This is December 7th, first afternoon lecture, first hour.

And this is December the 7th, 1953. This morning we're going to talk very rapidly on several very important things.

And we are going to take up now SOP 8-C. And I'm going to give it to you in the brief form for student use. And the reason I am taking this up at this time is, is there are about a third — a little bit better than a third of the cases present are not advancing.

The first of them is knowingness. We're going — about knowingness. Where the preclear is hung up and the reason he's hanging on to data is because he didn't know about something. And this is remedied by double-terminaling the fact that he doesn't know. It's a very tricky, easy idea.

And I can tell you very bluntly why they're not advancing. It's because SOP 8-C isn't being used on them.

Only thing that can be really wrong with a thetan is to convince him he's wrong, and he — that's even better, being wrong, than not knowing whether one was wrong or not. So you just take care of this "doesn't know whether he's wrong or not." Several ways to take care of it — most elementary, which almost anybody can understand — almost anybody, is just match-terminal the fact, "I don't know whether I was wrong or not." Simple. All right. You'll find out that a great many persons' (quote) "adventures" (unquote) with relationship to other thetans are hung up on this one fact.

Now, if you know anything before you get out of here, you'll know what I know — what I'm talking about. And on that, regardless of theory, regardless of anything else, when it comes to practice, these processes in SOP 8-C will exteriorize anybody. They'd exteriorize a dead man. (audience laughter) That's right.

Next thing on the line is the invisible barrier. The invisible barrier is very important. We dramatize the invisible barrier. Would somebody please point to an invisible barrier for me right here in this room? Come on, let's point to an invisible barrier that's in this room. Oh, boy!

And if an auditor isn't getting results on SOP 8-C, it's one of two reasons: one, so far in this unit I have not given it to you in printed form, so that's partially my responsibility; or two, I have given you a little too much theory along with its use — telling you why it was used. Or the auditors are running something on the basis of "don't let him free."

Male voice: The air.

Now, actually that is a funny thing, but that can be run. I have seen an auditor who wasn't himself well exteriorized make the oddest mistakes, and even an auditor who was fairly well exteriorized, make the most peculiar errors which somehow or other wound up with the preclear back in his head — just accidentally-like. Now, I don't mean to make you alert or upset about your auditors, because SOP 8-C remedies this too — freedom for others.

You know, the Hopi Indians have what they call "enterprising ponies." And they give an IQ test to their ponies and there's about — oh, I don't know, about fifteen or twenty knots with which you tie up ponies. And all of the ponies are tied with the knot they can't untie; that is to say, one knot — one more complication than they can untie. So you can always know the IQ of the horse. It's what kind of knot he's tied with. Well, then, a pony that can untie all the knots is known as an enterprising pony. We don't have one here. Anyway . . .

Now, there was one auditor in the First Unit who was a marvelous auditor but he had one drawback — nobody ignored him when he tried to talk them out of a technique being used on him. And he would throw this off on, "Oh, I can do all that."

Next on this is, what's that thing over there?

Now, actually his case was in wonderful condition aside from this one point — and it was "other people's space." And he needed hours and hours and hours of it. Because he couldn't be in other people's space. And if an auditor can't be in somebody else's space, he's in bad shape.

Male voice: It's a barrier.

Now, you can get a case unbalanced this way: You can get the case completely able in the mest universe, by claiming the mest universe — see, he gets up to a point where he's not worried about mest anymore — and get his own universe up to where he's completely able in that, see, and then we never bother to get him in the third universe, which is the other fellow's. And we have made out of him, by that lopsided auditing, a menace; and that's the only way we can make a menace. And believe me, you would really have to audit very, very carefully in that direction, or permit a preclear every time to fight you off on Spacation steps which included other people's space, or to permit people to get way off on other people's universes.

Yeah, it's a barrier. And furthermore, it's a class of invisible barrier. What are you wearing on your nose? Invisible barrier. What are you wearing on your nose? And then you guys wonder why you go in and out of your head and back and forth and around and round: you're hepped on invisible barriers. That's what we got to have — we got to have more invisible barriers.

Now, there's three or four — well, I know I — I know that by hearsay. I know one personally present, who Step I'ed very well, and then did a tremendous jump on just being the three universes — see, the other fellow's universe too. Did just a big jump on this one; there's a couple of others have done jumps that way.

Now, a fellow goes skyhooting across space in a spaceship, something of the sort. He's standing on the bridge. He's piling up blackness as far as he can see, but it's all piling up against an invisible barrier. You'll find out this invisible barrier is just so many feet from the individual, or so many inches from the individual.

So it may be so far from you, it may be so extremely strange to think of somebody else having another universe, it may be so difficult for you to figure out just exactly "Well, how do you go and find somebody else's universe?" you see, that you just sort of throw it up and say, "The devil with it." And if you succeed in doing that, you will start up and foster in your own group lots of rivalries. Why? Because that's the only way you make an "only one."

Where a person's had an accident and come into severe collision with glass, he is very befuddled indeed, because he's collided with something that looked like nothing. And of course, there's the biggest maybe on the track. You just — he's collided with a something which looks like nothing — invisible barrier. You can understand that, can't you?

How do you make an "only one"? Well, you let him have his own space, and you let him lay claim to the MEST universe space, and then you never lay in anybody else's space. Now, that case is going to hang fire and degenerate. And the reason it'll degenerate is because you have ignored the one thing which permitted him to go into agreement in the first place, and so you've not undone any of the agreement on the whole track if you have ignored the other fellow's universe — other people's space, bluntly.

Well, what you doing hiding behind eyes? The eye is an invisible barrier. You exteriorize a preclear and he tries to take his eyes along with him. That's so they'll get hit first. Anybody who is difficult to exteriorize is afraid of being hit. I mean, that's a very flat statement. He's afraid of several things that can also be flat statements. And one of these flat statements is, he's afraid of being hit by the mest universe. He's afraid it'll cave in on him, afraid it'll smite him, smash him, do something to him and go out of plumb suddenly and collapse on him and so forth. How anything can hit him in the first place, that's the biggest idea he's got. Nothing can hit him anyhow. But he's behind of an invisible barrier. Anybody who is using a pair of mest eyes is using them simply to be that far from a point of impact. See, the eye is an invisible barrier.

Now, some people who can't see anchor points, you will find, are immediately hung up on other people's space. This isn't always the case, but it's just something that happens.

Now, as you run this you find out the individual is ostensibly looking — in the case of an occluded case — he's ostensibly looking at nothing. And, you see, he's looking out there at nothing through something and ignores the something.

"Seeing somebody else's point of view," "being somebody else," "being willing to understand somebody else" and "being willing to be in somebody else's space" are all synonymous. That's the same thing. The fellow who is antisocial simply can't tolerate other people's space.

Now, there's another way this works in. A person is most aberrated by that thing which he overlooks. You know, that thing to which a person gives the least attention, you might say, which is giving lots of attention to him — that's very aberrative. Something giving the guy lots of attention, he's ignoring it. You know, he's aware of it but he's overlooking it and he's gone out beyond it. And by that you'd get the whole dwindling spiral.

Now, there isn't any reason under the sun why you can't tolerate somebody else's space, because it doesn't bite.

Now let's take a look at this invisible barrier thing. As long as you — the idea that glasses can correct vision is commercially sound for an optician, but it doesn't happen to be correct. In the first place, an individual is not using glasses to look through. He's not even using eyes to look through. This is real idiotic. He's not looking through eyes. He's using a couple of viewpoints.

Dogs — even dogs dramatize this. Did you ever go past some yard where some little insignificant Chihuahua came out of there wa-wa'ing like the most ferocious tiger you ever met? That was his own front yard. "Bow-wow-wow!" And he got right over the border of his own front yard and into the next fellow's yard and he — his "bow-wow" dropped to "yipe-yipe."

And by the way, let's straighten up a piece of nomenclature right now: We've been saying "viewpoint" as meaning something an individual puts out to look through and the point the individual looks through. Let's classify it as that thing which an individual puts out remotely to look through. You know, a system of remote lookingness. We'll call it just "remote viewpoints" as a specialized kind of viewpoint. And the place from which the individual is himself looking, we will call, flatly, "viewpoint." And we'll get this differentiated, because you're going to run into people — their main trouble is remote viewpoint trouble.

Dogs will tolerate dogs all over the street, they'll cower and cringe and run away, until this other dog invades their own front yard, at which moment the protecting dog will go to war — and only then — no matter how small he is. And the other dog, oddly enough, that is doing the invading will normally realize that he is invading and run away. This is strictly a problem in space.

Now, we have the invisible barrier. He's trying to get a remote viewpoint. And he's just scared he'll be hit, that's all. That's — his trouble is with havingness. That's right. What havingness he has is liable to be unhad by things hitting him, and — the way he works it out.

Now, I don't say that human beings are dogs — dogs are loyal and friendly and good. (audience laughter) But when it comes to somebody being nasty to you, somebody disagreeing with you violently, somebody throwing your case into an ashcan quite by accident, you're dealing there in terms of other people's space. Somebody feels he can't have space unless he reduces yours. That's the silliest thing in the world.

Now, we look this over, we find out that the individual is very sold on invisible barriers. He sits behind the invisible barrier of an automobile. He sits behind the invisible barrier of glasses. And every Homo sapiens on the face of Earth is busy looking through an invisible barrier called an eyeball. And therefore — he is not looking at the eyeball, you understand. He's not giving any attention to the eyeball. Therefore, he isn't giving it any attention, it's just going to get thicker and thicker and bigger and bigger and on and on and on and on. Because things are giving it attention, but madly. Every photon and so forth, as he conceives it — as the body conceives it — everything that's hitting the eyes in form of light and so forth are smashing up against the face, the eyeballs and so on. Well, he's looking through this.

