What turned up, while I was talking there, is a man who - I mean, an old man - he figured that was pretty bad.

Is being an old man real bad?

Male voice: It seemed to me at that time that it was. And that - I felt very sorry for that old man in the picture.

And this morning we're going to take up a very, very important factor which is the reason why - that beautiful reason why - that is actually the reason why people have difficulty in exteriorizing.

Mm.

We can go into many thinking reasons but in order to understand this we have to go into a mechanical reason. It is actually purely a mechanical problem. I've said that several times before but it's very true. It's an - entirely a mechanical problem.

Male voice: And for myself when I would get old.

The reason people find it difficult to exteriorize rests entirely and completely upon the double-terminal or the matched-terminal, you might say, effect of the MEST universe. The MEST universe goes in fours and twos; mostly you'll see it operating on its double-pole principle.

Mm-hm. Well, here we're getting into some clues on such a line. Understand this is no treasure hunt. And we don't have to worry too much or think too much about such a thing unless a case starts giving us some trouble.

Best example of it is an electric motor where you have a positive terminal and a negative terminal. Actually, the negative terminal is positive at the time it's negative and the positive terminal is negative at the time it's positive. Actually, a double terminal must exist there; there's four involved. That creates an electric current.

The way a case starts giving you trouble, normally, is when the case is too introverted on some particular point that you can't get the case on any other point.

And we have entirely this proposition which you may or may not know about - you may have forgotten because it's been gone over very rapidly many times - and that is the fact that we have, by concatenation, the obvious fact that theta holds these two or four poles apart and that is the ability of theta; and that's all the ability theta has. You can make space and in the space you can make forms, but you can make the forms because you've agreed you've made the forms.

Now, for instance, the other day, same pc - if you don't mind my mentioning it - you said that you'd "blown his mother's head off" - you'd "blown his mother's head off" two or three times and a terrific amount of sonic had turned on, after all the explosions he was getting.

And holding two terminals apart and making space are the same breed of cat. Taking two anchor points and putting them up is putting up two terminals. If an individual cannot hold space apart, if he is short on space - space is the key to all of this - if he is short on space - not short on energy as we have been saying, although people understand it better because energy's lower on the scale - if they're short on space, they can't hold those two, four or eight anchor points apart. And those anchor points collapse and there you have a scarcity of space.

Well, if I'd given him an assessment, we would have found a drop on Mama. And actually it's - be a long ways toward case solution if we just took and - just as a guess; doesn't have to be true - if we just sat up and started blowing Mama's head off just gorgeously and get Mama blowing his head off; just gorgeously. And just get a battle royal on the subject of blowing heads off and we obviously would pick up a tremendous amount of chatter. There's how we'd increase sonic in the bank, see?

Now, when the space scarcity becomes apparent, we see its manifestation in the human being in finding everything too close to him or irrecoverably too far away. He can't control the amount of space he occupies. All you are trying to do, I repeat, all you are trying to do, all you are trying to do to a preclear, everything you are trying to do to the human mind, all you are trying to do to the human mind - always gauge it with this - is simply rehabilitate the preclear's ability to create and maintain and vary and vanish space. That's all you're trying to do with it. You're not trying to do anything else. This is on the highest echelon of processing.

But your cases are marked by their "can't survives." And that is the ratio we're interested in. So, we start to do this mock-up (getting back to what we were talking about) and we'll have a case on the second stage. Well, boy, that's a sensation. Somebody said one time the paymaster of the Fifth Invader Force was sensation - paid in sensation. They wanted to be an effect; they wanted to be the effect of sensation.

You find all things - all things will boil down to this: Actually and technically there is really no such thing as an anchor point; there is really no such entity. An anchor point would be a collection of smaller spaces. A complex anchor point would actually just be a smaller space which is put out to demark a larger space. Let's say we have three or four or eight points something on the order like that - and they circumscribed a certain space. And we've put those points together and we've got a space. Now, that's very interesting. You put a lot of nothing around nothing to make and collapse nothing but that's about what it amounts to.

All right. If we start ladling this stuff on one way or the other, we find out with great readiness that the pc is unwilling to desert a certainty of sensation for a complete uncertainty about sensation. And the case would have a tendency to hang up right there.

This, by the way, leads one very readily to accept such things as handed out by Christianity and particularly by Christian Science. You look in the roster of an insane asylum and you'll find out that the majority of the people in the insane asylum who have announced their religious - not the majority of the people, but the majority of those who have announced a religious conviction - go into the majority of Christian Science. And Christian Science is the most and Catholicism is the least, either because all the Catholics are indoctrinated to be something else or something of the sort.

Well, by Creative Processing, if you just got a gradient scale of sensation and then drilled the case until he got terrific positiveness on it - you'd do it on a gradient scale if you just want to solve this thing on a subjective level. There are lots of other ways to solve it, you understand. But if you wanted to solve it on a subjective level, you would get him feeling tension in a finger and then feeling a little pain in the finger and then feeling no pain in the finger. And just take him at random and drill him and drill him and drill him in that mock-up just as he's doing this, see? That's something else to do.

