And this is December the 17th, the first lecture of the day. Today we're going to cover at least part of formulas of the steps of SOP 8-C. Before we do that, however, I want to give you a little further integration on the last talk I gave you concerning the communication line: C to E.

And this is the evening lecture of December the 17th. And this evening we are going to cover some rather hit-or-miss material. It's hit-or-miss because it belongs in the education of an auditor.

Now, when we summarize communication, we find out that it essentially is duplication in space. And duplication in space on a relay system is a communication system. That's what a communication system is: ways and means of making something at C repeat at E is a communication system.

Auditors should know an awful lot of things. Actually, the optimum auditor — and we could give a long and very learned conversation here, monologue on the subject of the optimum auditor and how he should have a beard eighteen feet long or something of the sort, and something, you know, about that. But actually, the optimum auditor is one who's done some living. That's rather desirable, to have done some living. Because as you see an awful lot of preclears come by, you see an awful lot of people who have neglected to do any. They've done lots of dying in their life, but very little living. And when it comes to you understanding a large number of people, if you've done a large lot of living, you can understand a large lot of people.

Now, we can have a parallel line to that when we have a conversation, so that we get one line which is, let us say, C on the right side and E on the left side; and then we have the reply line, which is C on the left side and E on the right side — a reverse to that. In other words, there's a C and an E together, and a C and an E together at the other end of the line, and two lines going back and forth. Communications, then, always go on two lines, not one line.

That is to say, if you've done enough living, let us say, to cover eight or ten people, why, it's fairly certain that you'll be able to understand some of the people who come to you. Otherwise, they're liable to be rather incomprehensible, and you're liable to find yourself in a state of — well, let's say, criticism or something — about their life. Or you're — the state of noncomprehension: "What's the matter with this jerk?" you're liable to say to yourself. "What the heck's the matter with him?" and so on.

And we get this effect: we get C going through to E, and then E turning around, changing slightly, and becoming C in its turn and going back forward to the first C, making it into a slight E. And then we get that turning into C and going back through the first line again, and then the E on the first line turning into a C on the second line and going back to the E. And we get this picture, then, of a — you might say, a complementing system. And that gradient scale, as you went along, would form the woof and warp of logic also, the slight changes — that makes a C into an E and so forth.

You just don't realize that in Hollywood it's "the thing" to slap people's wrists. You know, I mean, it's just not done, anything else. I think there was a — if you'll pardon this crude interjection into an otherwise scholastic moment — I think there was some natural intercourse in Hollywood one time, and it got out and it got into the Los Angeles Times (which will print anything) and do you know that they sued the paper and banished the people from the state. They didn't send them to the gas chamber — they were, there at first. I mean, this is a real area of the world: Los Angeles is the world's most aberrated city. I wouldn't say that in Los Angeles, mostly because there isn't hardly anybody out there in Los Angeles that'd understand the fact. They've lived there most of their lives.

After a while, somebody who's communicating begins to wonder who source is and they begin to worry about authorities. That's a symptom of both the C end and the E end getting enmeshed slightly in the lines and considering themselves particles, rather than cause and effect on the line.

But if you really want to get some living in, or some processing in or something like that, you ought to go in some of these areas once in a while. Just make a trip and look around. Because you'll find out that not all areas of the world are being all areas of the world. That isn't just bitterness on the subject of Los Angeles, that happens to be nothing but the solid truth.

Now, this is important because we get into, immediately, duplication. And the one thing you mustn't do — I repeat this — the one thing you mustn't do is "duplicate nothing." If you don't believe that this is onerous and upsetting, just speak to somebody and get no answer. You can't duplicate the nothingness you get at the other end.

Port Said is supposed to be the world's wickedest city. The second up and second runner for that is Ketchikan, Alaska, and it's — catches all the sewage from Seattle, Ketchikan does.

And that is the anatomy of not having caused an effect. It's very disturbing not to have caused an effect. Because if you don't cause the effect — if you get nothing at the E you are heading toward — why then of course you, becoming E where you have just been C, have to duplicate nothing. And you can't duplicate nothing, you feel. That's the one thing you mustn't do — duplicate nothing — and so you become very disturbed. And that's "no answer" on a communication line.

Everybody who gets in trouble with the state police and the Feds and everybody else will eventually turn up somewhere in the backwoods of Alaska — if they can make it. Nobody goes by his right name and they have a murder every morning for breakfast. It's not quite that bad, because they're not murders, they're suicides. And they find a fellow with his head blown off by a shotgun — no sign of a shotgun, footprints all around, sound of tremendous struggle, the fellow's pockets emptied. The sheriff comes out, he takes a look at the body, and he says, "Huh! Suicide."

This is so bad and, by the way, so basic, that if you take a person who is neurotic and you have them sit in one chair and talk to the other chair — an empty chair — and then have them go over to the empty chair and talk from the empty chair back to the first chair they were sitting in, back and forth, back and forth, back and forth, why, they'll eventually get into fairly good condition. They have had the trouble of insufficient answers, which makes it necessary for them to duplicate nothingness.

They have there in Ketchikan the only stream in the world where the fish and the fishermen go up to spawn. It's a red-light district. (audience laughter) It stretches up around the curve of really a very beautiful little stream. But the buildings have trapdoors. Most of Ketchikan is built over water and a very fast tide, and nearly every building there has trapdoors. And the fishermen — it's mostly fishermen that come in there with any money — wear rather heavy rubber boots, and water gets into these boots rather quickly and they go down rather fast. You see, the air is in the boots at first, you see, and that holds the boots up till the fellow drowns, and then the water fills, and then the boots hold him on the ground. And then the tide there is rather fast, and it sweeps the body out past Chacon, the cape there, and nobody ever knows anything more about it.

Now, we take duplication on all dynamics and we find out that duplicating nothingness on any dynamic is a very difficult process for the thetan. It's actually the simplest process in the world, but it's the one thing he thinks is the most difficult process. And so we get our highest button: The highest common denominator in terms of aberration is the compulsion to have something and the inhibition of duplicating nothing — the compulsion to duplicate something, the inhibition to duplicate nothing. One must not duplicate nothing; one must duplicate something. And between these two things, we get the difficulties of the dwindling spiral.

But when the police do find a fisherman drowned or floating there in the straits, without anything in his pockets and so forth, they look him over very carefully and say, "Hm! Suicide." Wonderful place of the world.

Therefore, things become more and more solid, one resists more and more, one gets smaller and smaller, one feels he has less and less power and so forth, simply because he has, each time, refused to duplicate nothing. Makes him quite upset to duplicate nothing.

There — the FBI had an agent up there for some time, he was a nice, innocent young boy. He didn't understand the facts of the world. And I remember — he didn't know me, he had never seen my credentials or anything vaguely resembling it — and he was going over to pick up a German who was incautiously operating a radio station giving weather reports, and he decided his gun was in his road. And he didn't know me, and I had spotted this radio station in for him, and he handed me the gun — loaded, dark night. Interesting. So I put a fatherly hand upon his shoulder and I said, "Son" — I was about his age — "Son," I said, "let me tell you something. I happen to be that man's confederate and the tide is swift down there, so just walk quietly ahead of me now."

We get various practices and manifestations in life this way. Nothing, in terms of a place in space, early on the track, was so abhorrent to the individual that he was certain, after a while, that he himself was nothing. He had compulsively become nothing. You see how he'd compulsively become nothing? He had refused to duplicate the nothingness around him in space, and refused to duplicate the nothingness around him to a point where he became more and more solid, more and more solid, and more and more solid, and then finally he vanished. And that's the first inversion. He vanished and became nothing. And sure enough, in the preclears that you will be processing here on Earth, you will find they are all beautifully sold on the idea that they are nothing.

And he turned sort of white, he didn't even say, "You're kidding," because he actually had learned a little bit in Alaska. Shock was very educational to him. Gave him his gun back and we went up and picked up the guy, see. But that was a very educational shock. I think six or eight months later if anybody had asked this agent for his gun, why, he would have reached for a blackjack.

Well, actually, they are fighting the truth of the matter; and anytime you start to fight a truth, a basic truth, you're in for trouble. He only became nothing, you see, because he could become nothing, and it wasn't true that he was anything at all. And so he fought the idea that he was nothing and so denied himself, which you get as the only ethical and moral crime. One says — keeps insisting that he's something, you see; he insists he's something and refuses to duplicate nothing. And in such a way, why, he's trying to say that he is something when actually he is nothing. And he comfortably is nothing handling somethings, but after a while, he handles these somethings, and then he begins to believe he is the something. And so it is with a thetan who takes hold of a body. He at first is a nothingness exterior to the body, merely guiding and directing it, and then after a short time becomes a body. He thinks he is a body, he's sure of this.

No. No kidding. All kidding aside, there's a lot of living goes on in the world, and sometimes a person has a tendency to believe that all hands and everyone has lived in a rather hothouse atmosphere.

Well, we get these inversions and counter-inversions, and inversions and counter-inversions, and it's all on a something-nothing, something-nothing, something-nothing problem. And so, with our dwindling spiral, the place to arrest the dwindling spiral is on that button "duplication of nothing" — "cannot duplicate nothing."

Actually, the people who are the worst off, normally have done the most living. It isn't that living itself is terribly aberrative, but the world gives you to understand that it is. And these people have had two things happen to them: They've done a lot of living and then somebody has taught them carefully that it was all wrong. And when this has occurred, you have an interesting case. He takes you quite a little while to process. But you can dig him out, eventually.

Now, how would you run that? Well, you'd run that with Matched Terminals, by moving the idea around, by getting nothingnesses in the walls, and nothing­nesses here and there. And just duplicate the idea that you can't duplicate nothing, going right on duplicating it, and some interesting things will occur in a case. These people who are so super, supersolid, who can't get out of their bodies and that sort of thing, are fighting this with desperation.