A man who can't have space until he reduces somebody else's space is a man who will never have space.

Now, the body itself, therefore, is an invisible barrier, as far as the individual is concerned. He doesn't really see it or pay any attention to it. He's looking from inside it. And with this invisible barrier, he goes around and wonders — once in a while somebody calls his attention to himself. He says, "Put your attention on yourself." That's the favorite method. That's what teachers do, what mothers do, fathers do, wives do, husbands do, is "Oh, yeh-yeh-yeh-shmayeh, put your attention on yourself." It all boils down to that in the end. Put your attention on yourself, put your attention on yourself, put your attention on yourself — all the way up and down the track. In other words, less space, less space, less space, less perception, less perception, less perception. Don't look, don't look, don't look. I'm scared, I'm scared, I'm scared, so you mustn't look. That's the way it adds up. All right.

Now, the system of barriers and agreement on the track which have come about and which compose the mest universe, are themselves extremely competitive with the individual if the individual permits them to be. Because they're fixed in space, they are, therefore, fixed ideas.

This is wonderful because an individual after a while is sitting in the middle of an invisible barrier which all of a sudden becomes visible. But it becomes visible in the form of occlusion. It just gets so piled up on it he can't look through it anymore because barriers have become so real to him. Barriers are now so real, he can't look through barriers, so there he goes.

So this competition — this type of universe which one confronts — leads one to believe that the universe itself is an archenemy, eventually, because it hems him in without his consent. It's other-determinism. And he takes it out on other people.

Next thing I want to talk to you about is competition. People think they're in competition with the mest universe. They think this stuff is something to be in competition with. That's mainly because they've been trying to win with mest for a long time and they never have won with it. And it keeps winning, so they're in continuous and consecutive competition with it. And they have a tendency to save those things with which they have won in this competition with MEST.

If a devil were ever invented in this universe, it was invented by taking one thetan and making it impossible for him to be in anybody else's space or for him to permit anybody else in his space, and that made a devil. That is cruelty, that is sadism — it's all the other undesirable characteristics.

Now, people would much rather look at people than look at mest. And when you start a preclear out looking for his aberrations, he immediately looks to people. You, as an auditor, immediately look to people. You will not find the basic aberrations connected with people. That's down there on the third dynamic. To hell with it. The only thing people can do to you is lie to you. In view of the fact they don't know any of the truth, this is inevitable. But if it were just a question of people, you could eat them up, chew them up, spit them out. There wouldn't be any trouble with it at all. You could just go on a high-handed rivalry on the subject and you'd win and you'd lose and you'd win and you'd lose and you'd win and you'd lose.

Now, these characteristics are the characteristics of life. It's not true, however, that life is cruel. It's not true that you go — have to go and study the very aberrated beasts of the jungle in order to find out what optimum behavior should be.

The only ally people have against you is the mest universe. The MEST universe is the only effective one, because this is you, too. This is the past. And the past has snuck up on you into a solidity. And so people divert your attention from the mest universe, whenever they can, to people. They divert your attention to the mest universe whenever they can. In other words, they shift attention — and there's the sole trick that people pull on people.

Now, organizations such as those headed by Darwin lent their color — by the way, that's a long time ago. Hardly anybody realizes how long ago Darwin was, but he lived in the middle of the nineteenth century — that's a long time ago. He predates Freud by decades. And Freud came along and bought this backwards approach: "the beast of the jungle," this horrible "look beyond" thing that you had to look under and find these "bestial, barbaric cravings in man which were his basic self." No, they're not his basic self.

Did you ever try to fix something and have somebody take it away from you? Well, there you have immediately the most aberrative person in the bank. Just like that. This person was nuts. He couldn't let you fix a tricycle or use any washing powder or wash your hands or shave or comb your hair or something, without immediately climbing onto the fact and shifting your attention from it, either on the basis of "Let me do it," or "You're doing it wrong." A failure, in other words, to let you have any liberty with mest, consistent and continuous.

And men who start to combat and contest these things eventually become them. So you find people in that profession which is always seeking out the barbaric, the cruel, the wicked, the hidden, eventually themselves becoming wicked, cruel and hidden. There's nothing there. I mean, people go down Tone Scale and get into these states — I mean, so what? You don't have to address those states to pull them out. Isn't that interesting?

Now, there's the one operation people can do. When they get very degraded, they feel that they're out of competition and therefore, they kind of got to pick on everybody one way or the other. And they just shove their attention around this way and that.

So, we have taken the main curse off of auditing, which was meshing terminals with all aberration. And that, by the way, is a slight triumph. We're processing what's good in people so that it will get to be much better. And by being much better, suddenly just plows them out of where they are.

The one thing people won't look at is present time. If you take a little child, and if you were to argue with the little child over the subject of parents for a very short time — talk with him — you would find yourself arguing on this basis: "They can't relax. The — somehow or other, they just can't relax. There's something terribly wrong with them, because they shift their attention continually into the past or into the future. And they keep shifting my attention into the past and into the future. And they just don't look at what's going on."

So, where we deal with these processes, every one of these steps is here for a reason. Now, it's all well to say "there is no reason to anything," but in view of the fact that man runs on reason, he succumbs to processes which address the reasons.

And if you were to really boil it down, a kid can make a terrifically simple statement of this. They aren't looking at now. All of his complaints boil down to that fact. They're into the future, which is consequences, which the invisible barrier permits them to dramatize. And we're right back to the invisible barrier.

There are so many more techniques than those contained in SOP 8-C, that were I to sit myself at a typewriter and type for the next five or six years, I would not have listed all of them. There are so many more techniques than these. But here we have the most basically workable techniques.

Now — "Look beyond." Everybody's got just blooey on this. I mean, they're just — nyah! Look beyond. "What is the significance of. . . ? Let's go into the future. Let's go into the past. Let's do everything but look at what we're looking at. And let's look beyond, look beyond, look beyond." There's a pair of — two, three pair of eyeglasses here. "Look beyond," they're saying. Look beyond what? An invisible barrier.

Now, SOP 8 is much more theoretical than SOP 8-C. SOP 8-C is the most that could be worked out of SOP 8 which brought an immediate result.

So you get the idea, "Well, there is an invisible barrier somehow, somewhere." Well, that's because thetans don't happen to be visible, and because they can jump you and pull the God trick on you. All right.

Now, these techniques that are in SOP 8-C, and in this order, were those which, when addressed to numerous preclears, brought the maximum com­munication change. Communication and perception change is what we want, because we can observe that. Change in knowingness is what comes about, but we can't observe that directly. And so if we're going to observe something, we have to gauge it on communication shift.

What, then, is this business of significance? What's this business of computation? What's this business of circuits? What's this business of people into the future too far and into the past too far and so forth? It's just this business of "look beyond." See, they've got to look beyond it.

If you process a preclear for an hour without a communication change, let me tell you something — you're a terrible auditor. If you can process somebody for an hour without getting a communication change, that's just terrible. And that is unbelievably bad!

What is mathematics? Mathematics is a system by which rather aberrated people can look beyond obvious facts with unobvious symbols. They're looking beyond. "Let's all figure, figure, figure, figure, figure, figure."

If I can't get a communication change of one sort or another out of a pc every ten minutes of auditing, I'd just throw in the sponge on this pc and go way down the list someplace or another and try and make him grope around and find a wall; because I obviously have entered the case much too high, in some fashion or another. The case is worse off than I observed the case to be bad off.

All the answers to the universe lay straight out ready to be instantly and immediately viewed. Every answer there is, can be viewed directly. The motto of this society at this time is "Think, don't look. Think."

What you should expect as auditors is a communication change by having used SOP 8-C. And by that I mean a communication change in terms of theta perception — that it gets worse or it gets better — you see, either one.

They used to yammer and yammer and yammer at me in Dianetics, "Why don't you validate some cases, you know?" Sensible people — "Why don't you — why don't you do something and so on, and validate some cases (mumble) . . ."

It's very often that you put out — you light a big fire by putting out a small one, and so it is with a pc. You sometimes make him feel like he's just being ground down to the finest dust he ever heard of, then all of a sudden the lights come on again.

"Why don't you just look at the subject matter?"

I was processing somebody this morning on a demonstration and he kept saying, well, his perception was getting real bad, it was getting worse and it was getting worse. Fine, fine, swell. You're changing perception, that's all you're after. All of a sudden he — on some of these techniques, if you just used them arduously right straight on along, the guy would go blind MESTwise and then turn his sight on again.

"Why, no, you've got to have some validated cases one way or another, you know, I (mumble) . . ."

Now, you can actually do that with an Operating Thetan. He can make the body blind as a bat — just pang! There's really nothing to it — he just picks the viewpoints off the eyes, throws them away — the actual viewpoints. He just pulls them right on off of the eyes, and then puts two viewpoints in their place. It's quite amusing.

"Well, all right, we have some validated cases."

Well, therefore, if it can happen directly, believe me, it'll occasionally happen accidentally. And this doesn't mean that your pc is going to be blind for any length of time, but you just start wasting viewpoints. You know, just have him waste viewpoints and waste viewpoints and — I'm now talking in terms of remote viewpoints. You just waste remote viewpoints and waste remote viewpoints and waste remote viewpoints, and all of a sudden, why, the fellow's sight starts to blur and cave in and go silly and so on. Why? He's affecting the two remote viewpoints which he has in front of the mest body's eyes.

"Well, they won't do, they probably haven't been observed long enough. Heh!"

The interchange point of the body and the thetan is the anchor point. The thetan does not touch flesh. That sounds very strange, doesn't it? He does not touch flesh, as such, when you're first processing him. When you get him real good, up to a point where he can actually handle all sorts of energies, and sometimes when he's in pretty bad condition but can still handle certain energies, he can make a direct contact.