But what distinguishes this? The Christian Science says, "All is illusion," and then tells somebody to think good thoughts and then gives all the space to God. Ow! Oh boy! Now you couple those three things together and you have the very center pin, the very center of insanity. All the space of an insane preclear belongs to somebody else.

And get that mock-up standing up there or sitting down. You put a little pain in his finger and a little pain here and a little pain there and a little uncomfortable feeling someplace else. Get him so he monitors it so he can do this with great speed. Then have him start picking up a little bit of titillation, sexual sensation and so on.

When people are arguing, they are simply trying to take each other's space. When people are talking loudly at you and shouting at you, they are simply trying to make you understand that you have less space. The only punishable fact is creating more space or taking somebody else's space, but basically that's - the second one is secondary. The basic crime is making space which makes the basic crime, communication.

Another way to do this is to get the preclear - just sit him down and say, “All right, now have that table get apathetic. Make the table be apathetic. Now make the table be angry. Now put the table into grief. Now put the table into antagonism. Now put it into boredom. Now make the table enthusiastic" - until he can feel these emotions back.

Communication is in essence the ability to join, or make a confluence with, other spaces. And you get all these spaces hooked together and you have agreement. That's "We've agreed on this space.” We've agreed that this much is my space and that much is your space. Now, you'll find that as soon as one engages in a contest with a piece of space, he then immediately is in contest with energy for the good reason that he has postulated there's a couple of anchor points up there and somebody else has postulated there's some anchor points, too, so they're repostulating the repositioning of anchor points. So as to what? To make more space or make less space.

And he'll start freeing up emotionally, rather fantastically. All the time he's saying, "Why, it's nonsense. The table doesn't feel like that but I can just make it feel like that." And then all of a sudden he'll come to this horrible conclusion: he'll come up, "You know, I do that. That's the way I make things feel. I can make people feel this way and that way and that's the way they feel back to me again."

People who have really given up and who have gone down Tone Scale and so forth are owning up very broadly to everyone at every hand that they have no space. Propitiation, very low on the scale, is giving people space. However, this same thing is very high on the scale.

So, you give him drills. This particular person would be interested in emotion. So that's an emotional drill and that is just what it's called and that is a proper technique - an emotional drill.

It's true that space can be co-used. Several people can use the same space. But it's equally true that low on the scale, somebody is giving up all of his space and telling everybody else to use his space. You see the idea?

That is, by the way, another cross technique which is an extrovert-introvert technique, see? But it is much better as an extrovert technique and can be classified as such. Because you're really in contest with MEST. You take a look at the lamp, and you say about the lamp...

So that you get you, as an auditor, could occupy two positions on the Tone Scale. One with no success which is, "I have given you all my space, dear preclear, and you are now operating solely in that space." And the upper-scale position would be, "You can have the use of space or you can have your own space." But it'd never - that's an auditor operating at that level isn't giving up his own space. If he's really a good auditor, he permits people into it.

All right, well, let's do this as a drill here in the room. I'll show you what it's talking about.

It's a rough deal when he's a border - above and below - to suddenly admit people into his space. It can really knock him to pieces because if he starts admitting people into his space who themselves have some sort of a fixed idea about space - in other words, their space is fixed - we have a very difficult situation there. This other person sees that here is some space and they will do all sorts of things. They'll try to occupy all the space exclusively which is playing the only one, and so forth. They do all sorts of things. Now - and they try to - they'll try to grab more space than is there.

Let's take a look at the lamp and have the lamp feel bored.

The vampire feeling that one gets sometimes when he talks to certain people, the vampire position, the vampire thought, this whole idea about vampires, about life energy and so forth, stems from the sensation people get when they have people in front of them who are taking space away from them.

Male voice: Yeah.

Now, people who come right up to you and stand about an eighteenth of an inch from your nose and then do not move away under any of the practices of courtesy, or any other practice, and really have nothing to communicate to you at all: These people madden others because they are occupying a space. And they're occupying too close a space and it's not their space and really, what those people are doing is trying to pull in space.

All right, now have the lamp feel like it's going to yawn.

And a long enough association with such a person - we call it collapsed terminals - and a long enough association with such a person will actually collapse the space of another person. Their phrases, postulates - there's no point right here in going into how language complements this loss of space and making of space and so forth; there's no point in going into it. But as you process a preclear, language confirming this keeps flying out of the bank. "I've got to get off by myself to think." Well, that confirms at once that a person's space has been so pushed in on him that he's gone into a lot of thinkingness and that means that he can't even think without being off by himself, so he hasn't even got space to think in, well, boy, that's darn little space.

Now have the lamp feel a little bit resentful at being stared at.