Now, there's nothing like living, in other words, to teach somebody about living. Short of a good, wide and vicious life, a little bit of tolerance will do a lot of substituting. And you'll find that the preclear — any preclear who sits down in a processing chair, no matter who he is and no matter how sweet she looks — remember that this is a Homo sapiens. And remember that in Africa if a very sweet, innocent girl straight off the sidewalks of New York were to show up, it would be the animals who ran.

And some of the people on a further inversion who exteriorize very easily but do an immediate bunk for Arcturus, they are on a further inversion than the fellow who is merely solid in a body. They're disabused of being the body. The body unmocks at the least provocation. Bang! It disappears.

The animal kingdom is pretty bright. That's — this is no kidding about that. The animals the world around, when they know anything about man, run. The only thing that's a little bit aside from this is a Kodiak bear.

They have become, you see, this something in terms of a body, and now this body is something which they try to duplicate and try to duplicate. And now they can't duplicate the something and they begin to duplicate the nothings, through not having any answer and other reasons. And the next thing you know, why, the body's nothing and they have become sort of something again. But they are a much lower order of something than they were priorly.

They used to kid me an awful lot I — in the "Explorers Log" and so on. The — let's see, I think it's one of their yearbooks called Through Hell and High Water, why, somebody tags me in there about this. But I roped a Kodiak bear one time on the basis of... He was swimming, you see, and he had a very small head, and the head was — you know, hair all plastered down — you couldn't see that he was a big bear. And a Kodiak bear goes about sixteen hundred pounds; the world's largest carnivorous animal.

And thus we lay apart the anatomy of the thetan in terms of somethingness and nothingness. Certainty, somethingness, nothingness and duplication, then are our highest working tools.

Well, he's a little bit different than the animals of Africa in that he has it in for man, and he doesn't care what happens to him. And he will sit behind trees and wait for men to pass by just so he can knock them flat. He makes a specialty of it. Once a man has done something to a Kodiak bear, why, then the bear will sit around and brood about it and so on. Well, anyway, it's beside the point.

Now, in the formulas of the steps SOP 8-C, you'll find that this winds itself through rather continuously, rather consistently, and is a background to all the other material — duplication, nothingness, somethingness, must duplicate something, mustn't duplicate nothing.

When an individual has a preclear in a chair, he doesn't have an uncomplex, tame, "won't harm you," "no viciousness in you" character. This is not what's sitting there in the chair.

For instance, I dare say when you're duplicating a mock-up, one after the other, you'll never duplicate the space around it, you duplicate the mock-up. You'd be much better off, as far as processing was concerned, to duplicate the nothingness around the mock-up — and just skip the mock-up.

It's true that in the fairly civilized area of the world, that certain behavior patterns can be expected, such as, "How are you?" and "Am I on time for the session?" and "Goodbye," and that sort of thing. I mean, that these things can happen.

When one starts fighting this — whoa, he starts fighting this madly — why, after a while, he can only mock up nothing. That's the case of no mock-up, you see — he's compulsively duplicating nothing and fighting against doing so. Whereas the only thing that's real salvation for him is, of course, to just go on duplicating nothing for a while. He'll get mock-ups.

But as far as this preclear's past and present, and what his future will be — well, that's pretty much in your hands. And you will handle it as well as you realize that — not anything can happen, that's not the thing to realize. But if you realize that about 80 percent of the time, your having mixed yourself up with this preclear is going to result unfavorably, you'll be right. You'll be 80 percent right if you figure that out.

Now, all of this — formulas of the steps SOP 8-C — is integrated on the goal of action. We want to get somebody back into action. We're not too interested in the theoretical side of life, beyond giving an individual enough understanding of it so that he can construct and work and survive and live ably in it.

Why? Well, it's because people who are bad off, if you are foolish enough to specialize in these characters, people who are bad off, they have a lot of bitingness to come up through. And you start pulling them on up through the line, you see, and you're pulling them up through an awful lot of strata of snap and snarl and crunch.

Step I — Step I is Location. It is based on the Prelogic: Theta orients objects in space and time. Now, you know the Prelogics are, "Theta orients objects in space and time and creates space and time in which to orient objects which it creates." And this is more or less — all five of the Prelogics simply come down to that.

Some of my adventures in auditing have been very remarkable in that — I processed a dearest old lady, she was the sweetest old lady. She just was strictly lavender and old lace, you see. And golly, she was apparently very, very grateful till I began to wonder who was ruining my reputation in the neighborhood. She was.

Well, now in Location we have, particularly, "Theta orients objects in space and time."

And the reason for this was, is I had stopped processing her before she thought I should have stopped processing her. Well, the point is, I got her up to where she wasn't dying in agony and I thought, "Well, that's good enough, we'll go on to somebody else." Well, that wasn't the way she saw it. And the next thing I knew, why, all sorts of interesting phenomena was occurring, such as the people of next door passing me by and carefully looking the opposite direction and so forth. Well, now I had kept a dear, sweet old lady from kicking the bucket. This is the truth of the matter, and yet here was my reputation ruined in the neighborhood.

And we have the Axiom pertinent to that: In life experience, space becomes beingness. That's out of 8- 8008. "In life experience, space becomes beingness." An individual then, plotting himself around through spaces, and locating and orienting himself and so forth, has as much beingness as he can have space.

Now, if an auditor expects that his life is going to be entirely free from such shocks and incidents, he is going to be 80 percent wrong.

Now, you see why that is? You see how this duplication of nothingness weaves its way in there. If a fellow can't duplicate nothingness, he can't have space, of course. It isn't that space is a nothingness; space is actually a viewpoint of dimension. But it adds up to a "no energy deposit."

The most satisfactory critters to deal with are the young'uns. And that's mainly because they haven't been able to develop sufficient viciousness. But the meanest ones, the meanest ones to deal with, are actually the older ones. They've got a lot of accumulated orneriness. And these boys, they very often take it out on you.

The formula of this is: Permitting the preclear to discover with certainty where people and things are not, in present, past and future recovers sufficient orientation to establish his knowledge and certainty of where he is; and nega­tive orientation of beingness, havingness and doingness on each of the eight dynamics in the present, past and future — is the basic formula on which this is worked out. And you can work out nearly all possible processes from that formula.

Now, if an auditor's in pretty good condition, this never kicks him around. He simply carries the case on forward up through the band and over the top, and the fellow is very cheerful and everything is lovely.

I'll repeat that formula: Negative orientation of beingness, havingness and doingness on each of the eight dynamics in the present, past and future. "Where isn't God?" That would be a very rough one on somebody who's been taught thoroughly that God's everywhere. But nevertheless, if you've handled the other dynamics, he can tell you where God is. He comes to know that.

But if an auditor is — has the feeling that he's going to sort of cave in on the line and it's — you know, I mean, he's worried about restimulation, and he's worried about what this preclear is going to do because he fears the preclear was going to do something wrong and damaging or something, to the auditor or to himself, why, he of course doesn't kick the preclear all the way up on the line. He suppresses the fellow on the way, you see? So he just doesn't get the same result.

Now, of course, in a formal write-up of this matter — this is just a rough draft of this — in a formal write-up, we have the actual steps, a Step Ia and Step Ib, just as you have it on the mimeographed sheet. And we have, then, ways and means of using this — many ways of using it. Lots of variations on Step I: Location, lots of them. Okay.

The auditor will probably be listening to himself with amazement someday saying, "All right, now be three feet back of your head. Now let's see through, and select page 214 of the book that's on the table. Now you — now read that page there without opening the book — oh, you can't do that? Well, let's see, now go down to the city hall and find the license number of my car. Ah, you can't do that. Well, let's see now . . ."

We go into Step II. Step II, the handling — is handling bodies; you can call that such. And the Axiom: In life experience, energy becomes doingness.

And he'll say, "Wait a minute, what am I doing to this preclear?" It's almost that much of a basic response till a person is in pretty good shape. Mostly because the preclear gets up along the line and starts kicking the auditor to pieces. You know, he starts bearing down and so on.

A person uses a deposit of energy called a body to move through space and time and so forth. And he gets so accustomed to being moved around by this body, which isn't himself, that he believes it is himself and there he is trying to duplicate something, and trying not to duplicate nothing. And in this wise, he becomes very interestingly confused.

There was one boy in the First Unit — we haven't heard from him since, but he's — good condition. But he got audited, and he came up — pretty up the line, and he hit a level of overtness which was terrific, you know? I mean, you ask him a question or something like that, and if you didn't hear his answer or something, why boy, he'd just about snap your head off. Bang! And the case was progressed on up through that. For some little time there, for a couple of weeks, it was about as much as your life was worth to cast a shadow in this fellow's direction. Well, we'd dragged him up out of apathy, actually, and he'd gone up through the anger band.

And the Axiom on this is: That which moves the preclear can evaluate for him. Anything which changes the preclear in space can evaluate for him.

So when you think of this thing called "human nature," well, throw all that aside and just don't worry about that anymore. And just sort of start in from scratch on what you know, and fully expect that as you pull this person up along the line, he's probably going to be ornery, mean, insulting, damaging, biting, probably going to gossip about you, rumor things around, say mean things behind your back. I mean — and don't be so surprised if they do. Only reason — I'm not trying to tell you all men are bad, I'm just trying to tell you, "Don't be so surprised!" That's all.

Another Axiom: Compulsive positioning precedes compulsive thinking. Hence, education — constricted space, fixed. Then they fix ideas and get all sorts of interesting things.

It's that chart right up there on the wall, that Chart of Human Evaluation: You'd be amazed, but you generally find people — when you start to process them, you generally find them well, well, well below 2.0, and they come up through just those manifestations.

Well, of course, there are other things which appertain to this handling of bodies, which is the matter of automaticity. The biggest automaticity there is, is a body, in terms of this planet here, right now.

Now, the techniques we have move them up there rapidly; they move up rapidly. You sometimes don't quite see them go by some of these states, because they're going by rather quickly.