Oh boy! Oh boy! Wonderful! That's the way it goes. They want you to — they want you to provide something at which they could look so they won't have to look at it.

But he doesn't ordinarily handle the body by doing this. That would be a stunt. That'd be a stunt — he could make a direct contact on the body that the body feels. For instance, he touches the cheek of the body and you all of a sudden see his cheek dimple in. Well, he's pretty good thetan — pretty good operating level. Ordinarily he doesn't do that. He isn't connected to the body. He's occu­pying these anchor points — space. And by varying the anchor points which he can contact as the intermediate position, he varies and handles the body. That's more or less the way he works.

You think there's any end to this — there isn't any end to this, as long as you have a dependency on agreement across the boards throughout the universe. And where everybody's got to agree that — what you're doing, before you'll believe what you're doing, you'll never get anything done. Perhaps the single difference between myself and my work, and other people who've worked in this same line, is I don't give a damn whether anybody agrees with me or not. I know what's right and what works and what doesn't work, and I'm perfectly willing to look. And I'm perfectly willing to overlook people who aren't willing to look. You see, there's the big difference. I admit this.

And then you find some thetan hugging this exact space. Or, worse than that, you'll find him hugging only the space of the hands and arms and so forth, regardless of the anchor point. He has therefore exceeded the space of the body in some fashion or another. He has (quote) "taken his finger off his space." And again, we have a problem of space.

So you used to talk about somebody going out and finding that ninety-ninth sheep that strayed from the fold, and he went on straying from the fold and so forth, and the most wonderful thing there was to do was to overlook all the sheep in the pen, see, that you had. You had ninety-eight sheep. And this ninety-ninth one, he'd gone out way over the hills and he was lost. Well, the honorable and wonderful thing to do of course, was to look beyond by finding this ninety-ninth sheep. The hell with him! We got ninety-eight. See, that's the practical as opposed to the scientific or the superreligious syllogisms that have gone along the line. These are wonderful, but they don't lead us to any results.

Many thetans and many bodies — people who are bad off — they're actually copying the shape of the body, not copying the anchor points of the body so as to monitor them. And again, this is remedied by space. But it's also remedied in other ways.

Now, let's look at this business of looking beyond. You'll find preclear after preclear after preclear after preclear doing just that. Just doing that — they look beyond. You try to get them to release a lock and they look beyond the lock. And you try to get them to release that next lock, and they look beyond that next lock. And they're just looking beyond. You try to release their blackness, their occlusion, in some fashion, and they're immediately looking beyond.

Well, this is the basic trouble, and the basic thing that you're fighting in exteriorization or that you're setting up, is an aberration of the space points — the anchor points of the body. These are shifted in some fashion or another so the thetan cannot exteriorize. That's actually what you're trying to do. Anything that goes off the line on that will not contribute to exteriorization.

Now, why did that little technique of the concentric spheres of blackness — if you've used it on an occluded case, and you've used it well, it's worked — why is that so effective on a black case? You're letting him look beyond. You're putting up a barrier before you put up each new barrier, you see. You just "Put up a sphere. Now, put another sphere on the outside of that. Now, look through the first sphere at the second sphere. Now, put another sphere outside the second sphere. Okay. Now let's look through the second sphere at the third sphere." What are you letting him do? You're letting him look beyond and expanding his space. First time he's ever done this.

But once exteriorization has taken place, then you're taking up the whole problem of the performance of life. So that SOP 8-C is directed in part toward exteriorization — those parts which immediately and intimately concern them­selves with exteriorization. And then concerns itself broadly with all the activities which have to be exercised and taken control of again by the thetan in order to remain powerful and able to function and able to produce effects such as he cares to produce in whatever world he happens to be living in.

Now, you could do this with eyeballs — just that. And with people with glasses, you let them, "Put up a pair of glasses. Now put a pair of glasses outside that pair of glasses. Now look through the first pair at the second pair. Now put another pair of glasses out there and look through those pairs at the new pair. But remember, look at the glasses. And now, let's put another pair of glasses outside all those pairs of glasses. All right. And let's look through the last pair you had at the new pair." And here we go. We're just extending their barrier. The person is trying to look beyond.

So the broad purpose of SOP 8-C is not to exteriorize somebody, but to make an able being. But those portions of SOP 8-C which are designated as exteriorization portions, are themselves the most effective methods I know, at this time, of exteriorizing anybody.

A person who has glasses sometimes takes them up merely to appear scholarly. Because scholarliness is the process of looking beyond. It's "Never be content with what you're looking at; always look at something else." There's a sort of an anxiety and nervousness goes about looking beyond. This is demonstrated in many people who — in a geographical way — they always want to see what's on the other side of something. They're never content, and probably could not tell you what's on their side of it. It's a big joke up at the Explorers Club, is that explorers routinely get lost in New York. All right.

Now, I'm just going to read this off here. And you understand that the goal of this process is to make a Theta Clear. And that a partial goal, a very small goal of the process, is to exteriorize somebody.

Now, let's carry on just a little further with this. I told you a few days ago that the most fixed thing, of course, would be a mass of energy which is condensed into an object, but that energy and objects and space were all very well and that a thetan could duplicate or create any of these things. But the single difference which you could put your eye on and you could realize — the single difference you could realize — between a living being and a piece of mest or a machine would be ideas, his ideas. In other words, an idea is the one thing which a thetan can originate.

And this is the brief form. And Step I is by location (I'm having this mimeographed, by the way, and distributed) Step I, by location — that's the total of Step I — location.

Now, he doesn't have to be in the middle of a thinking machine full of data in order to get an idea. As a matter of fact, that man who has the most data gets the fewest ideas. This is expressed in terms of imagination and here we're directly processing imagination — ideas.

(a) Be three feet back of head.

A thetan is different from the universe around him to this extent: He can get ideas. He can have ideas. Do you see that? That life differs to that degree. And life is as alive as it gets ideas; not as alive as it moves mest.

And you ask him, "Are you there?" and so forth.

So let's look not at the condensed thinkingness which succeeds each effort band as we go down the DEI cycle, but let's now look at knowingness and ideas.

Then you ask for places where the preclear is not in the present. And you ask for places where he's not in the past. This proceeds straight on Straightwire, you see. This is whether he's out of his head or in his head.

Did you ever know a mechanic who could look at a car and then fix it? Well, you won't ever find any other kind of a mechanic that could really call himself a mechanic. He's as good as he can get an idea of what's wrong with the car or what's right with it, see. He sort of looks it over. Now, more and more he agrees with society, and people keep saying to him, "Now, why did you think that ignition wire was busted?" And he says, "Well, I..." and then he'll get some explanation for it. He's being challenged continually — this idea of his knowing anything about the thing.

Where he isn't in the future. If he's out of his head, this'll start making him certain about where he is out of his head.

Well, you'll find him after a while blundering to this degree: He goes all over the engine and he adjusts all sorts of things and he knows all the time that he should just test out that battery, see, and get that ignition wire straight. Finally, he comes around to the battery and the ignition wire and straightens it out and says, "Why didn't I do that in the first place? Why did I do all these other nonsensical things?" Well, the reason he did all those other nonsensical things is, he was trying to agree that there was some kind of a mechanical system of knowing, such as examining the engine and tracing this and doing that and hoping and so forth, instead of just knowing what's wrong with the motor.

Where others are not in the present, past and future. And remember that order: present, past and future. Present, past and future — not past, present, and future — wrong order. Present, past, future.

Now, the odd part of it is that motors will run for some people, and won't run for others. Now here we're getting off to the edge of the immediately explainable to the general public. Why motors run for somebody, and they don't run for somebody else. This used to baffle me. I have never failed to be incredulous on this line, to this degree. I have had some of the smoothest running motors you ever ran into, see. I've had people come up and, you know, they'd just — they'd throw the switch and they'd push the starter button or give the flywheel a crank, but nothing happened. And they'd grind and grind and push and grunt and snarl and do things and kick it and then they'd keep saying — they keep — most of their cant is, "I get so mad about this. I get so mad about this." You try to say, "What you doing?" you know, and they just tell you, "Well, I'm doing — I'm getting mad." That's what they're doing. They're not starting a motor.

The present is the most immediate objective and therefore has priority. Being out of present time into the future is a deteriorated situation.

Used to try to write up in one of the less civilized portions of the world — the Puget Sound country. And back up in the deep, dark, rainy woods. They have woods up there and they're very dark and they're very rainy. You'd think this was a very good place to write. The only trouble is, the raindrops block in too little space. They're always making too little space. The nights are very black. And — but mainly it's because there's nobody to talk to. If anybody in Puget Sound were to hear that statement, they would contest this, because these people talk all the time. But I — what I mean is "talk to," you know? I mean, you have an interchange or a communication system at work. You go over — even at Seattle, they have some bright newspapermen over in Seattle, they're relatively bright, but you can't even really talk to them. They go on some kind of a pattern system, you know, their — no ideas is what we're into here, you see. You haven't got any ideas connected with anything they're doing.

Very few people would recognize that as a deteriorated situation. Where you want to be is way up in the future. This is the person who is figure-figure-figure; plan-plan-plan, foresee, foresee; prevent consequences, prevent consequences — see? The dickens with that. The fellow who's really calm is simply in present time. He isn't in the future. If you asked him what was going to go on in the future, why, he'd say, "Well, I don't know, I expect there's going to be some randomity tomorrow morning, but this is not tomorrow morning."

Well, I found that part of the country, more than anything else (this is downright slander because there are some nice people up there, there's no doubt about it) — and I never failed up there to have a motor and never failed to have people around who couldn't start it. These people can't start motors.

Now, he can cause things into the future if he cares to do so. But the bulk of Homo sapiens' cause is devoted to not having things happen in the future. So that's unmocking the future. And what Homo sapiens is doing about 99 percent of the time is unmocking the future.