The business executive who wants to go away to think it all over and so forth is a fellow, believe me, who is on the verge of failure. The artist who has to pace up and down and strike terrific postures, and so forth, about the beautiful sadness of being unable to create in all this hubbub.

Now have the lamp feel antagonistic towards you.

An artist who is really (quote) "on the ball" and producing, a writer who is really flying, so forth, creates best when his space is just jammed full - when there's all sorts of things.

Now have it start getting mad at you.

One of the fastest writers in America, twenty years ago, used to write - when he was early in his career - he wrote with about four kids yelling at the tops of their lungs and rushing in and out of the room at a terrific rate of motion and busting toys over each other's heads, on a very, very noisy typewriter. And he had a wife who had been raised, evidently, on a farm somewhere and the nearest farm to her must have been about a quarter of a mile away across a ravine. You'll find in mountainous countries people always talk that way, too, by the way. They're trying to reach more space.

Now have it feel griefy.

Well, anyway, these kids grew up and it left the old man in a perilous position. He was still creating like mad, so he got himself a great big speaker record player and he used to put on symphonies on this - the maddest symphonies he could find, you see. And at the same time play the local radio at the same noise level. And this gave him enough commotion and jam and jar as far as he was concerned to have a pleasant, comfortable atmosphere.

Now put it into apathy.

Now, this was a tremendous, tremendous fellow, by the way; he's turned out more books under more names than you ever heard of. I think he's dead. Yes, he died I think last year or a couple of years ago. But - I think he was at the ripe old age of about ninety.

Now have it get enthusiastic.

Here, then, was somebody whose space never really suffered at all in spite of what he was doing. But where somebody has been upset about space, like a kid raised on "Boyd Avenue" - where the "boyds sit on the coyb and choyp," or is that "Thoyty-thoyd Street" in New York - very often has a rough time of it. He's a success in life as long as he's been able to knock out all the other kids in the block. He becomes a successful gangster or something of the sort. Or he's a failure in life if he was the one that always got licked because the limitations on space are so tremendous as far as he is concerned. And thus you get this only one characteristic in the big cities. People do not share the space of a big city. Each one occupies this tiny, little cube of space which is about, oh, I don't know, a couple of millimeters on a side. I think if you exteriorized them from New York, you'd find that to be the case. Even the little kids would be tiny as thetans. Well now, this is what regulates it.

Male voice: Hey, the light got brighter.

Now, when people are arguing back and forth, they are shoving in and pulling out each other's space. And when they are arguing about possessions they are yanking back and grabbing and pushing in, actually, anchor points which make space. And when a person's anchor points are too thoroughly pushed in too many times and so on, he has a tendency to lock up. And he will get as much space as he can reach with his hands. And you ask a lot of occluded cases how far their space extends and it will not occur to them that it's exactly the same distance as they can reach with their hands.

All right, now have it be afraid to be looked at any further.

Now, a case which is having even greater space difficulties can only reach as far as the interior of their skull and they are actually looking at the interior of their skull. It's all plastered with energy and it's soggy, and so forth, so they have an idea that they're in a shell of some sort.

Now have it be sensible of the proud duty it performs. Now have it know it's from China.

Now, because their space conception is upset they consider this without a relative comparison. The inside of their skull they fit over their whole body. See? And they, inside their skull, feel the inside of the skull and then consider that this is bigger than the body and their body is in there. Because they are in there and that's all the body they have, you see, and it's all surrounded by blackness but they are their body. So you get a double-sized viewpoint and this is a terribly interesting thing. You'll get a lot of preclears, you'll suddenly swing into view a skull five or six yards in diameter or a man's head will suddenly poke in through a window - huge thing! And their concept of a skull, as a thetan, is just enormous. Well, their size relationships are going out. They're going out badly.

Thought concept - do you find it easier or harder to get a thought concept than an emotional concept?

And trying to pick up other people's space is a good way of - a good way of characterizing damaging aberrees - people who are quite damaging in the society. What they're doing is trying to go around and grab other people's space.

Female voice: Harder.

Now, how do they do this? It just works out that they just keep grabbing the space; they're collapsing all of the tiny little anchor points and the smaller space quotients and they cause tiny implosions. So we had the black explosion the end of last week, now consider the black implosion; it has no more light in it. Now, you get into the middle of a ridge, you get into the middle of a black ridge and you could make it explode by pulling a little more space out of it. You just give it a yank and take some more space out of it and condense it further and the chances are it'll blow up.

Male voices: Harder.

Well, all right. The postulate that is riding all black areas really is "must not admire," as the lightest postulate, and the heavier postulate "mustn't blow up; must not explode; must not implode." Why? These black things are used as screens.

Male voice: A little bit harder

How would you make a screen out of postulates? You would put it up and say, "Must not be penetrated" -just consider it for a moment - but particularly, "It mustn't explode." Because that's what people have put them up against. That was the first effort to waste explosions. Well, all right, let's look at this screen, this big black screen and realize that it's composed out of your own postulates. If you're an occluded case or you have any of this blackness show up, it's composed of your own one time or another postulates just to this effect: "It mustn't explode."