Now, the formula for this is Formula II: Permit the preclear to discover that he handles bodies and allow him to handle bodies in mock-ups and actually — which is to say, fixing them and moving them in mock-ups and actually until he recognizes that he handles bodies. At the same time, you start remedying scarcity of bodies by running End of Cycle — dead bodies, bodies dying and that sort of thing. You could do that if you were just handling bodies in every way, shape and form.

But if you take a case who has a large amount of hold and has done an enormous amount of living and has done a lot of resisting of the mest universe and is a — bad perception, and that sort of thing, he's liable to come up slowly. Well, he'll pass through these states. Well, don't be so surprised. It says so right there on that chart, and your experience will tell you so, and so on. There's no reason to have bad morale about it.

One preclear I know of did not exteriorize until he had mocked up his body and cut it to pieces about fifty times. Mocked it up and chopped it to bits, and mocked it up and chopped it to bits about fifty times, and then stepped out of it. All of a sudden realized that he could destroy a body. He was compulsively held in a body. He was there because he thought the body was superior to himself, simply because he couldn't destroy it. Okay?

Now, you bring him up through those bands, and you bring him up there and you get him above the general highest level of Homo sap, which is around 4.0, and you've got quite a guy on your hands. But you won't bring all of your preclears up there.

Now we go over to Step III — Spacation. The Prelogic of Spacation is: Theta creates space and time in which to locate objects. And the definition: Space is a viewpoint of dimension. And the Axiom involved here is: Energy derives from imposition of space between terminals. Energy derives from imposition of space between terminals.

You'll do a lot of coffee shop auditing, a lot of hit-and-run auditing, a half an hour's session here or there. The boss doesn't feel good that day, and you say, "Well, why don't you be three feet back of your head," you say, very charmingly, and he does. And you say, "All right, now just straighten out that earache." And he does. And you say, "That's fine. Now, duplicate something or other," or something. You know, I mean, do it totally — very careless session. And then at noon he's mad as hell at you. He's mad as hell at everybody and so on. You just bumped him up the Tone Scale. The guy's been in fear for years, and all of a sudden you just slapped him up into 1.5, and there he sits.

That isn't a statement of all the ways that energy derives. Energy also derives simply because you say it's there. That's the primary way energy derives. But all — energy also derives from imposition of space between terminals. And you can take a mass of solid energy and another mass of solid energy and interpose space between them, and if you will — are able to maintain that space, regardless of anything they're trying to do, there will be an interchange of energy in there. In other words, a free energy flow will result.

Well, you just helped him out, see? Why should you rate this? You're totally put upon now. All you want to do is cure the guy's earache and here he is mad all over the place and so on. Well, don't be surprised, because this type of auditing quite normally results in that kind of result. Fellows don't appreciate it. You fix up something real well for them, and they just don't appreciate it.

And we get into Formula III, which is that for Spacation, which is: Permit the preclear to regain his ability to create space and impose it upon terminals, and regain his security concerning the stability of mest space. And that's all there is to that step.

If you're going to audit somebody, well, audit toward a finite result, and give it some time and do it on schedule. And you'll find out you get along a lot better with auditing, rather than use it as a parlor trick. Auditing used as a parlor trick will wind more people up mad at you. And they're only mad at you merely because you just processed them just a short distance.

Of course, in the edition you will get, that merely also contains, why, he holds on to the two back anchor points of the room, and that gives him a sensation of the stability of mest space. And you have him mock up his own space and you have him do space in brackets and so on, till he can handle space.

Well anyway, just in — just optimum knowingness on the part of an auditor, it's good practice for you always to suspect the worst, and then process as though that was the truth. And if the past of the preclear isn't sufficiently lurid for you, well, during the session while he's running something that doesn't require too much attention for you, well, mock it up a little more lurid. Don't try to get him to buy it — just satisfy yourself, satisfy your own dramatic urge in the matter. Because the definition of drama, preclear by preclear, each time is different; and human beings have come along distinctly different tracks.

Now we get into Step IV and the name of Step IV is, from here on down actually, Havingness. And we find this resting on the Axiom: In life experience, matter becomes havingness. Also becomes time, by the way.

Which is to say — let's take the problem of somebody who walks out of this room and walks down to the corner and walks back here again. Well, he accumulated some perception during that period, and he has accumulated, you might say, a little experience. It's just the experience of walking down to the corner and coming back here again.

Formula — that's Formula IV: The remedy of problems of havingness is accomplished by creating an abundance of all things.

Well, all right. Then the next fellow leaves this room and goes down to the corner and walks back here again. You know he had an entirely different experience? I mean, given the same body, given the same equal conditions, same background, they would at that moment become different, just by having walked down to the corner and back. See, two different tracks have now been established.

So we have various processes which have come in under this step; we've had GITA, Expanded GITA and we have this automaticity.

Well, now let's take — make it a little more complicated here. People have been walking down separate tracks for seventy-six trillion years. And if you took two of them and they walked side by side through a hundred thousand years — you see, I mean, they each would have had a different viewpoint on what was happening. And by that I don't mean consideration. They just would have seen it — because one would have seen it two feet or three feet over from the other one — see, he'd have had a slightly different view of the situation.

Now, it's actually an automaticity which gives the preclear havingness. And so we get it down to a little bit finer level, and we remedy automaticity under this step.

Well, that's an incredible thing — somebody walking along with somebody else for a hundred thousand years. Well, there's seventy-six trillion years on that track. So you get different — you get a different pattern of experience person by person.

The preclear has rendered automatic his desires and ability to create and destroy and thus has placed havingness beyond his control. Havingness is beyond his control, he has an awfully hard time having. And the formula — Formula IV is: Place in the control of the preclear his automaticities of havingness and unhavingness, and permit him, on his own self-determinism, to balance his havingness.

People can live in the same family and live all their lives together on the same farm, and yet each one will come up at the end of one lifetime with an entirely different pattern of experience than anyone else.

That's the formula for that. Don't forget to balance somebody's havingness. After you've gotten rid of Lord knows how much energy, and discharged it in various directions and — you just don't neglect to give him back some, because he'll want some.

Now, this is not the essential difference amongst people, the essential difference — that's just amongst experience. The essential difference amongst people is established in the basic personality. The basic personality was never so real as it is today. You pop a thetan out of his head and you put him through enormous numbers of drills and you snap him through this and you snap him through that, and he's still the same guy. And you knock out engrams and automaticities and chew up energy and throw it away and give him different abilities and make him able to haunt ably and do all sorts of things and so on — he's still the same guy, as far as his basic personality is concerned.

The main difficulty you run into right there is this button "mustn't duplicate nothingness" which gives him a craving for havingness.

That is to say, he's sort of — his life — his forward push in life is motivated by more or less the same concerns as they were before. This will mystify you a little bit as an auditor. Sometimes you'll think a person has changed wildly until you look very closely, and you will find out: Well, they were interested in building things, they were interested in creating things, they were interested in this and that, and their interest patterns stay pretty much the same.

Now we get Step V — Terminals. And the Axiom — first Axiom applies there: Space exists by reason of anchor points.

What happens is, they get more intense and become much more vivid. They are able to accomplish, then, the things which they were only dreaming about before. Which makes, at first glance, an entirely different person. See, but it's only at first glance that it's a different person. Once you've stripped off all of the aberration off of a person, you find a personality. It happens that you find more personality than before.

Definition: An anchor point is any particle or mass or terminal.

Indian teachings would have you believe (they unfortunately did not have the experience of observation of people) — Indian teachings would have you believe that everybody sort of wind up as the — wound up as the same gob of goo. That everybody got peeled off or shucked off the same stack and this was it.

Axiom: Energy is derived from mass by fixing two terminals in proximity in space.

Well, let's say that this was true. You'd still get one thetan coming off the north side and another thetan coming off the south side of this primary entity that exploded. I mean, you'd still get that difference between the two of them, and it's quite a difference.

Axiom: Self-determinism is related to the ability to impose space between terminals.

There is, by the way, an incident on the track — two kinds of incidents I might mention in passing. One is the basic explosion. Now, this is a real funny one. It's the basic explosion.

Axiom: Cause is potential source of flow.

Everybody was part of this one guy. I mean, they're — not everybody but, you know, quite a few people were — not quite a few people, but there was one guy, you see, this big fellow. And all of a sudden he went boom! and people went in all directions. See, there was just one guy, and then there was boom! and then people went in all directions.

Axiom: Effect is potential receipt of flow.

In other words, you've got a bombastic or explosive duplication. And people will occasionally find this one, and that tracks back immediately to these Indian beliefs. It's — was quite amusing to me to find that explosive duplication on the track because the Hindu had described everything about it but the explosion itself. And you'll find it from preclear to preclear.

Axiom: Wrongness in terms of flow is inflow.

Now, there's another kind of incident on how the thetan accounts for being here, and something he will run rather consistently. And someday, who knows, in processing we may make use of this fact. It may turn up to be a much more significant fact than it is at the present moment. I mean, it might be much more useful. And so it's one — there's these disrelated little pieces, you know, I kind of like to keep my eye on them. I don't like them to get off under the desk; if they're going to fall off the desk, let them fall out there on the plain floor. And this is one of them.

Comment: The mest universe exists as a continuous potential outflow in its vacuums and a continuous potential inflow in its atmospheres, when viewed by the thetan. mest universe is ... You get out there in a vacuum of space and you have some havingness, and the pressure in this havingness, of course, has to be greater than the space around it — the pressure in it — and the mest universe, which is to say the vacuum, will just go pshew! and you haven't any mock-up.

The mock-up gets in trouble and he goes down to fish it out. That's about all you can say about the incident, see? The mock-up gets in trouble and he dives down to fish it out.

And so the mest universe, apparently, out in space takes things away from you faster than you can possibly create them. Which has a tendency to bring you into a state of sort of a defeat, you know? Get the idea after a while that this isn't so good.