You know, they — tsk! — it's just fatal. You have any kind of an engine, any kind of a motor, I don't care how new it is or anything else, you can give the guy your ignition keys to the car, or you give anything, and it's — he comes back in a little while and he says, "The motor won't start."

Take a bunch of little kids, for instance, in school and give them huge safety campaigns is about as vicious as you can get. You ought to give them danger campaigns — they'd find life much more interesting. If you did that, though, you'd never be able to park them in front of a TV set — they wouldn't take second order of 5r.

And you go out and you turn on the ignition and you touch the starter and the motor starts. And you say, "What's this?"

Now, where objects are not, in the present, past and future; and where the pc is not thinking, in the present, past and future; and where others are not thinking, in the present, past and future.

"Well, I don't know, I did everything you did."

And then you have him create, use and destroy remote viewpoints.

He sure did. Only trouble is, he can't start a motor.

Now, the variation on that, if he didn't exteriorize when you asked him to, this step would be performed by having him waste remote viewpoints, having him save them, accept them and so forth — right there, see, pang! He's obviously running on a remote viewpoint. He's obviously running on two remote viewpoints, and these two remote viewpoints are in front of his eyeballs. He didn't exteriorize because he has to be behind the invisible barrier. All right.

Now, what is this? What is this, when it begins to operate to that level? Did you ever know somebody who couldn't start a motor or run a simple vehicle? The automobile manufacturer is going to be very surprised in a few years. His motors are going to start less and less and less, in spite of the fact that they get brighter and brassier and newer and more sure-fire. Because he's running out of people who can start motors.

Now, that's part A, I have just gone over.

Now, this sounds very, very esoteric and supernecromantic. But the living truth of the matter is, you must have some of the ability within yourself to know, before the mest universe will run for you. You've got to get the idea of things. You know? You look at something and here's a strange piece of machinery: you've never seen it before, you haven't any idea what it's for and you look at it and you get an idea of what it's for. And you look at it a little longer and you get an idea of how it runs.

Part B is taken up if he exteriorized — if he did go uncertainly or certainly back of his head. You did all of A right afterwards, and if he is exteriorized then and fairly certain of it, why, you go into part B of Step I — which is you ask the pc to be in pleasant, unpleasant, beautiful, ugly, dangerous and safe places in his own, in the mest, and others' universes. See, if he was exteriorized.

And why is this? What is a machine? This is a machine society. They turn men into machines, and machines into machines, and there are more and more machines and less and less men. Although the birth rate keeps increasing and the death rate keeps decreasing, that's still true.

But if he didn't exteriorize, or if he is very wobbly being exteriorized — very, very, wobbly — even after you ran all that Orientation on him, he is very wobbly in his exteriorization, you start asking him to be in beautiful, ugly, and dangerous and safe places, you'll start running a Change of Space situation.

Now, one of these days you'll look out here, and (it's almost true now) these people walking up and down this street that you see past this building here — this is in the East — and you see these people walking up and down the street, they might as well be wind-up dolls except they aren't painted that nice. I mean, that's a bitter statement, isn't it — really brutal. No, they're worse than wind-up dolls. Wind-up dolls are predictable, and these people are busted pieces — real broken-down.

And Change of Space Processing — this character might be a V, and you start doing Change of Space Processing on somebody who is a Step IV or Step V, SOP 8 style, and oh, this is brutal. You may wind him up in a hospital or something. It's a real brutal thing to do. It's like the people I gave that Change of Space to on blackness. They only ran it for fifty minutes, the optimists. Everybody in the room was occluded to some degree or another, and they run this process for fifty minutes and then they get hot afterwards, and get cold and get green and pink and purple and they wonder — wonder what happened? Well, they just ran away from it. Because it's too tough. That's right, they ran away from it.

Now, you wind them up and they don't run or they do run. But all of a sudden, somebody can come along and run the machine. You know, all these people have a — they're fitted someplace or another, in some factory or in some office or in somewhere. And they go in there and they go through these jerky, routine motions. And it files that inventory slip under "B." And it gets its hand out of there and it goes over here and it gets another inventory slip and it looks at it. Then it puts stamp "C" on the inventory slip. And it puts it back in file "C." And it comes back here. This is work. It's what they call work.

I say that, and just without any further qualification. Because we ran, in the First Unit, Change of Space — had one of the people of the First Unit run Change of Space on the group as a whole. And everybody from Step IV down that was in that group, within just — oh, three, four, five minutes, was gone from that room. They just left in a flood, and that was the end of that. Change of Space is just too rough on this case level. They go unconscious, they do all sorts of things. So you don't want Change of Space.

People keep these zombies alive. A&P down here has fuel for them. Get that — fuel for them. Fuel for a being? Heh-heh! Oh no, this is not possible. Yes, it is. You tune on the radio, TV, advertising, you find out "Get more pep energy! The thing to do is to eat Boggy-Woggy cereals and you won't bog. Less bog per pound." And if you just hog enough of this completely incomestible mest, theoretically you will run. You will see babies in a few years being born with slots in their heads so that you can drop a quarter in. And the government will collect the quarters.

When we say — speak of a Step IV, we must be talking about SOP 8; we're not talking SOP 8-C. There's no such thing as a Step IV in SOP 8-C. There's people who are in their heads, and we want to get them ready to run SOP 8-C on them. And there's people who are exteriorized, and we're running SOP 8-C on them. That's about the end of that.

What are we doing? We're going further and further and further from an idea, and more and more and more toward a fixed idea. An adding machine, in essence, is a fixed idea. An automobile is a fixed idea. It is an idea surrounded by and trapped in mest. See that? A fixed idea. How are you going to fix an idea in the mest?

Now we have Step II. Now, Step II — again, see, these first three steps are beingness steps, and we have a special kind of anchor point being handled in Step II, so it's really a space process. But it overlaps into Step IV, which is an automaticity process.

Well, that's quite a trick and that's why people can't start cars. You have to sort of know it goes before it goes. That's the truth of the matter. You go down and know a car won't start, it won't start. If you know hard enough that an automobile is a broken-down wreck, it's one. That's a little bit hard to do with a Cadillac because aesthetics get in your road and so forth. But I stood alongside of a Cadillac one day, and I just knew it wouldn't run. I just knew it wouldn't run. And I stood there and knew it wouldn't run for a few minutes and so forth, and its owner came out and stuffed himself behind the wheel and stuffed his head into his hat and turned on the switch — and it didn't run. Huh-huh! Nothing mechanical connected with this Cadillac. In other words, I disconnected no spark plugs or anything like that. The Cadillac just didn't run.

The anchor point which people most believe in, and are most certain about, is the body. So what we handle in Step II of SOP 8-C is the body as an anchor point. Now, this is pretty tough on people who are very hard to exteriorize, to suddenly have them handle bodies. It's tough on them. That's too bad. Because that's basically what's wrong with them. There — too much automaticity in the body is a barrier which they're putting up to the world, rather than something which they're running for fun.

Why didn't it run? Well, he didn't know it'd run, either, see. He didn't turn on the ignition with any idea that he was starting a Cadillac. He turned on an ignition because he was a wind-up toy that turns on ignitions, which is then motored down the street by a motor.

So, we start Step II by saying, "Be three feet back of your head." See, regardless of whether he was before or not, we — "Three feet back of your head." And we have him mock up and unmock the room and his own body until he's well exteriorized. And if he doesn't exteriorize, why, we just go on to the next step.

Honest — robots can't run robots, not worth a nickel; unless the robots are made to run robots. You see? Now, if you have a society where all the robots are running all the robots, this is all very well, but somebody's going to come in someday and everything's going to be in — half-filed under "C." These machines will be sitting at their desks, right there, stopped dead. They won't be dead, they'll just be stopped; because there's nothing to die when a person has no ideas left.

So, A — the whole test of A there, and the slight variation we have from pattern in A, is we ask him to be three feet back of his head, and whether he is or isn't, we have him mock up his own body in front of him and unmock it, and mock up the room and unmock it, many times.

Now, this is not a tirade about the society at large. It is an effort to try to show you something. Your greatest ability is getting an idea. And your next greatest ability is keeping it fluidly, consecutively spotted or fixed in one place. Now, that's the next biggest step. Trying to fix an idea in one place. How do you do that? Well, that's very wonderful. I mean, how can you fix this thing called an idea in one place? Well, everybody has to agree that it's there and, of course, there isn't anything there, not even the idea anymore. But — and so it'll stay fixed in one place.

Now, you — a lot of your people will simply mock it up a couple of times, and then be out of their heads. Not automatically, you have to tell them then to be out of their heads again, so there actually should be another line in there. "Be three feet back of your head," and the fellow says, "Nyowrr-nyowrr." "Well, mock up your own body in front of you." Now, that's a rough assignment, to mock up somebody's body. To tell somebody to look at his body when he's very uncertainly exteriorized sometimes puts him into a dreadful plunge. It upsets him. And it's not something that you would do ordinarily if you expected a terrifically smooth advance of case.

But, trying to fix an idea; now, that's what your teacher in kindergarten, first grade, second grade, third grade, fourth grade, each time — that's all they were trying to do, was to fix an idea in energy. How can you fix an idea in energy? It's just not possible, you see. You can't fix an idea in energy. You can mold energy so it will symbolically represent an idea — hence, an automobile motor. See that? It will symbolically represent an idea. And if the symbol is good enough, it'll run for almost anybody. But if it's not good enough, it'll run only for a specialist.

But it is better to do this than to neglect to exteriorize somebody. See, I mean we could just neglect this whole thing. That is a wonderful method. For instance, I think you were telling me — "Be three feet back of his head" and he wasn't quite, and he mocked up his body in front of him and behind him a couple of times, and then exteriorized — bang! We mustn't overlook the fact that that happens.