Male voice: Condensed feelingness.

The funny part of it is it can implode. It can teeter and it can rock and it can do other things. But unless you just get so that you're perfectly willing to let anything explode around about the place or implode or do anything else, those old postulates hang fire; because they aren't old postulates. There is no such thing as old theta energy. All the energy you'll ever contact is right in present time.

Well, you're looking at it from several feet away. Now, let's not get so far off. How far away are you from the lamp? You get the idea? Well, you're far enough away to feel - to have it feel emotional but - I mean, it's not so close but what you can feel emotion, but it'd have to be pretty damned close before you'd really get, automatically, without a lot of drill, a thought.

All right. Therefore these screens form a type of occluded case and that says, "Must not explode." A remedy for this case, of course, is to get the case started with black explosions. Well, a black explosion at one level is a wasted explosion; just a waste of explosions. Why? Because a black explosion in black space - that's that kind of a black explosion, see? A black explosion in black space is invisible, therefore it can't be admired, so therefore it's a complete waste.

Therefore, a thought most easily comes into the center of your head because you're being hit every single moment of the day and night - if you're tuned to it precisely and if you've decided to be bothered by it - the MEST universe. And naturally being in the center of all this pummeling, the easiest place to think is in your head because the body keeps stopping these waves coming in. But to think out there, see, is more difficult than to emote out there. And it's very easy for you to look out there, isn't it, because that's your GE's looking distance.

All right, now let's look at this person then and realize that, if he is occluded, and if he is inside his body, and if he is having trouble getting out, exteriorizing and having his perceptions, he is having trouble with space - he's having lots of trouble with space. In the first place he conceives himself unable to occupy other space than the space immediately within the body.

One of the main things wrong with a thetan is the GE can look much closer than a thetan can. As you first start in a case, you'll find out this is ordinarily true. Your thetan's got to have hell and gone away from you before he can get a look. The thetan would be perfectly willing to take a beautifully clear look at Earth from way out in space, but he can't take a good solid look at a face which is a few feet away.

All right. We take this space, we realize we're dealing with anchor points. We're dealing with anchor points, then, rather than units of energy. A great many things become explained to us.

So, therefore, I'm just offering that as a demonstration. You put emotion in it easier.

The double-terminal or matched-terminal characteristic of a motor - see, I'm not just changing my phrase there to be correct, a motor is actually a double terminal. It's got four units. Each terminal is a plus and minus - each pole through which the electricity travels.

Male voice: How about ridicule and betrayal? Doing ridicule and betrayal...

Now, we look at that - a motor - and we find out that it has two poles and we get a discharge across those two poles for one reason only: There is a base on the motor. It's a cast iron base or a concrete base or a wooden base or something of the sort. But those two poles are held apart. In other words, space is enforced at that point.

All right, get that lamp feeling ridiculed.

Now, these are held apart by what? They're held apart by matter and that's held apart by - it's dependent on earth, you see. And the fact that you've got the earth, you see - well, look at that very practically and you merely trace it back to the fact that out in the whole condemned universe you only have one thing doing one thing and that must be holding things apart, in other words, space.

What are the moments of force which you feel around the lamp? Which direction is it going, if it's going any direction? Mm-hm.

So let's take those two poles and realize something is imposing a space upon them. They are a space apart. They are actually four points if you only consider it this way: There's a top and a bottom of each. There's still four points there. What you're dealing with there is two-dimensional space. So you've got this pole on one side and the pole on the other side and they make a certain amount of space.

All right, get the lamp being betrayed now.

Well, you take the earth... They're held apart by the spaces which are in the molecules which are in the matter that compose the base. And that mass of spaces is held apart by the space between the sun and the changing space between the sun and Earth.

It's just the push out and pull in of anchor points.

And this solar system is held apart and distinct from other solar systems solely by space. And this galaxy is held distinct and apart from other galaxies by space. Something, as we go up through that level, is imposing space. And that we find is will. And actually, all divine will or willpower is reducible to the same thing. So this is what we call the introduction of arbitrary space.

All right, have the lamp now feel like it's a lamp.

Okay. What would happen if we didn't have the space between the two poles of the electric motor? We didn't have any space there, you'd get no current - they'd just lie one against the other - but you'd have something that was lumpier. And if you were to collapse all the space and all the space collapsed, that would be a different thing entirely and we'd have nothing there if you collapsed all the space. But we won't worry about that one way or the other. Let's just look at the fact that when you collapse the space between the two poles, there is no interchange of current; in other words, no motion. Motion is therefore dependent upon the imposition of space.

Have it feel now just like another piece of MEST.

Motion alone - depends alone upon space. Motion has to depend on space. Space can exist without motion, but motion can't exist without space.