Down from where? Well, he leaves a somethingness of which he was a part, and becomes a separateness to fish this mock-up out of trouble. And the mock-up usually gets into trouble by going into a chunk of blackness or something, and he can't see it and he can't observe it. And he — possibly before that time he was sort of monitoring it from a telephone booth or someplace. And he just dives down to bring it out of trouble, and after that he's part of the mock-up. Well, that's a very interesting, interesting thing. You'll find that case after case. I see a couple of smiles here, people have run into it here.

And down in the atmospheres — that is to say, down on planets and in heavy gravities — and by the way, a planet can be totally without atmosphere and yet have such a heavy gravity that this same condition can exist. Gravity is actually "put your attention on the center of the Earth." That's the definition of gravity. You'll find the GE has got his attention on the center of the Earth like mad. And every once in a while, you get a thetan out who's having gravity trouble — that's because he's got his attention on the Earth. And he gets that inverted after a while, and his attention goes exactly the opposite direction, and then after that he falls up, as a thetan. Very curious. You'll see somebody flop around like this.

[to student] You have? Yeah.

Change of Space Processing from one place to another — the Moon and so on — will often reveal in a thetan a latent fear of gravity, which is a pull, which is quite interesting. They get sick on it and everything else; and then they get heavy and — they're not heavy, a thetan isn't heavy. They've just got the idea of gravity to such a degree that as they move around from one planet to another — you say, "Be on the Moon, be on the Sun, be on the Earth, be on the Moon, be on the Sun, be on the Earth, be on the Moon, be on the Sun, be on the Earth, be on the Moon, be on the Sun, be on the Earth, be on the Moon, be on the Sun, be on the Earth." And the fellow all of a sudden is — "Ooohhh," he can't get away from the Moon or he can't get away from the Sun easily or he can't get away from Earth easily. You just keep on drilling him, and all of a sudden, why, he can move away from them with great ease. He just — you clicked in his idea of gravity.

Well, it's a sudden decision. And there's a decision: "Well, I'll go down and get it out of trouble." And it's a big postulate on the track, nice big postulate. You could run this on preclears. I don't know, because I haven't done it very widely or generally, but I've produced results with this: "I will go down and get it out of trouble," you know? Just push that postulate around, move it around like you do any other symbol, and have something blow on the case. Because the fellow's still running on the determination to get something out of trouble. Quite fascinating.

Well now, gravity actually takes something away from somebody, if it's pulling down. And if one falls, gravity will take something away.

There's an awful lot of machinery, rather creaky machinery in spots, and complex machinery, which stands in back of the scenery. Don't blind your eyes just because you've got something like SOP 8-C that bails people out. Don't forget that we are neglecting machinery. We're neglecting it because we ordinarily don't have to do anything to it at all.

But in terms of atmospheres and so on, sunlight hitting somebody, sound — you see, what makes an atmosphere bad is sound. And the sound hitting somebody — and everything is hitting a person from a 360-degree sphere. You know, all around the edges. It's hitting him everywhere, from all sides at once, continually, and so it gives him havingness. It just makes him a present, every split instant, of new havingness. He gets to a point after a while, where he thinks he has to have. He gets compulsive havingness.

Now, when I say machinery, I mean machinery — I mean, just — not automaticity. I mean, just as though you looked behind the main curtain of the stage and, you know, you see all these sandbags that raise and lower the other scenes, and you see the propmen standing around there and the electricians and the switchboards and piles of costumes and dressing rooms. You know, it's quite a — if you've stood out in front or sat out in front in a large theater in a tremendous production and you've seen this enormous illusion and it's just so gorgeous. And then, if you've ever done this, walked around to the stage door and walked in, seen all these fellows in derby hats and shirt sleeves, and old battered props standing around, and stuff that a vaudeville act back in 1890 forgot to carry away, and the bare bricks that stand back of that beautiful painted scenery. And you see the rhinestones close up and they're sure rhinestones — cracked, too. And it's a different view, just a different view.

And then he thinks he has to duplicate somethingness, and so on and so on and so on. Of course, that'll invert eventually till somebody will compulsively try to duplicate nothingness. Birth control: manifestation of duplicating nothingness — big dramatization.

Well now, all of that sort of thing still stays around in life. There's all kinds of odds and ends. People will come up and confront you with some of the darnedest things in terms of this bric-a-brac. Call it bric-a-brac, the stuff's not significant, particularly. You can get him out of any kind of an automaticity he gets into, any kind of an incident he gets into, just with Step Ia — just key it out, you see.

You'll find more people who ought to be worrying about something else squawking around worrying about the birth control situation. I know a lot of people in the US government right now — Public Health Service — are desperately worried. And the Public Health Service is actually appropriating more money than you could easily count in a couple of weeks, in the problem of birth control in India. What business this is of the US government. . . Last time I talked to a couple of Indians they weren't worried about birth control. They weren't even vaguely interested in birth control.

But he's liable to get real interested. You'll find somebody in one like this: he'll be — you just know this preclear isn't there. And you keep locating him and locating him and locating him. Instead of locating somewhere around his body, he suddenly locates himself standing in front of a huge switchboard with his hands on a railing and with somebody standing behind him, and he's got a black suit on.

But US government is sold on the idea of — evidently, of duplicating nothing­ness. You look at one of the bureaus down there, you sure believe it. And they keep duplicating nothingness and duplicating nothingness so they — it even goes into the second dynamic in the Public Health Service and then they want India to duplicate nothingness.

Now, this is just — this is not preclear by preclear, this is just bric-a-brac, see, not significant. But he's standing there with a black suit on, and he's got somebody behind him telling him what to do. And this will occasionally vary itself so he's got something that looks like a television screen in front of him. He's running a mock-up with it.

And I tried to tell the director of the project down there once that I thought, it just seemed to me, that this was probably a problem of culture rather than a problem of test tubes. And he couldn't get this. I said, "You'd really have to move in there on a cultural level before you could move in with a test-tube level." He didn't buy this at all. He went right on talking about some handy, jim-dandy little injection that you put in the left hip of every Hindu and after that he couldn't have babies. And therefore that solved the whole problem of Hinduism.

Well now, if you run into that one and you were to tell the preclear, "Now look down at your hands" he would get quite ill. Because the hands of this particular type of detached body and so on, are the most horrible-looking things in the world, and he is actually electrically pinned to this switchboard. He's standing there at a switchboard and his hands are a horror to him. And every once in a while, you get some preclear who can't look at his hands or if you asked him to look straight at his hands, he would get kind of sick.

Well, India is on a compulsive "must duplicate something" basis — which, by the way, is a bit healthier. And this "must duplicate something" is pretty widespread. So much so that you walk down the streets, most of the symbols which you see are somewhat related to the second dynamic.

Well, if you run it down very far, you'll run into this incident, bing-bang! And you tell him to look at those hands and he gets sick, but thoroughly. Well, what you do is make him mock them up in quantity and throw them away until he ... If he runs into something like that, he runs into strange phenomena, what do you do with it? Well, you use the various means you have to hand: Creative Processing, create it-destroy it, get lots of them, key it out — oh, get into communication with it and do all sorts of things. Put it in various places, make walls out of it and look through each successive one at the new facsimile of it, you know?

And a fellow is as — you'd say, would be as poor — he would be as very, very poor as he would have mouths to feed and couldn't procure more food, and this'd be a ratio in that. But no, no, your Indian thinks he's wealthy — if he had eighteen, twenty, thirty-five, forty kids, he'd think this was — life had really graced him with a few bonuses.

But it's easy to confuse one of these incidents with a facsimile. That one doesn't happen to be a facsimile. Now there is a reality, you see, back of all this which is better than facsimiles. And it would be just like the preclear suddenly finds himself up against this wall up here — standing there. He thinks he's been running around Earth all this time and he hasn't been. He's been standing up facing a black wall, with somebody behind him telling him what to do. And that's reality. I mean, he just suddenly finds himself there, that's it.

American workman gets two kids, he thinks he's cursed from there on out. Just slight difference of viewpoint. It's actually a difference of inversion. When you get lots of food in a country, people think they can go on as the first dynamic. All right.

But you're still in communication with him, because you're in communi­cation with the mock-up. Now, the trick in that case is just to keep your head, you see. And he exteriorizes out of that body, which is hanging on to the rails, as fast as he'll exteriorize out of anything. You've at last found what to get him out of. So you just exteriorize him out of that body and get him down here.

So we just look at that and we find out that — as far as the formula's concerned, this condition in Step V — that in space, a person is threatened by outflowing. Space makes him compulsively outflow. Well, he doesn't like that because that's compulsive outflowing. Actually, he's only healthy as long as he outflows, because he continues to create energy.

Now, one of the ways to do it is "Now be the space of that body. Now be the space of this body. Now be the space of that body, this body, that body, this body, that body, this body, that body, this body" and creak, creak, bong and spong, and he will be elsewhere.

But space makes him outflow. Well, he gets tired of that after a while, and so he resigns from space opera and turns in his VM, and he hits a planet, and for a while there on the planet, why, he'll go through a cycle of being inflowed at.

You get the kind of thing that could happen in processing? It doesn't happen very often, but sometimes it does and that's the machinery.

And the difference between a space opera character (that is, the character of people in space opera) and the character of people in planets, are just this difference — it's just this difference, there's no other difference: The space opera people are compulsively outflowing, and the atmosphere people, on planets and so on, get compulsively resistive toward inflow, but they get inflowed on all the time. And so, their mode of operation and action and so forth is inflow.

Now, one of these days, I fully expect that you will run into somebody who belongs or did belong to the planet builder temples. And those boys ran on an implant that was up there at about a hundred thousand volts, you know, I mean it was a big implant. And they went around doing fantastic things and so on, but they could be easily degraded by losing their power and they went along on a lot of superstitions and — quite an interesting study.

And you get the essential difference: You get these people being rather peaceful, in the atmospheres, and accepting things and having things and so on. You get space opera guys trying to throw everything away and shoot everything up and blow everything down and — action, action, action, action, more motion, more motion — all very compulsive. This doesn't mean one is better off than the other, but it simply means that thetans like a change once in a while.