For instance, in the old days there used to be airplane engines that would only run for a chosen few. World War I was fought with airplane and tank motors which only ran for the very, very artistic. It was a triumph, a puzzle-making and unmaking, to get them to rotate for a consecutive hour — but one really didn't do it. There was a race of pilots, once upon a time, who simply kept airplanes aloft because they knew they flew. That's all. People came along who didn't know they flew, and they didn't fly, either. No accident about this.

Now, if he exteriorized, mock up the room. The only thing — reason you're mocking up the room is to give the body some space to be in.

Now, a cranky piece of machinery could be an old piece of machinery; it could also be a new, unagreed-upon piece of machinery.

I feel you're unclear about that. I'll go over it again. We get into Step II, we tell him to be three feet back of his head, and whether he does or not, we don't care. We just ask him to mock up his body in front of him, and unmock it several times. We ask him to mock up the room and unmock it several times.

Now, I'm not trying to tell you that the only reason a motor runs is because somebody looks at it and knows it'll run. But motors don't run very mechanically. True. They don't run for people who don't know they run. For instance, there was a Japanese lieutenant and a squad of men who beat a car with switches — beat a jeep with switches — to make it run. The Japanese must have really found him up in Hokkaido — he must have been back of beyond educationally — because they're pretty bright about machinery. But he did beat a jeep, and his squad beat a jeep, because it wouldn't start. Most people will do that. They'll beat a car. They'll kick its tire, or so on. Some people get so mad at them, they'll dump them in ditches and do other things like that with them, and get furious with them.

Now, what we would do, again, would be, "Now be three feet back of your head," and they very often will just make it, just (snap) pang! and they're all set.

Well, an engine is a fixed idea. A communication system is a relay of fixed ideas in such a wise that they become ideas in motion. And there you have a beautiful illusion. You have a number of fixed ideas which seem to present something in motion.

And if they exteriorized on Step II, now you just — that's the only thing wrong with that step, as I told you before, is one who is an SOP 8 Step IV, you ask him to look at even a mock-up of his own body and he gets real upset. So know — kind of know what you're looking at; use your brains when you hit that one, and if you don't use your brains, why, think about it.

What's a preclear who can't get out of his head? Invisible barriers aside, what's a preclear that can't get out of his head? He's a fixed idea. Now, how he, the source of ideas — hey, this is wonderful, you see — he's a source of ideas and how we can get a source of ideas being fixed, geographically or any other way, is a marvelous thing.

Now, if he did exteriorize, you mock up — have him mock up and move own body between various locations, if he'd exteriorized. Now this sounds — another thing that sounds like a strange step to throw in there because as I said, it throws these people for a loop to look at their own body, very often. Even if they're exteriorized, that's the one thing you charge into and they get very, very upset about it. But listen, we're not asking him to look at his own body, and haven't, right straight on through this step — we're asking him to mock it up.

This is the greatest single tribute that could be leveled at our modern culture, that they have been able to accomplish this fact. They have been able to convince the source of ideas — the thetan — that it is fixed in one place. Well, they do that on a gradient scale. They get the individual to start fixing ideas in one place under compulsion. Not because he wants to — he always desires to do this; this is just wonderful recreation, always. What they do is compel him to do it. They say, "If you don't do so and so, then some terrific penalty is going to accrue. You are going to suffer from pain. If you don't know the mest universe well, if you don't know the habits and customs well of those things around you, then you're going to suffer losses. And we will just make sure that you don't misunderstand this, because you're going to suffer losses. Because all of this is terrifically desirable and you can't make it."

Now have him mock it up and move it from San Francisco, to Seattle, to Ecuador — back and forth and around and round between various locations, and handle it, and explode mock-ups of that body. See? Turn his body upside down, turn it over and unmock it and then create it, now mock it up so that it endures. And while it's enduring, have it appear in South America and have it appear in Chicago and move it here and there. And then turn it upside down, and now blow it up, and now mock it up again, and put it on the floor and saw it into many pieces with this fine saw, and be sure you get the pain out of it. And you keep on doing this.

So therefore, after you can't make anything, you can only lose. You see, once you stop being able to make things, you can't win. That's impossible to win, the moment that you stop making things. You start losing at that point, simply because there isn't anything being made for you except what is being made for you, by you. So you stop making things, you start losing things.

He isn't looking at his body. You got to use your head about this step. He's not looking at his body, he's looking at mock-ups of bodies.

Now, it may take you a long time to have your clock run down. It may take years for your clock to run down after you stop making things. But it normally doesn't — it's about two seconds max. Bing! You stop making things and all of a sudden you don't have the right corner of the room.

And very often they say, "Now I'll get a mock-up of my body," and a three-year-old child will appear. Or somebody who's stuck in the Assumption may often just get somebody who's just a baby, you know. And every time they say, "Now, I'll get my own body" — boom! they get a two-year-old girl. "Now, let's see, I'm going to get my own body this time," and pang! Well, that person's a Step VI and they've got to handle a lot of symbols. That's all right.

Now, depending on somebody else's opinion is your idea that there is such a thing as a fixed idea. You see, you look at all these other people and they are running around and they're obviously sources of ideas, so you get the ideas that all these ideas are fixed. You see? You look at the machine, not at the source of ideas which runs the machine. And because the machine is fixed in place, you consider then that ideas can be fixed in place. And you go ahead, having made that basic premise and postulate, and build up all the automaticity there is. See how you do that? You look at people and consider them sources of ideas, and so therefore, ideas are fixed.

Then, only after we've handled this body in this fashion and changed it around and turned it upside down and right side up and everything else, do we ask him to look at his own body. And we do this by — you know this business of mocking and unmocking a body? All right, you take him and make parts of his body disappear and put them back again, and then make them disappear and put them back again. And now, make his body disappear and put in its place all kinds of other bodies to exteriorize behind. See, children's bodies and so on.

The idea of a fixed idea is the most marvelous idea of all, because it gives you such a thing as the mest universe, for one thing. The big idea that makes it possible to have this big idea called the mest universe is the idea that you can fix an idea. Now after that comes fixed perceptions, and all of that sort of thing. But first you have to have the idea that you can fix an idea.

Now, there's a routine of doing this that I used to do occasionally which was — I don't know, bad or good, but I used to take them in and have them put a baby there and unmock it; and I'd go back to a minute-old baby, and a two-minute-old baby and so on, have them mock and unmock this; and an infant, and unmock an infant; and mock up a five-year-old and unmock it; mock up a ten-year-old and unmock it, and in other words bring the body automatic machinery up to present time so the body will construct the body as old as the body is — or younger, in the case of a very old person. Now, you follow that step?

Well, this would all be very hopeless if you weren't able to process it correctly. And let's look at a very senior, senior, senior process, but let's first talk about it in terms of invisible barriers and let's talk about it in terms of energy. That thing which moves the preclear through space comes to evaluate for him. That's a basic law. That thing which moves a preclear about — moves an individual about — comes to evaluate for him. That thing which changes his position in space, evaluates for him. Now, that is the most fundamental law connected with space, next to the law of a fixed idea.

You've got to make the pc completely familiar with bodies with this step. It's a special kind of anchor point. He can take them, leave them alone, throw them away, sort them out, cut them to pieces, do anything — you just get him over being superdependent upon bodies, and you — mostly by handling bodies. You just get him to handle bodies in mock-up form, and then actually mock and unmock existing bodies. That's this step.

Now we've got a fixed idea, now we've got a change of idea; now we have our first instant of overcoming a fellow's idea. You see, he says, "The tree will now not hit me" and it hits him. That's an inversion. What he said there, in essence: "The tree will remain fixed and I will remain fixed right here." Crash! So the tree has evaluated for him and the universe has evaluated for him. It changed his fixed idea by making it unfixed. So that thing which can unfix a person's ideas or shift him in space, of course, has a bigger idea than he has — he thinks. It couldn't have a bigger idea than he has — it just couldn't have — if it's a piece of mest, because it has no ideas. So he conceives himself to be up against some greater being than himself.

Step II is then — Step I is by location — Step II is just, let's handle that special anchor point called a body. First in mock-ups — making duplication in mock-ups and duplication of the room in which it's situated in mock-ups. And then handling it while he's exteriorized just by mocking it up and unmocking it and changing it around and exploding it and creating it and throwing it away. And just handle bodies, handle bodies, handle bodies, you understand?

His only vulnerability is that he's fixing ideas. Of course it has a seniority to him on the basis of fixing ideas, because it is a fixed idea and he's not. You follow this? He is not a fixed idea. He could have no vulnerability. Nothing could evaluate for him, unless he first got the idea that he could fix ideas and had to fix ideas in various geographical locations and positions. He had to assume this in order for an idea fixation to overcome him. See, he had to take the step — willing step — forward.

And then, have him take the body, this is the first time — you've just got him so accustomed to handling bodies by now that it doesn't matter. And you take him for the first time and you make him look at his body. Directly point his attention to his body and tell him to make a lock of hair disappear and then an ear disappear and something else disappear, and then get it back so he won't worry, and then get so he can unmock the whole body and put the body there and unmock it and put other bodies there, and just so he — "Bodies. Bodies, snotties, who cares, see? Oh yeah, there's nothing to it." That's Step II.

Now, the idea of a fixed idea is that an idea can be enclosed in space and energy. It can be bounded with space and energy. And it requires this fault — this premise on the part of the individual — requires that premise directly to permit the individual to be overcome by mest. He has to assume that: that an idea can be fixed in energy and space. But now, after that, things which can change him in location — things which change him in location — can evaluate for him. Mother, for instance, the one (this is, by the way, one of the subjects of the PABs) — Mother carries the child around and then you wonder why it can be evaluated for by Mother.