Male voice: That's not a very good feeling!

All right. Where, then, do we pick up this occluded preclear - the entrance? Well, he is the two terminals of the motor fitted together. He knows his willpower is no longer very good. He can't impose his will. If he can't impose his will, he's not dangerous to his environment. If he's not dangerous to his environment, he can't impose his will. And we're just talking the same - we're just comparing the same - similar phrases. It all adds up to the same subject and that is the fact that he can't interpose space between himself and his body.

Male voice: Believe that?

Why can't he? Well, that's because he doesn't have any space. So what have you got to make him do? In the final analysis you've got to make him make space.

Male voice: No.

How do you make him make space? Well, first you start in with himself and an idea and then himself and a mock-up. And you keep this up after a while and you'll eventually discharge the postulates that are holding him apart - holding him together and he will fly apart. This is an imposition of space.

You don't like that feeling?

Now, you can well expect this to happen in processing such a case: that after you have beautifully gotten off all the material by the process which is - we'll go into in a moment - you've gotten off this material, then all of a sudden he's uncontrollable in the other direction. And you've got to work with him there. In other words, he's now got more space than he can handle and he can't collapse it again. This is a very unhappy condition as far as he's concerned.

Male voice: I say it's not a very good one at all. I've tried that auditing a little bit.

All right, now let's take, at the same time, looking instead of thinking. And we find out that as you collapse looking... Look at the old DEI chart. That's an interesting old chart - Desire, Enforce, Inhibit. And we go down from 40.0 to 0.0 just going through this cycle - Desire, Enforce, Inhibit; Desire, Enforce, Inhibit. Now, let's draw right alongside of that DEI - for each one of these small gradients of DEI, you know - we go from 40.0 to 39.0 to 38.0 to 37.0. We're just going down DEI and then we start over again: 37.0 is Desire, 36.0 is Enforce, 35.0 Inhibit. (They aren't at those positions of the Tone Scale, but just for an example.) And let's draw alongside of it: Look, Emote, Exert; Look, Emote, Exert, Think; Look, Emote, Exert, Think; Look, Emote, Exert, Think. See? DEI, DEI, DEI. In other words, we're going to run this scale all the way down.

Mm-hm.

The kid's - a little kid - he drives along in an automobile and he's going at such and such a rate of speed. And he finds it's a very happy and beautiful and comfortable thing, in order to go along like that, because he gets such a nice sensation. And then they speed up a little bit and this little kid, boy! he says, "Wheee!" See, he can see all these anchor points flying in on him again and it gives him a sensation.

Male voice: I used to be pretty good at that.

Well now, people who ride backwards very often get sick. They ride backwards and they see these anchor points flying out away from them and, once more, they get sick. All right. Either way you get sensation. A little kid likes to ride backwards; this gives him another sensation, that's all.

Good.

All right, let's look, then, at this "Look, Emote, Exert, Think" and we find out that there is a tolerance of one-for-one on any speed per distance. In other words, there is - a certain sensation would be received by somebody going at the speed of light. He's going at the speed of light and the distance to be covered is one light-year. Now, let's just say that is tolerance and he actually would get a little sensation on that. It'd be very light.

Male voice: ... picking up MEST feelings.

But supposing he were - the distance to be covered was one light-year and he was going at the speed of 1000 light-years. I am sorry if this contravenes Mr. Einstein, who was undoubtedly a very wise man even if he doesn't know space opera. It so happens that Einstein must have run into a planet sometime or another, the way I figure it. He must have run into a planet with a dull crash when he was traveling exactly at the speed of light and his eye must have been on the meter just at the moment of the crash. Because he doesn't think you can exceed it; which I think is his way of saying you mustn't exceed it.

Okay.

Well, all right. We take one light-year and we go at the rate of 1000 light-years. At the rate of 1000 light-years we're so high above tolerance - let us say just experimentally - that you would have - a guy would just think about it. At 500, he would actually feel the effort of incoming anchor points; he'd feel the effort of a collapsing space.

Male voice: You know, I get the computation that's a heck of a good drill for kids because they all - they have...

For one light-year, his speed of 250 would give him an emotion - he's traveling 250 light-years - this would give him an emotion. And he's traveling at a speed of 3 light-years over a course of one light-year; all he would do would be to look it over. See, that'd be a low one.

That's terrific.

Now, here you have it more practically: Let's take a walk. You're walking down the street at a very leisurely pace. You're looking - you're looking at the scenery. You're looking at what comes ahead of you and you're looking behind you and so forth. You look when you walk slow.

Male voice: Mm-hm. They have that feeling very strong. And as we grow up we get away from it to a certain degree, but we've probably forgotten we ever did have it.

All right, now, let's speed it up a little bit. And we find out that you get an exhilaration or - not really an exhilaration but you're just pepped up a little bit by walking a little more rapidly. Now, let's really start to get there.

