his copies. And he will repair this, and he will put more and more detail, and so on.

Do you mean to tell me that an individual cannot simply invent a dramatic situation, just whole cloth? Well, you'll have to run a preclear on that basic two-way communication question, "How many problems could you be to yourself? How many problems could you be to yourself?" and all of a sudden, he's getting more and more and more and more and more.

And you want to watch out, because you don't want two planets in this orbit. So you always have him push all the mock-ups together and have him put them in his pocket. Follow me?

He runs out entirely at first. You know? He just drains the bank of how many problems he could be to himself, and then long comm lags, and then he gets more of them and more of them and more of them. He finally gets up to infinity.

Now, you can start out with a grain of sand — and this is a picnic for the thetan. You have him copy a grain of sand. And after he's copied this grain of sand a few times, he becomes aware of the fact that he's not making a perfect copy of the grain of sand.

What do you suppose a dramatic situation is, but how many problems you could be to yourself or others?

So he says, "Let's see, now. It's actually got space in it; it's actually a cluster of electrons. And protons. There's atoms. That's what it is; there's atoms in there. And they have electrons and protons. Let's see now if I can copy this grain of sand." It becomes a complex pattern for him to copy anything. So he'll copy it. Well, if he really stumbles, just have him copy an electron: "Copy an-other electron. Copy it again. Copy it again. Copy it again.

Well, how many ways can you bend a piece of copper wire? That's how many vias there would be. How many ways, directions, could you bend how many combined kinds of copper wire? That's one of these nebulous questions, isn't it?

"Now, copy an electron and a proton, an electron and a proton. Copy it again, an electron and a proton. Copy it again. Copy it again. Copy it again. All right.

Supposing you had an infinity of copper wire, an infinity of sizes of cop-per wire. Now, how many ways could you bend this? — and you'd have the number of problems. Because a problem is always occasioned by via. Any time you bend that line between cause and effect, you have started a problem. Any time you go into a relay system of any kind, you have started into problems.

"Now, copy an atom. Copy another atom. Copy it again. Copy it again. Copy it again. Copy it again. Copy it again.

Now, how many problems could he be to himself — this is basically a dramatic situation, isn't it?

"Copy two atoms. Copy them again. Copy them again.

All right. If he believes there's a finite number of dramatic situations, then there are a finite number of reasons to live — just like that. He just doesn't have very many reasons to live. He'd have only thirty-six, wouldn't he?

"Copy a molecule. Copy it again. Again. Again. Again. Again. Again.

Well, I'd blow my brains out if I only thought there was thirty-six situations by which I could get into trouble in this universe.

"You got that? Are yours whizzing around nicely? Oh, they aren't. All right, let's copy that molecule again. Let's copy it again. Again. Again. Again. And again." All of a sudden he gets real proud of the fact.

Now, creation and destruction on the level of ideas, of course, is immediately mirrored by creation to destruction on the level of energy. And then creation to destruct on the level of energy is mirrored in terms of solidity — havingness.

Now, you don't want to demonstrate to a preclear, while you're processing him exteriorized, a bunch of can'ts. Because every time you demonstrate a can't to him, you tell him he's going to be the effect of something. You see, that which he cannot do, he becomes the effect of. Follow me?

What is havingness but too many vias jammed up too tight. That's havingness. You want a picture of havingness, it's too many vias jammed up too tight. And, of course, all havingness is a problem.

So we have him in a bad state of mind the moment when we have him unable to do something. So we say, "All right. Now you copy that electron. Oh, you can't find one. Well, find one anyway. All right. Now copy it. Now copy it again. Copy it again." Actually, his copies are very blurry, they're very bad, they are not sufficiently dense, they're unclearly seen. You could just start pointing out to him in this wise: "Well, now make one that's exactly rotating at the same ... Oh, you're not doing that. Make one that's just exactly as dense. Oh, no, no. You can do better than that. Make another one that's exactly as dense. Oh, yes, I see what you are doing now. I don't think your mock-up there is very good of that original. Let's see if we can do it better." This guy thu-du-tuth-thu-thuh.

You want to know what gives the millionaire ulcers, he just has to be surrounded by that many pieces of mass, and he's got that many vias, immediately.

Actually, the totality of copying anything — the totality of copying anything — is simply the idea that it has been copied. The idea that one is seeing what has been copied, that's the totality of it.

All right. We take energy — creation to destruction of energy — creation to destruction of matter would be its lowest realm, wouldn't it?

Well, all this would simply consist, then, of exteriorizing somebody. You chase him around and have him copy everything. Only you select what he's going to copy, you don't tell him how well he's got to copy it, and his mass will get better and better — always remembering not to let him litter up his whole universe with old copies. Always have him do something with these copies, because he gets nervous after a while when he's completely surrounded by all these things.

Now, I'll go into this very briefly and tightly here, exactly what this step is. R1-12, by design, is an exteriorized process which would convince the per-son that he could then generate and unmock energy — see, generate and destroy energy.

All right. Your preclear is going to get as well as he can change his mind about being an effect, and becoming a cause.