You see, in seventy-six trillion years, with the imagination of all hands going at full blast in order to create randomity, you're liable to get quite a few strange and different situations.

Now, outflow is registered in these emotions. By the way, in 8-8008 there are two lists. One is an inflow list and the other is an outflow list. Well, outflow, amongst many other things, is joy, enthusiasm, antagonism, loss, criticism, ridicule, overtness — all in terms of experience. Outflow, in terms of experience, then, is an outgoing type of action. And we have then, of course, joy, enthusiasm, antagonism, loss, criticism, ridicule, overtness. See, that really characterizes a boy in space opera, by the way. That's just him, right down the line — bam, bam, thud.

It is the fashion of today that when one writes, for instance, about the year 1870, one talks and has his characters talk, exactly as they talk today — which is flat, offhand, unemotional, undramatic and rather bored. Well, that's true of any age — that they write about all other ages in the same tenor as the age in which the writing is being done. Don't overlook the fact that 1870 conversation between a man and a woman would have sounded to you like somebody was kidding somebody. You just wouldn't believe it, that's all — the tremendous stress on the dramatic and the emotional. And as a matter of fact, this was as late as 1915, it was still being done: the stress on the dramatic, the stress on the emotional.

Now we have inflow, and we get atmosphere-type people. It's only when these two things are arguing against each other in the same preclear that we start to run into very much trouble. All these people you're having any trouble with, I don't care whether we're talking about para-Scientology or anything else, all we're really having any trouble with in these people is their space opera is so doggone space opera that they're just — it's just dazing. They've got more engrams and more automaticities built up on the basis of outflowing, and then they're stuck here on a planet where nothing can happen but an inflow, and they don't like this because they're sort of — "they hunger for them good old days." But you get them to think about them very much and they say, "Gee, they sure were hectic!" Because in their present frame of mind they couldn't possibly contemplate the frame of mind that goes along with living in the vicinity of vacuums.

If anybody had half a chance to make a superdramatic production out of something, they promptly did it, with no shame or embarrassment, you see. They just made a dramatic production on the spot. Everybody was his own best producer, you might say, and the women swooned with great ease. Men stood up and actually did say, "You cur, sir. Do you realize that you have uttered a foul word in the presence of a lady? Well, go back to your common kind, sir." Just routine conversation.

Earth is a — is of course an atmosphere planet and is an atmosphere problem. And the mest universe only has those two types of problems: It has the problem of nothingness and the problem of somethingness. Well, inflow is sensation, havingness, trying to understand, betrayal, apathy. That's inflow, which makes atmosphere people, and people on planets and things, pretty mild. They're always a pushover for space opera boys.

You hear some word spoken in the presence of a lady today, why, she laughs. (audience laughter)

Now, don't think I overtalk this business of space opera until you get on your E-Meter and start talking to this nice, quiet, calm old lady who seems to be sort of betrayed somehow, and you find out that you are looking — in this nice, calm, quiet, if somewhat betrayed and apathetic old lady, you're looking at the "Scarlet Rogue" wanted on five planets! (audience laughter)

So, we have a problem of differences of periods, differences of periods. And differences come about in the preclear as you process him because he's in an agreement with a society which isn't emotional. And this society must appear bored and rather diffident about everything. And all of a sudden, you start roaring into stuff that's even like 1870, you see, and — gee, different picture.

You wonder why this person doesn't exteriorize easily. Well, they're wanted too badly elsewhere, amongst other things.

So your preclear isn't quite able to make an acceptance of reality, because the bridge is too great between the tenor or drama of the moment, and the drama contained in the incident.

Well, we have a condition, then, and the condition is: A preclear at Step Level V in SOP 8 has an energy starvation and space scarcity caused by inflow, resulting in desire to have other energy and failure to manufacture energy. He believes himself uncreative, wrong, betrayed, under criticism, and has shut out much inflow with curtains. And that's the condition of a case in SOP 8.

For instance, the amount of high tension that you find in space opera doesn't compare dramatically. Space opera — the level of viciousness of space opera was such ... I wrote a story one time called Final Blackout, many years ago, and its tenor is a mild shadow of space opera — I mean the same mood, to some degree. The villain of the piece and the way they looked at things and so forth, was rather — more or less the same. All right.

Now, the condition to be remedied is energy starvation, and this condition is remedied in various ways. The condition, however, which is even more intimate as far as this — because see, this SOP 8-C isn't particularly treating this SOP 8 black level case. However, there is that step level condition, and this person is compulsively duplicating nothingness. And he'll go right on duplicating nothingness, duplicating nothingness, duplicating nothingness. And he'll try it in various ways. He won't get mock-ups, he won't change, he won't get better. He's having a strenuous effort also to unmock things — his automaticity is set up on unmocking things.

Now, that story, Final Blackout, published here, received a great deal of mail on the subject of its excessive brutality. If you have read the story, you wouldn't — you'd be amazed at the number of protests on its excessive brutality and their incapability of understanding such a character as the hero of that piece. Entirely different character, he was completely out of their orbit.

The condition is remedied in a thetan — because any thetan's slightly subject to this noncreative condition — by Formula V. And Formula V is: The thetan is rehabilitated as to energy and terminals by remedying his postulates about inflow and outflow, and giving him drills relating to outflow and inflow of energy.

Now, he would have been considered a fairly mild, routine character in space opera. It's not a story of space opera, by the way, it's a story of the next war. And the character was not particularly modeled from that, but I just give you the idea. Here is a story of a similarity of character, and we have a protest; we have protests from the American scene because a person is too brutal.

The table on that's SOP — I mean, is 8008. And he's got postulates about all this and he has automaticities about all this — outflow and inflow and "can't create" and "mustn't be at cause" and "mustn't be an effect."

Well now, every once in a while a preclear will run into this. You know, he'll run into periods when he was all-out, you might say, or going full blast or at high speed, and he disowns himself. You see, his current experience and what you expect of him as an auditor and so forth, are all so out of disagreement to that. So he can't hang his track together. His emotional moods have too great a disparity. And his reality has to come up on an awful lot of things before he starts to hang anything like Straightwire recall on his whole track.

Now you get outflow and inflow in terms of effect: A person being inflowed on is being an effect, and a person outflowing is being cause. And a thetan has this pretty well nailed down. So he gets unwilling to be an effect, in many cases, and starts keying himself in on overt act — motivator mechanisms and so on.

But it does things to him in terms of this present society; and this is a little bit of a liability in processing. This society has about the same level of drama as a cow snoring on a somewhat foggy day. Just about the same level of drama. Even the teenagers — even the teenagers, the best they can do now is steal a few automobiles. Well, I mean, that's about the top limit of anything they dream up or do. It's fantastic.

But above all this other, he's duplicating nothing. Now, you wonder why something doesn't happen with a case. Well, nothing can happen with a case because that's what's wrong with the case — the case is nothing. And you ask the case what's happening and the case says, "Nothing." Of course he says, "Nothing," because that's what happens with his case — nothing. Because that is what is wrong with his case — nothing. And that's what he keeps duplicating — nothing.

I see them down around — but at the same time, the teenagers are getting, year by year, a little tougher, and you can watch it coming up. We're going into a new era, believe me. And the main part of that is, is all the space helmets and rocket pistols that are being sold down in the toy stores.

The most irritating thing that you can do to a Step Level V in SOP 8 is tell him nothing is wrong with him. That happens to be the level truth, but he doesn't interpret it in exactly the same way. "What is wrong with him is nothing" is a clean statement of it. He's unwilling, you see, to be an effect, and he tries to be cause and he gets caught between.

Now, that's — it's odder than it sounds, because I have now to date taken two little kids, both of them below ten, out of space opera incidents. I just keyed them out without talking any more about it, see, and located the incident and keyed them out. And they became well, and they'd been desperately sick right up to that moment.

Well now, you'll find a thetan — any thetan gets into this condition to some degree. He's unwilling to be certain causes, he's unwilling to be certain effects. So he's — he has to be drilled with regard to this. Well, you get him to change postulates and shift postulates around and so forth, with regard to outflows and inflows.

Well, space opera had a tendency to sort of lay it into people. You didn't just shoot somebody in space opera. I mean, pooh! The whole gag was to get a bigger gun and a — with a larger blast and let them explode even more beautifully out in vacuums. And hang them up in ships and let them do a perihelion around a planet for a while and roast them alive. And I ran — have run the most interesting incidents out of preclears. There isn't any reason to my — keep on dodging with you this way, because you people are coming on up toward Theta Clear. You get up toward Theta Clear up there, and you get out into outer space and you'll see that things are still happening, things are still going on.

A little bit earlier in this step you have here, cause . . . Oh, "Wrongness in terms of flow is inflow." See, that's what he interprets inflow as — as Wrongness; and he's very loath to be inflowed on very hard. And yet he persistently pulls in on himself. He has, compulsively — he has to have, and so forth.

A ship is — a liner or something like that, in space opera — grabbed off, somebody wants to know where that thar bunch of gold is it's supposed to be carrying. And nobody talks, so the — one of the boys on the boarding crew gets ahold of one of the crewmen on the merchant vessel and takes a crowbar — I mean, just a routine crowbar — and pries out the lower part of his backbone. And the amount of implant is so great on this crewman that he never utters a whimper or says a word or betrays the hiding place of anything. In other words, they take it kind of seriously.

Now, any thetan gets this remedied, and as I say, remedy it in terms of postulates. And what are the exact postulates to be remedied? Well, again, "duplicate nothing" — he has to be willing to duplicate nothing. And he — show him a nothing, have him find a nothing and then have him duplicate it. You go on with this for a while and all sorts of interesting things occur.

Sounds very far-fetched and far-drawn. Well, that's the whole thing this society at this time is trying to do: It's trying to find everything far-fetched and it's trying to find everything overdramatized.