Yeah, but this is an emotional drill...

Now, regardless of the effort exerted by the body or inside the body, the fact of the matter is that if you were doing these relative speeds in a car - you see, we've got one block now as the distance - the unit distance - and this one block as the unit distance takes us into an emotion when one is walking fairly well and it takes us into an effort when one is walking with rapidity. Well, the effort could actually exert itself just from watching the anchor points come in.

Male voice: Yeah.

And theoretically a fellow would just go into a sort of an apathetic thought if he were traveling there at a very flat-out space. Supposing you were going through town at eighty miles an hour. A guy would just - just would give up at that moment. He would just say, "We'll just think about it. I mean, we just can't do anything else. We're helpless so we'll just think about it."

.. and that's its name and it is complementing your looking techniques, you see? But to some degree it's an extroversion-introversion technique because you're not accepting the thing for what it is; you're putting something there to be accepted.

And that is the motto of thinkingness. "I have no force with which to resolve the future," is the motto of thinking. Of course, a man doesn't have force enough to occupy the whole MEST universe perhaps but that is the motto, "I have no force with which to overcome the future."

Female voice: This is what we did in January and February under Nobility Processing.

The first thought occurred at the moment when a fellow realized he didn't have enough space. And the first time he realized he didn't have enough space was when he was going so fast and the space was passing so quickly that he could only think about it. Get that this was too bewildering to him.

Under what?

I think perhaps the speed of change of space here in this universe itself is conducive to thought - that it's one of these invisible things that we wouldn't see so therefore we're thinking about it. The particles of light which go by are quite visible but they're traveling at such a rate of speed one can only think about them. Once in a while a scientist gets a little bit higher up scale and starts blowing things up with them like an atom bomb. All right.

Female voice: Nobility Processing.

What's this mean to your occluded case though? Well, it gives you a good index to this fellow's past in this lifetime. He's been going faster than body tolerance. He's been doing this for probably a long time. And he whizzes along at this rate and that.

Yeah, that's fascinating.

At one time or another, he probably had a passion for speed which is to say he had a passion for dangerous environments. Life was too dull for him. He had a terrific thirst for motion. And educating himself into this thirst for motion, he got these anchor points coming back on him with more impacts, more rapid impacts than he could possibly assimilate, and at length the impacts in the bank - and get this very carefully - the impacts in the bank became a greater certainty to him than the MEST objects which are around him.

Female voice: Very fascinating.

I'll just delineate that. The impacts in terms of facsimiles - the energy of facsimiles is sufficiently hard and sufficiently collapsed that it has a greater certainty than walls of a room. And as puzzled as this fellow looks and so forth, and as upset as he might be, he's usually quite sane. He's very sane about what he thinks, and so on; and particularly sane about what he thinks. They're very, very sane people, usually, I mean they're too damn sane often. But their motion tolerance has gone by the boards to some degree. And they've gotten to a point where they drive cautiously and so on, quite ordinarily. But their bank, in other words the energy in which they're embedded, has a greater impact value to them than the wall. You see how that is? All right, so they just travel slower and slower and slower.

But, if you take a preclear who's locked up emotionally - an ECT case, an electric-shock case is a fascinating one. What do you want to do for an electric-shock case? Well, boy, if you could just turn on his emotion for him a little bit, he would be a happier person, immediately. Because that's what he misses. The ECT gets him all disconnected so that he doesn't respond easily or well emotionally anymore.

Now, of course, an explosion is just a manifestation of rapid space - rapid space creation. And implosion is simply rapid space closure. And rapid space closure as in racing cars or some such things will key in implosions. Once you get rid of your implosions, boy, you sure can enjoy a racing car. But as long as it's sitting there keying in implosion you don't like it very much.

That, of course, is the object of it. They want to make a piece of protoplasm there. Well, that's a good way to turn it off but the case will be your friend if you turn on his emotion for him. He'll go out and emote and disemote and emote at will. People come in and they're...

So here we have - here we have this problem. This fellow has obviously had, if he's very occluded - stuck in the body - you have more implosions than explosions. At least what explosions he saw set off implosions where he was. And if you start to run explosions in the future with him - which in itself, by the way, is a very good technique, very revelatory to him - explosions in the future, why, you'll find him waiting. And there's what waiting is. He's waiting for the next explosion and he just hangs up there.

Well, now get a mock-up in front of you - I'll show you what I mean - get a mock-up in front of you of somebody just howlingly and screamingly angry. Got that?

So here we have - here we have the occluded case in - as a problem in motion and as a problem in space. Well, we're going to treat him here as a problem in terminals. And the next thing we should know about him and understand more about him, and the next thing we should know about beingness, not just the occluded case.

Now, although you retain all the emotional aspects of the mock-up, let's shift the complete emotion of being howling and screamingly angry as far as appearance is concerned. Now, let's make the case bored; let's make the mock-up bored. This is making appearances lie.