Now, let's get to Step III. Step III is by space proper. Now, if we notice here that in Step I, we worked it out and "be" in various kinds of space. See, Step I — locationals — pinpoint locational. And then we got into II, and we started into the idea of anchor points by the idea that — anchor points.

What is this unreasonable idea that everything Mother says is completely, absolutely right? A child will throw away every idea he has of the past and trust to the extremely faulty memory of a mother. You'll get more preclears who will tell you, "Well, so-and-so, and that happened and the house burned down when I was three."

Now, you know you can deliver a — something vaguely resembling a psychoanalysis to a person simply by handling the body as an anchor point, by the way. Did you know that? I mean, you can ask him on an E-Meter what bodies he is normally orienting himself by. You know, he knows where he is because these other bodies exist. And just have him double-terminal and get the charge of them, and you'll free him. He's using other bodies as his own anchor points. I mean that's how that — important that second step is. All right.

And you say, "You recall that directly?"

Now we'll get into Step III, which is by space. And we just ask the pc to be three feet in back of his head, and have him hold the two upper corners of the room until well exteriorized.

"Well, no — no."

How long does that take? It says until he's well exteriorized. Well, how long could that be? Well, let me assure you that could be fifty hours. But you, as an auditor with lots of better things to do and so forth, are only going to do that for a short space of time. If he's going to exteriorize readily and rapidly, he'll do it in the first few minutes. So that's that exteriorization by the corners of the room. You see, that doesn't vary much from SOP 8.

"Where'd you get the idea that the house burned down when you were three?"

And as soon as we get him well exteriorized, we would, of course — if he popped out of his head, if he exteriorized well — we'd of course just go to Step I. If during II sometime he all of a sudden popped out of his head, we'd just go to Step I. It wouldn't be too harmful to run the rest of this stuff, but you might bog him a little bit because it's a little more complicated, the remainder of Step III, than anyone would care to suffer through if he first came out of his head and said, "My God, where am I?" and then you — next thing you tell him is you have to explain to him what anchor points are and how he puts them around himself. Oh, he just gets so confused. He's already so confused, that he's — hardly be able to check up on him. You see that? So if he exteriorized after he held the two back corners of the room, bang! why, you just go to Step I.

"Oh, my mother told me about it."

And it's a good rule anytime. Step I is the easiest thing for a fellow to handle.

And, "Gee, three years old and — can't remember back to three," you say to yourself. "Well, well, well." This case is black, by the way — can't see anything, can't feel anything, doesn't know it. All right.

You know, this preclear queasily gets out of his head, and he doesn't know quite whether he's out of his head or not. And he doesn't know, it just seems like he is out of his head, and yes, he guesses he is, but maybe he isn't. Yeah, he's certain he is, he guesses, and so forth. You just start in on Step I. Just don't throw in the sponge and say, "Well, this fellow isn't certainly exteriorized." It's your business now to certainly exteriorize him, and the best way to do that is to ask him where he isn't — present, past and future in three universes.

And they say, "And when I first started into kindergarten at seven . . ."

It's interesting, you ask him, "Are you in your mother's head?" You some­times get a yes, until he thinks it over for a moment. "No. No I'm not! I knew that all the time." Oh, yeah?

"Now, do you remember starting into kindergarten when you were seven?"

All right. So, when we get to "by space," that's an exteriorization technique. And one with which auditors have been very successful. Just as in all of these processes I've given you up to here, auditors have been extremely successful — when they were successful, they've been successful with these techniques. That's why this SOP 8-C is here. All right.

"No, no. My mother told me."

Supposing he was three feet back of his head, he was there, and you had run Steps I... Well, supposing he came out on this, he's well exteriorized, and you ran Step I, you ran Step II — or supposing he came out in Step I and you got down to here — you'd simply do all of this again. In other words, if he was exteriorized and you'd finished Step II and he'd handled bodies, the next thing you would do would be to ask him to hold on to the two corners of the room — whether he was in a body or not. That's a very important step for a thetan, because it's at this point he normally discovers that my God, he's looking at facsimiles, he isn't looking at the room. He discovers that along about here, the second you ask him to hold on to parts of the room, and it'll blow right about this point. So, you'd ask him to do that again.

"My mother told me, my mother told me, my mother told me — who the hell are we processing," I'll eventually ask them, "your mother?" There's no sense in getting cross about it. It's that Mother evaluated for this thing called a body long before the preclear contacted the body at the Assumption.

After he's done that for a while — let him to sit there and not think — you run brackets of space on him. And that's eleven commands, and there is a list of those eleven commands which has already been handed out to you. You just run those brackets of space. You go round and round and round and round and round with them.

So what's the reason for this? What's the most basic and fundamental reason for occlusion? Well, there's two or three dozen things happen in occlusion. But — there's the invisible barrier with blackness standing outside it; there's all sorts of things. But here we have this idea of being moved around by something. Mother moved the body around and had evaluated for it adequately before the thetan ever took it over. In what color was the body being evaluated for? In the whole prenatal bank. And that's all black, all the way back. So we have all of this strange blackness coasting all the way back. Now, that body has been moved around in blackness by a person who thereafter probably evaluated for it like mad.

Now, the only real failures that I have seen — that you might say failures, is somebody being outside and then popping back in — as I've tried to tell you earlier in this hour, people have failed to run brackets of space on them. They've failed to handle space; space is just something they ran away from. And naturally, the fellow hasn't got space and he can't go anyplace and he can't tolerate other people's space, and so the next time somebody else's space threatens him — such as an automobile running him down or something of the sort — why, instead of doing something active, he just plows back into his head, which is about the least practical thing he can do. There he's interiorized again.

The next stage was that the individual actually throws a remote viewpoint into the skull of Mama, Papa, Grandpa, Aunt Nellie, to look with — because they know. You see that? Throws a remote viewpoint right back of their eyes. And then they disappear or are dead. And they go into a coffin or something of the sort and the preclear's still carrying a remote viewpoint in their skull — that viewpoint on which they have depended so implicitly and explicitly. They've actually looked through their mothers' eyes. And you'll find this uniformly. You'll find this constantly with preclears, if you just start looking for it. The whole visio of the childhood scenes and so forth, and all the facsimile bank and so forth, will be from Mama's viewpoint or Papa's viewpoint. We used to call this "out of valence." Well, it's a viewpoint parked in the skull of Papa or Mama, using their eyes, and now they're gone and it's dark. And so a person doesn't see with it anymore, and he goes around and he tells the auditor, "I'm occluded." Well, understand that anything which has moved the preclear around in space is able to evaluate for him.

Why do people interiorize? People interiorize because they are not accustomed to handling space — particularly other people's. So there's that eleven commands of space. You make brackets — there's a six-way bracket of space, and there's a five-way bracket of space in the room.

Now, just please — although we're talking about fixed ideas, you want to unfix some of your own ideas, let's get this one fixed. And that is: those things which have moved the individual around most in space are most likely to evaluate for him or those things which have kept the individual most fixed in space can best evaluate for him — either way, either way, either way.

Now, this is a little laborious to do. And you can vary it a little bit. You can make space out of things. You can put up Papa as eight anchor points and throw that around for a while, but you're already getting much too significant, much, much too significant with this.

So, the process indicated is to have the preclear move through his own space those things which have evaluated for him — namely, space and energy and blackness. And preferably have him do it behind him. "Now put a block of energy in San Francisco and one in New York. All right. Now let's take the block of energy in San Francisco and move it to New York. Now let's take what you've got in New York and move it to San Francisco. Now let's move it to New York. Now let's move it to San Francisco." This is Change of Space Processing on a remote energy. The preclear processes the chunk of energy or the cubes of space or the distances by moving them through space, preferably his own. But much more important than that is the idea of an idea being moved in space, just like that. All right.

He'll say yes, he can do this and do that — throw at him once in a while, what color are the anchor points he's getting? And he'd very often say, "Oh, it's like everybody else — black," or something like that. Well, when you stop running brackets of space is when he's got about the brightest, goldest, glaringest anchor points that anybody could ever see. And that's what you're running brackets of space for — to get those anchor points real bright.

Let's move the idea of trying to fix an idea: "And let's put that idea of fixing ideas in Seattle. Now let's put it in Los Angeles. Now, let's make sure you move the same one to Los Angeles. All right. Now take the idea of fixed ideas — take just fixed ideas, now, in Los Angeles. Now let's move to Charleston, South Carolina. And preferably do it behind your back. Now, let's take North Pole of Earth. Now, get the direction it is from you as you sit there. Now, you got that carefully aligned? Now make it be ninety degrees different. Now let's use that from here on as the North Pole to which you're going to move things." You see? Then you sure have the preclear's own universe; you're not using mest universe coordinates.

And now you orient and disorient spaces in three universes. And what's that mean? It means "Which way is Boston?"

The idea of distances and directions are themselves fixed ideas, and the preclear who is buttered all over space has been fixing ideas all over space.

"Well," the fellow says, "it's over thataway."

The whole gradient scale, the Tone Scale, the ARC scale, the DEI cycle — all of these things have to do with the fixed idea. The bottommost rung is the most fixed idea. Now, this is attention on the idea.

And you say, "That's fine. Put it over in the opposite direction. Put it down. Have Boston down and San Francisco up."

Now, there's an overt act — pardon me, a motivator-overt act mechanism. Now, that idea itself is moved around in space. Let's get the idea of consequences. That's looking beyond: consequences, you see — looking beyond. That's looking into the future, we think, perhaps. And so we have the idea of fixed ideas. And we must have these fixed ideas and we must look beyond these fixed ideas, too, which gives us further fixed ideas, and we have logic.