If he can generate and destroy energy ... You see, "How many problems could you be to yourself?" and "How many problems could you be to others?" would generate and destroy dramatic ideas, wouldn't it? That would create and destroy dramatic ideas. Well, we'd have to get into the field of energy.

He could be, then, a cause or effect at will. He could be a cause or effect at will if he was willing to be the effect of any cause. If he wants to be the effect of any cause, he has to be able to cause any effect.

Your nuclear physicist knows that this universe is here. It will be here forever. There is no destroying any single particle in the entire universe. The conservation of the energy reigns everywhere — particularly in the police department. And he knows you couldn't do this. That's why he's mad. That's why he's actually crazy enough to go out here and set off atom bombs.

A man will always be afraid of being killed so long as he cannot kill. Do you follow me?

He has reached the extremity, the utter extremity, of "We just can't have that much mass there! We've got to do something about it! We've got to make nothing out of it!" You have people run around trying to make nothing out of big masses by saying, "Well, it doesn't amount to much, and it isn't important, and it isn't pretty, and so forth." What's happened is, is they're drawn in toward that mass so far and so deep that it is a matter of great problem to them. See, they're drawn into it. And they're trying to fend off of it by saying, "It's nothing, it's nothing, it's nothing." And if they feel they can't get away from it, they just go on a steady, running-fire of chatter of how it doesn't amount to much — whether that's criticism or trying to talk it down or invalidate it one way or the other.

Ooh! This sounds barbaric and wild doesn't it?

They only have to invalidate obsessively when they can't unmock it directly. Have we got that?

Only if a man can kill, he won't. It's only when he's prevented utterly from justice that he begins to think in terms of slaughter.

The way you unmock it directly is by perfect duplication. Duplicate it in its own time, its own space, with its own particles, and believe me, it'll cease to exist.

Therefore, the greatest murderer in a society would be an unjust system of jurisprudence, wouldn't it? If men had recourse to clear justice in all their affairs, they themselves actually would not much concern themselves with murder.

I almost frightened Sutton out of his wits one day. He was sitting there minding his own business and I all of a sudden said, "Take a look at the atoms over there in that brick. Now put an attention unit along with each atom that you see in that little section there, and have it go back to, and pick up at its inception, and make a perfect duplicate of, that atom. Have each one of these attention points do that." And pshooh! He had an empty space right there where he was looking at, see. Gone!

And when courts become slow, crooked, fixed, unreasonable, without justice, the incidence of murder in the society begins to rise markedly. And the incidence of insanity begins to rise markedly.

The only thing that makes this matter stay around is to come through too many courses and routes, you see. And it's finally gotten lost from its original creation point. All you'd have to do is locate its original creation point and unmock it and it would cease to exist right where it is.

As long as a man could kill, he won't. You know? He doesn't care too; it's of no particular invitation. But when you make it forbidden, and then make it forbidden for him to have any justice, he'll go around trying to kill, believe me.

You would actually have to unmock it twice if you were going to do a complete job of it, because you'd have to unmock the fact that you'd unmocked it. Otherwise, you'd still have a ghost of it around. Got that?

It is the introduction of barriers and restrictions which make it necessary for a person to engage in antisocial activity. Actually, nobody is happier than a thetan to engage in very social activity — you know, be very social; he's totally social. You know, communicate in all directions, talk to everybody, and so forth. He's social.

So, here we have R1-12 as an entire series of processes which create and destroy energy. You could do it directly or otherwise. And when you say R1-12, this process here may not be the best process there is to do this, but it is a process that does this.

If you try — want to make somebody antisocial (which is simply put them out of communication), all you'd have to do was convince them that they couldn't be the effect of a lot of things.

It's "Have preclear mock up generators, power plants and suns to give him energy, on that gradient scale, until he's totally convinced that he does not have to receive energy from an outside source." Why does this individual never create energy? Why is he still playing around with facsimiles? Well, he believes he has to have all of his energy from an outside source. He believes he himself cannot create energy, that he has to have it from elsewhere. So, this is just a nice route by which you change his consideration with this set of mock-ups, up to a point where he says, "Why, heck, I can make that energy. I'm making that generator and I'm creating that sun, and so forth, anyhow." The steps of doing this, the patter which will go along with it, is the easiest thing in the world. You simply have him mock up generators. Have him mock up a little tiny generator to give him energy enough to flick his eyelid. You see? And have him mock up something else — straight generators. Or have him mock up food supplies which would supply him with energy in order to flick his eyelid. Anything you want to do, you see, and then mock up enough to blow him up in the air finally — you know, power plants and motors and so on. Just have him go on mocking up things to give him energy.

If I were, for instance, to teach auditors that they could not and did not dare be the effect of insanity and must at all times act very sanely, see, we'd have everybody spinning in!

He will mock them up more or less on a gradient scale, so you could say the auditing command would be "Mock up something that will give you energy in order to act," and "You just mock up something else to give you energy," and "Mock up something else that'll furnish you with energy." And you just keep saying this, and he'll all of a sudden fall wise to the fact that he's mocking it all up. You just run it until he does. And at that moment he will no longer be confounded by all these facsimiles.