This thing shouldn't - just because this is an extreme - remember there's the opposite extreme. There's the person who is an "ox-cluded" case or something. A person who can get no field at all, who will tell you it's all black but there's no energy in it. It's all black but there is no energy in it.

Now let's make the person just mildly annoyed although they're screaming like mad.

So, here's this person - the person theoretically will be very, very thin, extremely thin. And they would simply be thin because there is no energy impact anyplace around, you see? There's a zero certainty and nothingness on the bank and they have a very great terror of nothingness. All right.

You got that?

You get, then, as we look this over, the solution which is in SOP 8, Step II. Now, although I have given the provision in the text of 16-G, it shouldn't be run too long. That's because people who work up casually are, shall we say, once in a while a trifle hopeless or helpless or even mischievous. And you can make an occluded case just slug himself silly on this and get noplace if you don't know how to run it. And that procedure's put out and needs a lot more technology before you could run Step II for every case. But just as you'll see here eventually, we've got process after process all of which do the same thing.

So what's the second part of your Step II drill? We were coming around to this slowly. What's the second part of your drill? You put some pain into that body and various and assorted aches, and put a little tactile in and so forth.

So, do we have in the occluded case a process at II? I mean, we could call him a V, but he will solve at II. And here's the way you solve him at II. Very simple. He's a problem in terminals, then, isn't he? He as a thetan is one terminal and himself as a body is another terminal. That's all, he's just a problem in terminals.

If you want to really make this preclear real happy, you just keep changing the emotions in that mock-up and he gradually, little by little by little by little will feel less and less need to have the constant emotion as handed to him by the body. Because he's always been putting the emotion - he's always been taking the emotion from the body, rather than putting the emotion in the body, and you've merely succeeded in releasing or returning the flow - reversing the flow, you see? So it's quite an interesting technique.

Every time he exteriorizes there's sufficient charge on himself and sufficient charge on the body as terminals that they collapse. You see? He cannot maintain the space between himself and the body. And unable to maintain this space between himself and the body, he can't exteriorize. And every time he tries to exteriorize, he simply snaps back into the body. Well, you'll get some of these boys operating like they had rubber bands on them. They pop out for a split second and they're right back in the body again. Well, this manifestation simply comes from the fact they cannot maintain space.

All right. What do you do with this Step II then? You can mock them up sitting down; mock them up moving - muscular coordination, effort, see, weight, muscular coordination. Then we would put into them some emotion. We'd change their emotion all around in that mock-up; do that with great ease. If we didn't do it with great ease, it's indicated that we need an emotional drill on MEST.

Now, the postulates - there are many postulates which go to make this up and you shouldn't get the idea that postulates don't lead the field because they do.

And the next thing up the line, of course, one would see it much better. Now, do you understand there? If you went up that gradient scale, you'll see it much better.

Postulates are above looking, but they're also below effort. The aberrated postulates which one makes up and down the bank are the dangerous ones. But a person can actually change his mind almost any time unless he's giving greater value to the bank and its collections of impacts than he is to the environment around him. His present time postulates are as effective as he gives validity to the present time environment and as ineffective as he gives attention to the certainty of impacts in his bank. Now you want to know why the postulates of some people release and some people don't release. Preclear gets a sudden idea that so and so, "Well, my father was like that, ha-ha." That's the end of the engram. And another fellow gets it, "My father's like that" - now he's slugged. What's the difference between these two people? It's just the fact that one has got more certainty on the impacts in his bank and the one that it released from has more certainty on present time.

How low can you start with the technique, then? You could start at the technique of thinking a body is there. A thought "a body is here" is good enough to start with. And you would run on up the line with that. Have you got that now?

How do you make postulates release? Just give a person terrific certainty on present time. That's of the essence. That's the easy way.

And what are we using? We're using our good old DEI: Look, Emote, Exert, Think. Look, Emote, Exert, Think. So you'd run "Look, Emote, Exert, Think" on this in this wise:

If you want these postulates to pop and Straightwire isn't working on your preclear, just use the techniques you know to give him terrific awareness of present time. Oh, there's dozens of them - dozens of variations. There are actually only - only one basic one which is introversion, extroversion, introversion, extroversion. And we work this and all of a sudden you'll find his postulates for a little while will go pop, pop, pop! Well, because you've asked him to make postulates go pop, pop, pop you've introverted him again, you see, so you'll have to give him awareness on present time again.

You'd put him out there. You could get the body thinking. And then the next thing you would do about it would be to get some effort in it. And then the next thing you would do about it would be get some emotion in it. Get him so he's good - real good at all these things, you see, little by little, and don't go up to the next one until he gets real good on the lower one. And then finally get him up to a point where the body could look like mad and then what do you know? You run the next step up with that mock-up in that beautiful condition - let's run thinkingness in it. And we find out that the preclear, immediately, is totally dependent in most cases upon - this is a real laugh - he's totally dependent upon the operation of the brain.