Just get him completely oriented and then disoriented. Ask him to find out exactly where he is, and then have him change all the directions. He'll really protest at this. Every once in a while, you get somebody who's beautifully exteriorized and he's floating along, and he knows that you shouldn't ruin his case or something like that. In other words, this fellow sort of reminds you of having a tightrope mocked up from one corner of the room to the other, which he is very carefully walking with glue on his shoes.

Now, a symbol — a symbol is a fixed idea. But it is a piece of machinery aborning; a word is a piece of machinery under manufacture. It is the lightest level of an idea in energy. You see, a symbol is a piece of energy. I don't care if it's written down on a page or it's a word which is vibrations in the air, or — I don't care what it is, it is a symbol of an idea. Well, it could only be a symbol of an idea by being surrounded by space and energy of a certain pattern. And so we put that up instead of the idea, we're on our way, right away. We're on our way right on down Tone Scale. Because that'll get heavier and heavier, and one day there will be a machine called "and." You listen to people as they speak, and this machine called "and" is very visible. You tell a preclear to double-terminal a couple of words and they're concrete or steel or something. That's because things that have an idea fixed in them are better than things which don't have an idea fixed in them. Namely, just a beautiful piece of MEST.

And this fellow, when you suddenly throw him something like this — you say, "Now, which way is Boston?"

So, now let's say that some fellow has been working a lathe for a long time. If you'll just have him pretend he has the lathe in back of him and have him move the lathe from the North Pole to the South Pole — but disorient the poles, you see — and move the lathe from the North Pole to the South Pole, to the North Pole, to the South Pole, to the North Pole, to the South Pole, to the Moon, so forth; now he's evaluating for the lathe, the lathe isn't evaluating for him. You're not trying to run anything out, you're just reversing the whole idea.

"Thataway."

Now we have him take space, and get the space in such a way . . . All right, now let's get directions. Of course, everything which tells the preclear what the direction is, is evaluating for him. But this could only be done because it's fixed ideas with regard to space. Space itself, in the mest universe, is a fixed idea. So you just have the preclear start in lying to you about directions. You have him point south and say, "There's Canada," and you have him point north and say, "There's Africa," and get him really oriented. And the guy will go into revolt after a while and he'll say, "Well, what the hell, I don't have to know which direction these things are. I don't anyhow." And so, now there's an indicated process.

"All right, put it in the opposite direction." You maybe do that a couple of times and then really squirrel him up: "Now put Fort Worth alongside of Boston, and the North Pole in Cuba."

Now, we'll find that ideas such as sounds — sounds. And they — somebody has his sonic off. Well, that's because sound has evaluated for him. So have him not emanate sound, but have him move sound.

He very often doesn't like this.

"Now let's get the squawk of a hen and let's put that at point 'A' in your universe. Now let's move it to point 'B' in your universe. Now let's move it to point 'A,' now to point 'B,' now to point 'A,' now to point 'C.' "

Now you have him look around the room and disarrange all the furniture. Have him spot all the furniture and then disarrange them. How long do you keep that up? Till he doesn't give a damn what direction is which, because it shouldn't matter to him worth two nickels and a collar button which is. But you always make him orient himself carefully and then disorient himself. Have him find somebody else's universe and orient himself carefully by it.

The guy says, 'Well, where's 'C'?"

Now, when you, who have never seen somebody else's universe, are auditing somebody and you say, "Somebody else's universe," you may not, until you yourself have the experience, get any conviction on the fact that you're sending the fellow anyplace or asking him to look at anything. But believe me, he'll find a place to go. Just don't worry your head about it if you haven't had the experience.

"I don't know; it's your universe. Find 'C.' All right. You got 'C.' Now put the squawk of a hen to 'C.' "

You say, "Well, go and find somebody else's universe. Okay. And find the center of it. All right. Put the center up in one corner of it."

First thing you know, all the squawks of hens in the bank will turn on — every time he's ever heard a hen squawk, such as the last time he was at the Metropolitan Opera. (audience laughter)

And he doesn't like that. "It's an invasion of privacy," he says, and so forth — he's upset one way or the other.

Now, we have a — we can do this with anything, because essentially any perception is basically a fixed idea. Now, a terrifically effective method of doing this — and we combine all these things together — we get the idea of not knowing what the perception means. And, we can shorten that to not knowing the perception. Now, how would you do this? The most elementary way to do this, of course, is just match-terminal the idea: "Don't know what the perception is."

And now we get to what you were doing when you first came here which is all part of Step A: You put emotions — particularly fear, competition, desirable sensation in three universes, including walls, objects and people in the street. Remember that one? That list you were doing for drills. Okay.

"Don't know what I'm looking at," match-terminaled. "Don't know what I'm smelling. Don't know what the heat is. Don't know how hot it is. Don't know what I'm feeling. Don't know if I have strength. Don't know if. . ." Just "don't know," that's all, see. Well, the symbol of know itself will start to run out and evaporate on the whole bank if you do it that way.

I dare say that did more for your cases than anything has since. But I'm sure that you did not beat to pieces the ones which need doing. And having watched what ones you were doing and listened to you auditing, and watched you skipping very grandly over some of these rather obvious ones now and then, we'll put it down, and put it down good and tough. And that would be fear, competition, desirable sensation, and we'd put them into three universes, including walls and bodies and so forth.

But a more effective method is to shift unknown smell from San Francisco to China to Russia to the Moon, so forth. And what do you shift there — the smell? No, just the idea of an unknown smell. And we just shift it all over the place. You practically gas a preclear, by the way — he's holding all sorts of these things in suspension in the bank. Unknown smell, unknown sight, or dangerous smell or dangerous sight — but mainly "don't know." See? "I don't know what the sight is." "I don't know whether she really did it or not," see, is what's basic on that. It's only the times not — that a person's been tripped up that count.

And then — and this is the last of Step A, now, in SOP 8-C, we'd adjust the anchor points in the body. After we got through all of that, see, adjust the anchor points of the body. The fellow can't see them, we coax him to mock up patterns of anchor points until his own anchor points become bright, and if they still aren't visible and so forth, we just go to Step I. If he didn't exteriorize and they still aren't visible and so forth, we just go back to Step I and we roll her again. Okay.

Now, what do we have here on this "don't know"? What — how does this tie in all of a sudden? When a person doesn't know something on a low echelon, it's because he can't locate it. And on a higher echelon, it's because he doesn't have to. So, let's try and just break through the barrier, the invisible barrier, between the need of geographic position — and break it on up further. Like "Don't know what the blackness is." Now just start shifting that idea, and make sure it's lineally, consecutively shifted from Diddy-Wah-Diddy to Moerdijk. And just keep shifting it back and forth, back and forth. But preferably behind the person. Well, why behind him? Because I'll let you in on something — that's where most of his ideas are fixed. Because he as a thetan has run so many bodies from behind that most of his automatic machinery is set up between himself and a point about seventy-five feet back and above the body. And there is the mass of fixed ideas on which the individual's running. He thinks of himself as kind of a hollow shell in that direction, if he thinks it over at all.

But if he did exteriorize, we go on to the rest of Step III, which was, we ask him to be spaces of all kinds and in three universes — which is all there is to that Step B, but that's plenty. We just ask him to be spaces — be the space of somebody else's universe, and be the space of his own universe, and be the space of this part of the mest universe, and be the space of the body, and the space of the building, and space of somebody else's universe, and space of somebody else's body, and the space of a truck, and space of a police wagon, and space of something in somebody else's universe, and the space of the whole universe of somebody else's universe, and then part of the space of somebody else's universe. And we just go on in this fashion, see, you just beat this to pieces in three universes.

And the most solid fixed idea is his face, of course, because that's his identity. And then that becomes very unsolid and starts disappearing. Now, you have preclears all over the shop who — everything's disappearing on them. They're just disappearing, disappearing — you know, their body tries to disappear and everything's trying to disappear. If you'll just shift through space the idea of uncreation — just handle the idea of uncreation — you'll start physically moving about the machinery of automaticity. Because it is impossible for an idea (I don't mean that this is improbable; I mean it is — I don't mean that it is occasionally done) — it is impossible to fix an idea with space and energy. And the only way you could make somebody believe that he was doing it would be to get him to get, practically of his own volition in the first place, that he had to fix an idea in space and energy in order to have something — and if he did that, then he can go into competition with the universe.

And remember, don't scant that. Don't scant somebody else's universe — it's just as important as the preclear's. To him it's just as important as he is. His total interest in life is his randomity, and his randomity comes exclusively, really, from somebody else's universe. So if you skimp that one, you're — he's got to use something else for randomity than other people, so he'll use his own universe for randomity. He shouldn't have to.

Now, another technique for these people that are real bad off — real, real bad off (this is all rough case stuff that I'm giving you, but this is also run on a thetan exteriorized as one of the steps, we won't go into which one now) — "The walls are in competition with me."

Now, Step IV: Waste, save, accept, desire, and be curious about machines which create, cause to resist effort (which is to say persist, or not end) and destroy the list in SOP 8, Step IV — particularly worry, blackness, fear, and invisible barriers. This is all as given, except I've just summarized it here so it's pretty digestible. Okay.

Now, you run all those with the fellow's eyes closed. "The walls are in competition with me. This is in competition . . ." You'll find out that horrible emotion called jealousy is a sort of a black, unknown competition. And that's the dwindling spiral. So if you have somebody put jealousy in the walls — black jealousy in the walls — and have the walls in competition with him, so forth; you have somebody put fear in the walls, and you have somebody put the idea of fixed ideas in the walls, and each time move the idea. Move it. Move the emotion after he's put it in the wall rather than just let it sit there. That's your next step up from stationary implantation of emotions. You'll get an astonishing gain of case on individuals.

That's the machine one, then. We'll just throw all machinery into that. And we'll throw the second step — bodies, anchor points — and you'll see that much more clearly.