Why? We ask the guy to walk into the lion's cage, you know, with some psychotic, or process a normal businessman — other psychotics — or something like this, and we tell the auditor he's always got to act sanely. We make it impossible then for him to go through any action which would even vaguely resemble psychosis, and we would have him getting restimulated every time he audited somebody who was wild.

This is one of the basic problems he has. One of the basic problems he has anyhow is that he has set up a problem, saying that he himself can't furnish energy to it, somebody else has to. And that's one of his basic problems.

Now, an interesting concept — just as a demonstration concept, not as a therapy — is restraining insane motions. Just have a person mock himself up restraining insane motions. Have another person, have him mock up re-straining insane motions.

So, Remedy of Problems actually will sometimes turn up that computation. You simply: "How many problems could you be to yourself?" He'll finally say, "Well, I have to have something else mock up all the energy I'm using." And that'll be one of the most basic problems he has.

If you had an auditor on your staff, for instance, who couldn't bear to come near or process a psychotic, that's a very indicated process. Have him mock himself up restraining insane motions. And have him do it again and do it again and do it again and do it again. Or send him down, while exteriorized, to the local spinbin and have him simply copy psychotics.

If R1-12 does not bring about the condition of full release of his ideas and attitudes concerning this, and if it doesn't bring about an alteration of consideration so he knows he can mock up energy for his own use, why, you know then you have run into problems.

Now, do we have another use for this R1-15 than simply making a person build a universe?

So we would just start back on the basis of "How many problems couldyou be to yourself?" or we'd go back to this Remedy of Havingness back here.We would simply step back to R1-11, see: "How many problems couldyou be to yourself in havingness?" or "How many problems can you be in havingness?" Well, how many problems could he be in doingness? How many problems could he be in beingness?

Therefore, it becomes a very, very important process. You make the pre-clear copy many times — until he can get it in good detail all the time, either using the mock-ups he makes to remedy his own havingness or otherwise disposing of them — anything he is afraid of being the effect of.

Be, have and do, remember, are the component parts which are opposite space, energy and mass. See: space, be; do, energy; have, mass. Also time — have is time. You don't have any time problems until you have havingness problems — unless it's the problem of not having any time at all, by the way. That's quite a problem: being a complete space, without even a visible anchor point — which is to say, this universe.

The preclear is afraid of being an effect. This is a formula: Preclear is afraid of being an effect, make him copy the original many, many times, and he all of a sudden doesn't care whether he's the effect or not — because he can do it.

So R1-12, auditing command, is simply "Mock up something which will furnish you energy. Mock up something else which will furnish you energy. Mock up something else which will furnish you energy. Mock up something else which will furnish you energy. Mock up something else which will furnish you energy. Mock up something else which will furnish you energy," just on and on and on till he finally falls wise to the fact that he is creating all the energy that's being used by him anyhow. And that is the total step.

He does not have to be afraid of those things which he himself can actually create. And you make him dispose of all of them to show him that he can uncreate them. See? So we don't let them stick around. Let's make the other point there.

Now, R1-12 is, of course, a mock-up process. And you see that as a mock-up process. Therefore, it has some limitation in itself. Actually, a process which'd chase somebody around the universe, such as a Grand Tour, can be senior to a straight mock-up process.

So if you have an auditor on your staff that didn't dare process psychotics, or he became upset or restimulated or very tired auditing, have him go out and copy preclears — preferably in an insane asylum — many, many times. Copy each patient and inmate many times. And all of a sudden you've got somebody who says, "Psychosis, snirosis. Who cares." He'll process them as wild as they come and as long as you want him to.

The only reason he is using facsimiles, of course: He's afraid to look directly, so he makes a facsimile of something and then looks at the facsimile. Well, that's silly too. Look, he had to see the object he was making a facsimile of, didn't he? In order to make a facsimile of it, he had to see the object he was making a facsimile of, copy it, then pretend he hadn't seen the object and look at the facsimile. That's vias. They'll get a guy in trouble every time.

The way to take a person from the "E" of cause-distance-effect, over to the "C," is have him copy it many times.

You could have him do that in his physical body. A person who is terribly afraid of screaming can simply be sent out on the hill and made to scream.

And he screams and he screams and he screams, and so he says after a while, "So I can scream! So what?" He doesn't care about screaming any-more. And the screams of others doesn't worry him.

Do you know that the only reason a child crying worries you is because you yourself are not permitted to cry. So you can either mock up children crying with full sonic — you know, I mean, put the full blast in there — or simply sit down in the middle of the floor and cry, and do it for a while, and after that the noise of children will not bother you.

You can only be troubled by a truck motor if you yourself are not permitted to roar or race truck motors — roar like one or race like one. You follow me?

How do you keep an auditor from being restimulated? How do you keep a preclear from being afraid of all of existence? And how do you keep someone from being eternally trapped in this universe?

It's given you simply in R1-15.

Okay.