When he gets mock-ups, have him duplicate the nothingness around the mock-up and neglect the mock-up. By the way, you can just hear the wheels grate on some preclears when you do this. They just can't keep their eyes off the somethingness, and just can't put their attention on that nothingness. It just goes snap! snap! And I was telling you much earlier in this course about this scissors effect. Their attention will close in on the somethingness so tightly that it will actually go out beyond the somethingness. You know, it'll just — the two attention beams from them, two beams that they put on it, will just overlap and they will see beyond the object, rather than see the object. Or, and as it declines, they will see narrower than the object or closer than the object. In other words, the object itself — now that gets worse until at last they try to see the object and it disappears — pong! They can look at the nothingness around the object and the object disappears. In other words, it's closed all the way out.

This stems mainly from having had in its midst, the movies, for now — let's see, almost half a century of movies — and entertainment in the form of the written word to this length of time that they've had it. Because the movie screen says to them: "Elsewhere — be elsewhere, be elsewhere, be elsewhere." And the truth of the matter is that you could, at this moment, produce a movie that would take — I mean, just without saying anything about clearing — that would actually remove over 50 percent of the audience from the theater and send them elsewhere. Yes, you could make such a movie.

Now, you could draw up a very interesting and highly educational and informative table on the subject of this, but you see the obvious conditions to be remedied there. It's just that they're compulsively putting so much attention on somethingness that they unmock it. And they compulsively are avoiding putting their attention on nothingness.

So here's the individual threatened with being pried out of his head. That is to say, "Now we are going to go to the Bahamas." Just take a travelogue, see. Well, he's in the Bahamas. Only he's not in the Bahamas. He's in the Bahamas though, but he's not in the Bahamas. So he — that's the maybe that has to set in there immediately — bing-bing-bing-bing-bing-bing. You know, "I'm not in the Bahamas, I'm looking at the Bahamas on a screen." Because there's no trick at all to being in the Bahamas. Why keep looking at it on a movie screen?

Now, remember that duplication and communication are necessary co­partners. Duplication and communication are partners. Communication cannot exist without some semblance of duplication. So if a person will not duplicate nothingness, he cannot see nothingness. That which a person cannot duplicate — that which a person cannot duplicate — he will not see. See that? You want to know why people can't see something, well they can't duplicate it. That's why they can't see it.

The fellow says, "We are now in Bahamas, the beautiful," and ping! he could be sitting in a palm tree as far as that's concerned. And little kids, if they didn't make so much noise, and ever listen to the screen, they probably are every once in a while. Only nobody ever checks up on it. And you don't ask questions, you don't get answers.

Perception is not something which simply stands there doing something for you. You have to duplicate what is there to be perceived before you can perceive it. Perception always requires action and volition on the part of the perceiver. All right.

Well anyway, here's the problem: The audience sits there and is sent visually — see, that's a lot different than being sent verbally — but they're sent visually all over the darn universe. There's space opera and everything else now in pictures, see. And they're just shot visually all over the place at the same time having to hold themselves still in a theater seat. And you could actually run this on a preclear. You can get the impulse as the screen flashes one way or the other. Just get him to get an idea — even if he has no visio or anything, it doesn't matter — get the idea of a theater screen up in front of him.

Now let's get into the next level there, and get what that Step Level V is now: that's just — that's terminals and energy. The fellow's got the idea he has to have terminal? in order to make energy. And, oh, he has to have something in order to have a something — the something of energy; and he has to have other somethings to have somethings or others and so forth. And he just is completely unbalanced. He doesn't realize he can make out of a nothing anything he wants, including another nothing. Just never occurs to him that he can make a nothing out of a nothing, or originate a nothing, or transfer a nothing. He's avoiding this, and he's going on to terminals.

I'll do it right now. I'll show you what I mean: Get a theater screen up in front of you there, and get the idea of it sending you someplace, and you not going.

But at the same time you have to drill a preclear until the preclear — exteriorized in SOP 8-C — is able to make terminals, fix terminals, get them to interchange, have energy flow at him, have energy flow out from him and so forth. You just exercise him in terms of energy till he's happy about it.

Now it sends you someplace else, and you don't go. You stay there and look at the screen.

Now we get into Step VI and we get symbolization.

Now it sends you someplace else and, again, you don't go.

Definition: A symbol is an idea fixed in energy and mobile in space. It's an idea fixed in energy and mobile in space. Any symbol you ever ran into was mobile. It's the main thing wrong with symbols, they don't stay put. And yet they are fixed ideas. So it's a fixed idea that won't stay put, and this is upsetting to people. So symbols get them into trouble.

And it sends you someplace else and you don't go.

You can never say to a preclear, "Now, where is that symbol at this moment?"

Now it's got a picture of a highway unreeling on it, and you aren't going anyplace.

And he says, "Which symbol?"

And that's the modern automobile. There's the highway unreeling and you not going anyplace — except you are going someplace, except you're not going anyplace. Look at that highway unreel — you see that highway? You get the idea? It's got an invisible barrier in front of you. Here we go! See that?

And you say, "The symbol called 'where.' Now, where is the first 'where' this minute?"

Well now, throw that one away.

If you go out into outer space and send it out on a radio signal, you could probably get in a spaceship and beat the signal and get around in front of it and receive it again. And you could find out where it was and you could probably plot it.

And we got the — we've got some sort of an idea of why a preclear gets nailed down in his head, you see. Many suggestions are thrown at him on comm lines, and he seeks to duplicate, see? The screen says Bahamas, he tries to duplicate — not picture Bahamas, but he starts to duplicate Bahamas. But it's not polite to leave your family or leave the theater, you see. So then he has to stay there in the theater seat and look at the picture of the Bahamas.

But you can't do that here on Earth, things move too slow. You ask some­body where the "where" is that you first uttered on the end of the sentence and he becomes completely discombobulated. What it was is a symbol fixed in energy and he cannot thereafter establish its location. So when a person becomes too fixed upon symbols, he becomes fixed on the idea that he can't establish the location of anything.

This is the snakiest trick of all, you see, is something like that. And then the movie starts showing never-never land that doesn't exist geographically at all, and this is real good. The audience breathes a huge sigh of relief and relaxes and enjoys it. Watching the feature pictures is a duty. And watching Walt Disney, of course, is always welcome because there's no such place to go to. So they can sit there and watch it. No check, no counter-check on it.

So he gets lost. You really get somebody lost if you make him concentrate entirely on symbols and never concentrate on nothingness and never concentrate on somethingness, just have him concentrate on a symbol. A symbol is a tricky somethingness that manages to make a nothingness out of itself with great ease, and make a nothingness out of you with great ease. It's mobile. You take the printing in a book — the book is mobile.

You ever notice, an audience always — they just nearly always cheer when anything of Disney's is shown on. Little short feature — audience cheers and claps their hands. There's only two or three other pictures that get the same response, and they're all cartoons. There's those Tom and Jerry cartoons, and an audience — always glad to see them.

Now, Formula VI is: The thetan who has been moved about by symbols is strengthened by mocking up and moving about and fixing in space ideas. The best part of a symbol is an idea, and so you have him handle ideas that way and you'll find out they're very heavy.

Well, this is never-never land, and that's real welcome. Therefore you'd say offhand that fairy tales were less aberrative than costume historicals and geographically accurately placed pictures — just offhand.

Of course, Step Level V, you handle ideas mainly about outflow and inflow, just specific ideas.

But you'll find many a preclear — and this is not a process to get them out of their heads — but you'll find many a preclear really stuck in and unable to move simply because he's checked himself from leaving so often while he was sitting looking at pictures and reading books. See, the book says someplace; it'd be real nice.

And in Step Level VI, you handle these in terms of ideas like symbols. You'll find people are very sold on symbolization. The more you validate symbolization, though, the unhappier your preclear is. There are people around who are very sold on symbols and they just won't move until you do something about it.

Well now, costume historicals try to send him up and down the time track. And they're very interesting. Now you want to get somebody out more easily that you're having a little trouble with — this is not a springing technique, but it's one that gets them there — is "what movies aren't they?" and "what books aren't they?" and so forth, and "what scenes aren't they?" And "Get a time when you didn't go to the Bahamas," you know? "Now recall a time . . ." Well now, you see, this stuff is all lying on the same track.

You say, "Mock up a man out in front of you there." He gets mock-ups perfectly well, you see — "Mock up a man."

Well, in processing a preclear, you'll run into an awful lot of phenomena. If you wanted to boil all this rambling dissertation down this evening, you could just put it onto the basis of, the optimum auditor — the optimum auditor goes on using processes which resolve the case, and while interested in, is not detoured by, phenomena and the back-of-stage props that turn up.

"Well," he'd say, "you say a man. Now, do you mean an old man or a young man? What kind of a man do you mean?"

You can go chasing off wildly on this track. I know — I've been over what is contained in the genetic bank and what the thetan's carting along with him and so forth, and it's considerable. Believe me, it's really considerable.

"Well," you say, "just a man."

Well, the hump that your preclear hits is to find himself fully equipped for drama in an undramatic world. He's in good shape, he's in good motion, he can get all sorts of things done, and all of a sudden he looks around and he says, "Gee-whiz."

"Well, yes, but you want him big or small, how do you want this man?" See?

Well now, he can go in two directions there: He can sort of monitor himself down and live a life of quiet desperation thereafter, or he can simply engage in some of the more dramatic aspects of existence. You'll normally find him doing the latter.

What he's trying to do is fix an idea; he's trying to establish this idea man. He is no longer capable of concentrating on nothingness around the symbol man. He doesn't get a big classification called man. He can't just dip into the bin and say, "Man? A man's a man. Let's see, there's all kinds of men." And his idea of getting this big class called man, and getting one particular man out of this big class or just putting up something and say, "This is the class of things known as man" — he's beyond that, he has to be specific about it. So he'll sit there and hem and he'll haw about it; he'll want to know exactly what you mean. He's looking into the core of this mobile thing, a symbol, all the time, and trying to fix it in space. And he's getting frantic about fixing this in space — he's been frantic for a long time. Words keep flying; he can't stop them and fix them in space. He tries to take your words, then, and fix them in space. They don't fix.