So he's occluded. Well, have him take a patch of blackness behind him and have him start moving it. Have him tell you where he wants to move it to and from. And then just make sure he moves it to and from, to and from, to and from — only make him reorient it and put it in some other direction than the thing actually is.

Want to make somebody feel silly sometime, have them build space out of eight bodies as anchor points. He'll do it for a little while, and then he'll get feeling awful silly about it. This is a stupid thing to do. You know, that'll occasionally disabuse him from marking time from the basis of "when Aunt Mary burned her hand" and — in other words, condition of a body as a time. All right.

The idea of a fixed idea must precede the idea of aberration of any kind.

And we get to Step V which is by terminals. And all of Step V is entirely Change of Space and terminals. Here we have, what is the electric motor? The electric motor is space interposed between two terminals. Anything which can be — remedy that, that's Step V. There are lots of those, but these are the effective ones. We have the pc shift and fix ideas between various points in various universes, particularly (quote) "fixed ideas" and (quote) "waiting for effect" (unquote). And then we have the pc shift scenery in three universes. Just move it around — that's easy, isn't it? That's all there is to the step.

Okay.

That shifting scenery around will cause an exteriorization, by the way, in passing, but not as effective as it might be, because auditors can ball up on it. That's why it's not effective — they've fouled up. They get him pulling in spaces and then don't have him put any out and then wonder why his track stacks. And they don't watch what's going on, so we just don't do it too much. That Step V is very simple.

Now, you wanted something that'd undo postulates, didn't you? You wanted something that'd erase all the phrases out of engrams. Now, you could take Book One now, and take every phrase that occurs in Book One and just mock it up as a phrase, and then shift it in spaces.

Now, you can shift unknown perception also, in that same fashion: unknown sounds, unknown smells, unknown illnesses. Now, you know, people can have other people's illnesses, but they can't have other people. The least that they can have from somebody else, when they're bad off, is somebody else's illness, that's — contagious disease depends on this.

Oh, I was very fascinated — just let me comment on something in passing. I picked up a copy of Reader's Digest on the newsstand. I noticed it says, "Stop the Hot Cigarette Habit" or something, an article by Professor Stinkwiler who was an opponent on the payroll of the Lieber Tobacco Company or something of the sort. And he'd written this article, and it said — it explained that mortality was much greater amongst smokers than nonsmokers. And this, of course, immediately attributed itself to the toxic poisons. And he traced all this down.

Here's what's known as a colored index of figures. You see, if you took a bunch of nonsmokers and you took a bunch of smokers out here in the society, you would be segregating people who were quite active and people who were more sedentary than others — in other words, just physically. So we would immediately be picking the lower-scale batch, just on the average — doesn't mean that everybody's low scale that smokes, but the opportunity to be low scale and smoke is greater, see.

So we could just unbalance this, and we'd find out the figures came out with the exact percentages that he's got them out with. In other words, smoking hasn't anything to do with it; it's a diagnosis of whether or not the fellow is idle. And more things happen to idle people, psychosomatically — because they think about themselves ordinarily — than happen to people who aren't idle. And you will find out that the index on smoking is that people who sit around a great deal, and who are indoors a great deal, smoke much more than people who are outdoors a great deal and are active.

And that's because if you're outdoors a great deal and you're very active, you don't have much time to smoke — you're interested in too many things; you don't need your mind taken off of doing nothing.

Because smoking in its essence is the opportunity of making nothing out of something, and that's all it is. And it peps a fellow up — he isn't out killing any Injuns or anything of the sort, so he makes something out of nothing with a cigarette.

It's even doubtful that there is a flavor in tobacco. I know I was shifting tobacco around the other day in terms of flavors and that was quite — I had a quite interesting time. I was smoking "rose water" cigarettes for a while, and I had it — got it so firmly fixed, see, so as not to unfix it at any time, that anything I smoked tasted exactly like rose water, and then blew it up. There isn't any real natural flavor to tobacco. I think the only natural flavor you get in tobacco is the pretty girls on the advertisements. Anyway . . . (audience laughter)

Anyway that shows you how figures and statistics can be colored. You get two kinds of populace, and then find out that disease is more rampant in sedentary populace than the other, and then pick out some reason and just throw it in. You know, nearly every piece of rationale that the society is using at this minute is figured in that fashion. All right.

We get Step VI which is symbolization, remedy of. You have the pc shift symbols around, make them heavy and light, until he can handle them. And have him do things without any reason. And have him be past, present and future until time is nondirectional.

You know people think that the future is over here to the right, and they think Tuesday is around the corner and so forth. Well, if you have him be past, present and future for a while, why, he'll be better off. You'll find a lot of people that you exteriorize are still very heavily symbolized.

Now, if the person is an interior person, and you're having an awful time busting his case, his case entrance will be here at Step VI. And the way you get that case entrance is have him do something without a reason; and that's just a little aside on the technique.

You're expected to be able to use any of these things to exteriorize somebody as far as that's concerned. This is just your pattern of operation.

Now, how do you make a symbol heavy and light? Well, I'll show you how to make a symbol heavy or light.

Now, let's get a picture of an igloo. All right.

Now let's have that igloo mean hot weather.

What did the symbol do?

Audience: Melted.

Well, you see, there isn't any reason why your symbol of an igloo should melt just simply under hot weather, now is there? Not really. Except that it's the rationale and agreement with the mest universe. So let's do this again.

Let's get an igloo and make it mean hot weather. And keep that igloo. (audience laughter) What happened, it melt?

Male voice: Snow was melting all around it.

Second male voice: Mine didn't even begin to melt the first time, but then when I found out other people's were melting, mine started to melt the second time!

Well, all right. Now let's have a big piece of steel and have it mean "light."

Now let's shift this big piece of steel from the front of the room to the back of the room. It means "light."

Now let's shift it to the front of the room.

Now let's move it over to the right side of the room.

Move it over to the left side of the room.

Now let's make it heavier.

And make it mean "light."

And shift it to the back of the room.

And the front of the room.

The right side of the room.

The left side of the room.

Let's make it much heavier and make it mean much lighter.

Now, let's shift it over to the left side of the room.

And shift it over to the right side of the room.

Shift it into the top of the room and drop it on the floor.

Have it fly off the floor and land on the ceiling. That's all. Blow it up.

Now, the normal way to go about that, of course, you just use Self Analysis, and then what you know about Scientology in general, you simply inject into Self Analysis mock-ups. You find out what he can and can't do, and you just work around on it on a Creative Processing level until symbols aren't that important to him. But remember what your goal is — to disabuse him of having symbols be that important.

Now, you take specific symbols to which he's very attached, and you do Change of Space with them. You have him be them. You have them select him out for randomity and fight him. You do all sorts of things with symbols to make them live and active and real. And if you can make them incredibly live and incredibly active and incredibly real, so that he's really getting them, all of a sudden he'll say, "Well, to hell with it! There's just no such thing as a symbol. I mean, a symbol — phooey! I can have a postulate. I don't have to have an iron collar."

A lot of people, you know, they get a — they make a postulate, say, "I'm going to do that," and then at night when they go to bed, they got this haunted feeling that something is wrong. Some of them never trace it down to the fact they said they were going to do something, at all. Their postulates are real heavy.

Now, you saw me discharge a postulate this morning to a point of where the preclear forgot all about what postulate it was, which is a complete erasure.

Somebody who's really sold on symbolization responds very easily really, eventually. But you get him to do something without a reason. Of course, you work all the other processes on him too.

And now we get into the final step, which is VII, and you — this is just Contact — barriers, three universes; being in contact with the barriers of three universes. And have pc get six directions to nothing (you know, three universes — six directions to nothing). You know how to do that. You find the first barrier and look through it, and find the second barrier and look through it, and find the third barrier. And you put barriers up in three universes and have him take them down in three universes; and have him mock and unmock mest walls, buildings, and spaces; and have him reach and withdraw from mest until he can touch it or not touch it at will. And that's what you remedy with that step, and that is the full of Contact. He puts something there until he at last realizes he's putting it there to contact it. But more than that, this — you finish up havingness. And in this step, you have collapsing anchor points on himself in order to make solid energy.

When you've ruined somebody's havingness by processing — you know, he's just a concept now, he just doesn't feel good. Just have him put up eight anchor points and collapse them on himself, and eight anchor points and collapse them on himself, and eight anchor points and collapse them on himself, and he'll immediately feel better.

What are you doing? You're erecting some mest, you're giving him a barrier, you're handing him some stuff. You know? That's all you're doing.

But again, that's by contact. You're giving him something he can put his paws on. You could do the same thing by presenting him with the room. Yeah, he could reach and withdraw with the room until it worked.

Now, there's — as you see, salted through all of these techniques there's an awful lot of ways to exteriorize somebody, but they're not the best ways to exteriorize people.

The best ways to exteriorize them are contained in Step la, Step IIa, Step IIIa — with one exception, and that's exteriorization by effort: Have him put his paws on his shoulders and pull his body to him, and push his body away. But if you don't follow that up fairly soon with the remainder of Step I — right away, get him where he's not while he's exteriorized — he'll be very unstable. He'll go back in again.

That doesn't mean you can't push him out again the same way. Don't think that a case suddenly declines or deteriorates just because it's been out once and goes back in — it doesn't. The guy works easier next time. Unless you as an auditor got him out uncertainly and then hit him in the face or something. It doesn't work any worse. Just because a guy did it once is no reason he can't do it twice.

But he's got the idea of resisting effects and so forth, and he may have run into this idea that the body will collapse, or something will collapse on him, and he'll get worried about it. Have him do Change of Space — that is to say, "Put the worry about the body in San Francisco and Seattle and the Yukon, in San Francisco, in Seattle, and the Yukon," and it'll eventually evaporate.

Okay.