SOP 8-O is, of course, a technique which simply drills up the capabilities, on a gradient scale, of the thetan so he can see, hear, speak, get out electricity, throw out postulates, control bodies other than his own, and do other things which are well within his abilities. It's quite routine for a preclear to get out of his body and not be able to make a single sound. Well that should appear peculiar to you, not the reverse. He doesn't need all this machinery, for instance, like a voice box.

He's — tries to cull out of the library esoteric and forgotten lore and fix those symbols in space. He wants to know exactly where they came from. Did they come from the later Neon Period or the earlier Pliocene Period? He is more taken with whether or not celluloid was originated in the early nineteenth century in Boston or where, than he is at looking at the celluloid. He always looks for the significance under, simply because he's trying to fix an idea in space. Simply because symbols, horribly enough, won't stand still long enough. They just keep moving around. They're ideas in energy, and they're in motion. The fellow becomes frantic about this after a while and this is very upsetting to them. All right.

That's the silliest thing of all: to have a machine that talks, you see. He doesn't need this machinery like a voice box. But it startles people a great deal when they're talked to, and they're apt to go, at this society level at this time, straight into hypnosis. They hear a voice talking to them from nowhere, they just go bong. I know, I've done it. And it's just very upsetting to people. Done it with preclears, too, and they always come back and report the same action: they say they didn't... "I had to stop it because the bus was about to be wrecked." Yeah, people get excited about it. I don't know why they should, but they do.

Let's get into Step VII. And Step VII, although we've called it many things before, best descriptive term for it is probably "barriers."

Anyway, you can do all sorts of things like this and the first thing your preclear starts to add up his capabilities to is mischief. That's the first thing he thinks of; he thinks of these capabilities in terms of mischief. Rather undignified proceeding. And if he just uses them for mischief and then he doesn't see any further goal at all in doing such things, or he doesn't realize that there are other parts of this universe too and there are other universes and lots of other things — if he just gets up to a level of mischief, why, he'll get tired of mischief rather quickly.

Axiom: The mest universe is a game consisting of barriers.

You know, he keeps going in and out of the gatekeeper's house and every time you're saying, "Now be inside the tollgate house. Now be outside over the river. Now be inside the tollhouse; now be outside over the river." And then you suddenly find out that every time he goes into the tollhouse, he's giving the bridgekeeper's — back of the bridgekeeper's head a good kick, and the fellow is getting, by this time, pretty frantic. Preclear might not mention this to you, but he does that rather routinely.

Definition: A barrier is space, energy and object, obstacles, and time.

Well, SOP 8-O boosts him on up to a point of where he can at least be interested without mischief. Not to get the mischief out of the woods, because that's always happening, but mostly to give him a little broader look at some­thing.

Those are all barriers. Time's a barrier, space is a barrier, energy's a barrier and objects are barriers and all of them are obstacles. mest universe is sort of an obstacle race. Not anything is wrong, you see, with the obstacles — actually happiness is the overcoming of not unknowable obstacles toward a known goal. People have got — you get somebody doing that and he becomes very cheerful about the whole thing.

Now, you won't ever get anybody up to a point where he's exteriorized, able and very, very concerned with existence. These factors just don't fit. They don't go together. It's like saying, "All right, we're going to build this iron bridge out of feathers." You're not going to build an iron bridge out of feathers, and you're not going to build a serious person with exteriorization.

It's not a bad game, it's a good game. But people get so bogged down in the obstacles . . . They're like the hurdle racers, you know — they go running around the track, and hurdle racers three, four and five all trip on hurdles. And after they've tripped on two or three hurdles, why, they sort of stand still and they don't finish the race. And they stand there and get kind of peeved at the last set of hurdles that went down. Whereas runner one and runner eight just sailed over the hurdles and came on home. Well, runners one and eight are perfectly happy and these other runners, they're not happy — they're standing around wondering what the significance is of the hurdles falling over.

You could, however, of course, get him into another body and bop him with enough voltage and show him how serious everything was and — but what would you have then? You'd just have another guy. Well, you've got lots of them.

You just get somebody back into action again and he'll be perfectly happy to play this game called "obstacles." Up to the time when he's a loser in this game called "obstacles," however — if he's been a long loser in it, he's not happy about it at all.

And the point I have here is, is he is capable of an enormous amount of constructive action. He's capable of great creative action, and his field — this one you're liable to ignore, don't ignore this one — his greatest surge forward will be when you rehabilitate him artistically by taking out of him all of his uncertainty about his own beauty and the beauty of his own work.

It's not just a difference of mind about the thing, it's his conviction that he's going to win or his conviction that he's going to lose that makes it possible for him to go on or makes it necessary for him to stop.

In other words, when you take art criticism out of him. And when you remove artistic criticism out of him, he will rather definitely change. Now you don't get somebody who's going to go off and fight wars just because everything is so horrible. You're not going to get him doing that. But you will get him engaged in things that are very interesting.

Now, Formula VII is: The problem of barriers — the problems of barriers are resolved by contacting and penetrating, creating and destroying, validating and neglecting barriers, by fixing and unfixing attention upon their nothingness and somethingness.

Now, he is perfectly willing to look at things and inspect things and do that sort of thing, but if you rehabilitate his artistic, creative ability, he's doing the finest thing that he does on the track, and he gets very, very interested. If you were to do this possibly with only a few dozen people, you would have a renaissance on Earth. You just wouldn't help it, because it's almost completely missing here on Earth today.

Well, that's not just a big mouthful, you've been doing that — Six Ways to Nothing. You neglect barriers, you put them up there and fix people's attention on them. Now, the invisible barrier is something you put up there and don't let him look at it, and so on and so on and so on.

When one looks at the ruined towers and walls of former glories, and when he reads about the Seven Wonders of the World ... By the way, did you ever read about the Seven Wonders of the World? Might cross your mind some time, what manner of people were these? For instance, the Colossus of Rhodes was built out of, I think, tin and bronze. And it stood with one foot on a headland and the other foot on the shore and the ships passed in and out under the giant's legs. This was a long time ago. And everybody knows nobody knew anything about iron and steel and bronze and tin in those days. They also knew that nobody ever went to Great Britain.

It's quite interesting that barriers and terminals are very closely associated. There's many a fellow has sat in front of a barrier long enough so that it became a terminal. And the degeneration of a barrier is for it to become a terminal after a while.

By the way, it was finally bought by a junk dealer after many ages had passed and it had crashed and so forth. They — bought for salvage. That was the Colossus of Rhodes. But it took that fellow an awful long time to try to get some means of hauling some part of his buy away.

Well, let's take somebody who works at a machine lathe. He works at this lathe every day down there at this plant; and he works this lathe, and it's a barrier. He can't walk through this thing. It's also a communication system. Well, he can't duplicate the lathe. The lathe doesn't quite duplicate what he has in mind. The fact that the lathe doesn't quite duplicate him makes him logical, by the way. Logic is not quite duplicating — it's similarities.

Well, here is not so much artistic construction as — think of the frame of mind of somebody who decided he was going to have a beautiful statue in the harbor. Total utility: a beautiful statue in the harbor. Total — no further utility. You get less and less utility, yet less and less application for these things. And as you do that, you get the tone of the society higher and higher and higher up.

Duplicating in one space, continually, is in itself identification; that's what identification is. The difference between differentiation and identification is one of position in space. Differentiation are big positions — wide-apart positions in space — and identification is a whole lot of things in the same space; as far as space is concerned, energy's concerned. All right.

Somebody said once — some old Arab philosopher, I think it was. Oh no, it was Omar Khayyam, isn't it? "When you have two loaves of bread, sell one and buy white hyacinth for your soul's sake."

When you get — this fellow's with this lathe and this lathe doesn't quite duplicate him and he doesn't quite duplicate it but he will after a while — he'll have wheels in his head. That's because he's standing there getting an energy interchange. He's got a terminal. He no longer has just a barrier — he's fixed his attention on it so long that it's become a terminal.

Who said that?

Well, it works this way with somebody who's been overeducated. He's in a schoolroom so many years that he eventually starts to use school walls as his terminals, and he gets unhappy after a while at having to graduate. Now, there's a problem of a barrier degenerating into a terminal. When a barrier degenerates into a terminal, it has a tendency to fix the individual in that spot in time.

Male voice: Omar Khayyam.

So we have this fellow at the lathe, when he's home at night in bed he's still running the lathe. Years after he's lost that job, he doesn't run lathes anymore, you try to work him as a preclear and you'll find out he's still standing there at the lathe.

Is that Omar Khayyam? Yeah. I don't know why they didn't sell both loaves. I don't know what good a loaf of bread is, truth of the matter.

Any case that's having a little bit of a bad time of it here has had — at one time or another used a barrier, particularly one which had to do with communication — has used some sort of a barrier. Communication. Anytime you put mest on a communication line, you effect a barrier, even though it pretends to be a relay system. And the more MEST you take out of a communication line, the faster the communication flows and the more exact it is. The more mest you put into a communication line, the less duplication there is.

Female voice: Maybe it was good then!

So we get an individual sitting there or standing there at a barrier so long that it at length becomes a terminal, and then we take him away from the thing and he's got a terminal missing. And you'll get a manifestation like the front of his face is gone. You'll get something like that. He'll get the idea that his throat's gone or he has a nothingness. Sure — he lost a terminal. He used mest so long that it became a terminal, and then he lost it. And you can spot the tool or implement on any preclear that's having trouble. The tool, implement or position — something that was a barrier and so on.

So you have a lot of latitude with a preclear that you may not look at, merely because of the boresome level of the society today. The only thing beautiful in this society today is the body of a car (oh, and I shouldn't add this worldly remark to this group) or a beautiful woman. This is about the end-all of the whole proposition when the — when you consider what's being done artistically today: it's nothing.

It's not a person, by the way, it's a mest object. And by the way, he doesn't duplicate the nothingness around it. His concentration is always upon it, his attention is never on the nothingness surrounding it.

You go up to New York and you look and you'll find the better artists — the better artists are in commerce. And they're doing a pretty good job of a glass of Schenley's with some ice in it, but it's very utilitarian. Very.

Six Ways to Nothingness, Reach and Withdraw from the walls, that's — reach through them, any such technique — "What's the realest thing in the room?" that all comes under that formula. "What's the realest thing in the room? All right. Reach for it, look at it, feel it. Okay. Now withdraw from it. Let's — what's something else real in the room?" That's Contact. Well, of course, that's just barrier — contact with barriers.

And you look at what's being considered art, and you'll think you've walked into the local sanitarium. Art has gotten to be something which is fantastically unreal. Well, that's art now. And never occurs to anybody — let's say a bunch of millionaires get together up there and they're going to build a new building up in New York. And they worry and worry and worry about what the cost of it is, and who they're going to rent the thing to, and how they're going to acquire the ground, and who are they going to get on the city hall to condemn it all, and they're going to worry about everything. And they throw into the lap of some kid or some firm that's related to the mayor, the plans of the building. And you get something that shouldn't happen, ordinarily.

Before a fellow can go ahead on a game of obstacles, he has to find what obstacle he is confronting at the moment. It isn't enough for you to simply knock out or wash out all past obstacles that stopped him — this is not what's worrying him. What he's worried about is what are the obstacles which are just now confronting him? Well, he's been stopped so often that he knows anything can stop him — he thinks.

Just forget it. The skyscraper today is built to last about twenty-five years. After that it's not supposed to be standing there anymore. Somebody's supposed to tear it down or something. And it's remarkable that there's so much latitude between utilitarian today and the beauty that is possible. I mean, it's one of these infinity tracks. We don't have any gradients, see? I mean, there isn't anything to look at, in terms of span, that give you how much there is up the line up here toward beauty.

So you have to give him a certainty that he is in an area where he's not necessarily stopped.

Right where you have beauty and the society level today, you see, it is something like — well, you travel from the beginning of a yardstick, you see, up to the first eighth of an inch, you know. And then you operate between that first eighth of an inch and the beginning of the yardstick. And you got the rest of the yardstick to work with, see, and nobody ever notices there's another there — that there's any yardstick there. Everybody's totally convinced that there's only the first eighth of an inch. Well, that's about the way it is.

As a matter of fact, it's a much bigger trick to stay in the mest universe than it is to slide out of it. Your preclear who is sold, though, on the fact that he can't duplicate nothing, will find it almost impossible to slide out of the mest universe. "Mustn't duplicate nothing," you see. If he can't duplicate nothing — that's what this universe has got the most of — and if he can't duplicate it, then it's senior to him, so it commands him. So nothingness commands him. He has problems of security, he has to work so that he won't starve. He has to work so that he won't starve, well, he has to worry about starving because he can't create energy and around and round it goes. All right.

And an auditor will be plagued continually by preclears saying — if an auditor neglects this artistic factor, why, the preclear will plague him continually. "All right, so I can do these things, so what? So what, so I can do these things. So what? I mean, it. . ." And the auditor is rather nonplused sometimes if he doesn't realize where the root lies there. But the root lies toward art. You rehabilitate his artistic ability, and believe me, he won't be telling you "So what?" Because that's the best there is in him. And when that is eclipsed, then the best of the thetan is eclipsed.

Let's take up Step VIII. And we get in Step VIII, "Communication by Duplication," which, of course, is a title there which is simply put down to rub your nose in it real hard. Now, you can say duplication, you've said communication; when you've said communication, you've said duplication. Well, unfortunately, when you've said duplication, you've said a lot more than communication. See, communication is a smaller subject than duplication — that's a bigger subject. But they're both interdependent. It's like calling this thing "Step VIII by Step VIII." All right.

And he can do all sorts of things. You never saw a thetan get so busy as trying to build some kind of a mock-up all by his lonesome — not by just saying it's there, you see, but by taking masses of energy which he creates and putting it in there and shaping it up there and looking at it this way and looking at it that way and beaming it up here and stringing it up there and getting some color into it over there, you know, and so on. You talk about busy! He just gets busy and serious and so forth. He can get real serious about art — real serious.

And we find the fundamental involved in it is: The basic action of existence is duplication. The basic action of existence is duplication. Whereas we might have the prime principle of existence where far — far as life forms is concerned is survive, why, we've got a higher action than that. The dynamic principle of existence is survival. Okay, but that's as far as life is concerned and life forms.

And by the way, what he considers good art would rather exceed the imagination of most of the boys — it's rather tremendously variable, but it's rather overcolored and so on, to the dingy school of artists who are now operating today.

Now we no longer worry around with life forms, we've got the upper level of this. And that's "the basic action of existence is duplication" and that's much, much senior to survival. A fellow only starts surviving when he stops duplicating. All right.

Well, it's something like that school of Dutch painters which flourished here in the last century or two, and I think is still flourishing, and that one of our American magazine cover painters, Norman Rockwell, studied for a while.

And we've got a Logic that applies here, is: All operating principles of life may be derived from duplication. All operating principles of life may be derived from duplication.

It's very wonderful. What they do, you see, is you take yellow and you get some brown — you kind of thin it down, you know, so it won't be gaudy. And then you get some red and you get some brown and you kind of thin it down, you make it real thin. And then you get some blue and you throw some brown into it, you know, and get it thinned down real good. And then you paint it with a dirty brush, you know, so it won't be too bright. And I think he — the four . . . The paintings he did for the four slavery — I mean, the four freedoms are done in that tradition.

And we have the Axiom: Communication is as exact as it approaches duplication.

Well, a thetan doesn't work in that tradition. I don't know what happens to him, but he just seems to go all out. He thinks color ought to be color, you know, and so on. He gets gaudy. And most anybody today would tell him that he should be more restrained. Restraint is the greatest expression of art, according to the modern school. Trouble is, they restrain themselves down to the point where they're using mostly soot on dark paper.

And we have an Axiom: Unwillingness to be cause is monitored by unwill­ingness to be duplicated. You won't be cause if you won't be duplicated. See, if you're afraid that by being cause you'll be duplicated, why, you won't be duplicated, so you won't be cause.

So, as an auditor you have quite a breadth of experience, quite a large piece of living you're looking at. And if you keep on comparing it to today's livingness — keep on comparing being a thetan to today's livingness — your preclear's going to be completely flabbergasted. I mean, he's not going to know why he's been exteriorized. He's not going to know what to do. You're going to be in a state of confusion.

This fellow goes around saying he doesn't want to cause anything bad and that sort of thing, that he doesn't want to cause anything — he's afraid he'll be duplicated. People standing around mocking him, saying things after him and so forth, this really drives him mad.

And I hope tonight I've to some degree answered the question of "Well, I'm theta cleared, what do I do now?"

A person would much rather be betrayed than ridiculed. A person's afraid to be cause — for instance, he's afraid to write a story for fear he'd be ridiculed.

Well, you can do anything that was done on the track, or you can do it wilder. Or you can go into any span of art there is, and the universe itself is wide-open, even though the saloons close at ten o'clock in most of the towns in the US.

And: Unwillingness to be an effect is monitored by unwillingness to duplicate. If a person won't duplicate something, he isn't willing to be an effect. So a person gets stuck halfway between — he doesn't want to be cause and he doesn't want to be effect. The reason why he doesn't want to be cause and doesn't want to be effect is he doesn't want to be duplicated or he's afraid he will be duplicated. So if a fellow is in the state of mind wherein he is afraid he will be duplicated and he is unwilling to duplicate, he is exactly in the middle between cause and effect and he's stuck but good. And he's going noplace and he won't move out of his head easily at all.

Okay.

The Axiom: An inability to remain in a geographical position brings about an unwillingness to duplicate.

Axiom: An enforced fixation in a geographical position brings about an unwillingness to duplicate. Inability — impossible to stay, and "won't duplicate," see, is "won't duplicate time" — won't be there in two times. See, he won't duplicate time. So geographical location is immediately associated with unwillingness to duplicate and be cause and effect.

So a person who has been moved all over the place and shoved all over the place and can't stay anyplace and so forth, he has a trouble with time. He also has trouble with being cause, with being effect, so forth. It's impossible for him to stay and he has to go and he has to stay — these are bad things.

Axiom: Inability to duplicate on any dynamic is the primary degeneration of a thetan. Inability to duplicate on any dynamic, primary degeneration point of the thetan.

Axiom: Perception depends upon duplication.

Axiom: Communication depends on duplication.

Axiom: In the mest universe, the single crime is duplication.

Formula VIII: The primary ability and willingness of the thetan to duplicate must be rehabilitated by handling enforcements and inhibitions relating to duplication.

And that's your duplication step. You got to fix it up so he can duplicate something and duplicate nothing and not duplicate it and duplicate it and remain in one position or go away.

Now, if you just start putting up in the walls — have somebody start putting up in the walls "Impossible to stay," and put up in another wall, "Impossible to stay," in another wall, "Impossible to stay" — he'll get frantic after a while.

And we'd put up in the walls, one — the first wall, "Impossible to go. Impossible to go. Impossible to go. Impossible to go." And he gets frantic on that, see? He mustn't reach away from and he must stay on the ground and so on, and this way he gets all fooled up.

Now, if he is unable to remain in geographical positions, his time track gets jammed. You see that, because he's — impossible for him to duplicate time. Because he can't duplicate time — the way you duplicate time would be in the same position twice — two, three, four, five, six times.

Okay, you've got an awful lot of stuff there. I don't know whether you're more confused or otherwise, but I would say that you were probably relieved to know that that's all there was to it.