You actually - this technique is adventured, I've never tested this, but it's just adventured as workable and there's no reason why it shouldn't work. You give him present time environment and then shoot a postulate, and then give him the present time environment and shoot another postulate. You ask him who in his - you show him the present time environment and then you would ask him, "Who in your family wore his hair down to his waist?" You see, you've given him present time environment, see? And then you'd shoot him this and he would be able, probably, to get that one postulate, or almost get it that first time, you see, then you shoot it. And then you'd give him the present time environment again and then you'd shoot it once more on another postulate. And theoretically you could clear a guy on postulates alone if you followed such a technique. That's very theoretical. That's - just never under any circumstances would you just simply sit down and work on that basis. I don't think - I don't think the preclear would like it.

You can waste brains on some preclears with remarkable results. The body thinks for him. And, of course, the body thinks in no other terms than "food," which is future security; "sex," future security; "Will I be injured?" future security. And all of these future security thoughts, of course ball up to the fact of "don't leave, don't move, don't bark," because security is a rock.

But it theoretically, if you picked up very light postulates right at first - and that, by the way, would be about the only way I would know how to work Postulate Processing or any of these postulate processes such as AP&A. AP&A has been followed by a rash of postulate processes in the field; they're just - oh, boy, those things are just plain death.

In order to be really secure, you get a tremendous identity and the heaviest identity you can have is a rock. That's right. That's the way to get real solid. When you see some preclear who's real solid, he has security problems too.

You can do this trick. There is one auditor in the room here had this happen to him three years ago. He probably may have forgotten it. I was - he came in and he had a headache or something of the sort and I shot it by simply asking him a Straightwire question, and the headache was gone and it stayed gone for three or four minutes. And then I shoved him into the engram and, of course, the headache came back. You see that - how that would work?

So, that is the rest of "I." Now, how many carried it out that far and added up this morning's talk?

In other words, you could shoot something out by Straightwire and then you could put a person back to the impact source; you could bring the impact again up against his head and he'd get the thing back. Well, all he did was separate from it or shoot just a little bit of it.

Good.

Now theoretically, instead of running the engram at that time I simply could have connected him up with the present time - the corners of the room or some such process, you see - and ask him this question again. And he would give me, promptly, another shot and his headache would go away again. His headache would come on and go away, probably each time lighter and lighter. And he would probably get rid of the somatic - chronic somatic for keeps.

Male voice: This morning I was putting all the things I can locate around my present body into the one out there, like pain, weight...

But regardless of that, you do have with the occluded case, and with any case really, some difficulty about terminals. The body is one terminal and the thetan is another terminal. And thetans, as I have said many times, go around dragging their old tin cans and clanking chains and it's - honest, it's no wonder people talked about ghosts having clanking chains and bric-a-brac, because thetans sure have the bric-a-brac. Ghosts and tin cans is no joke at all compared to a thetan and what he's got. Well, he's got stolen universes and old search warrants and he's got almost everything you could think of. In most cases he's very, very afraid of one thing: he's terribly afraid of being bored.

Listen. Listen. You were doing what in here? You were putting what you could locate...

Just think what he would do if he didn't have other people's problems. He can't have any problems of his own. There are always other people's problems. You can unwind a person's problem just that way. Only if you start straightwiring it, you would have a wonderful time because you'd probably straightwire right back through life after life and unwind it and unwind it and unwind it and you'd finally find out that he was sitting there looking - looking at something or other saying, "Gee! That's a wonderful problem."

Male voice: That's right, that's right. I wasn't inventing anything.

Well now, theoretically then, he's operating on a fear of the future and the fear is he'll be bored; fear he won't have anything to do; the fear he won't have any problems. See? And actually the terrific seriousness which he hands you, and so forth, is just terrific mock-up. It's so beautiful, though, that even he knows that it's serious. He knows how serious all this is.

.. over into the mock-up.

This is a test of this - a good therapy, any time, is just to impress somebody with the seriousness of something and then just keep driving it home and it'll all of a sudden spring, of course, because there's no seriousness connected with it.

Male voice: I know. I wasn't inventing anything.

The seriousness of other people's problems. Well, when we have - when we have a person losing space, he gets more and more interested in other people's problems because he gets more and more afraid of vanishing. And his idea of vanishing, you see, is not being able to have any interest or action. And if he can't have interest, his anxiety to have interest and action is an anxiety to put out anchor points.

Well, does that spell an exact independence of your body?

And you could be sure that if you have two billion people on Earth, one planet only, each one anxious to put out anchor points, some point is going to collide. He's sure of this.

Male voice: Oh, no! No!

So when we look this problem over it becomes rather unserious because Step II can be done. But it shouldn't be done with any wrinkles. It's done on a gradient scale. You've got to put distance between the thetan and his body. The optimum distance to ask some pc to be out of his head is not three feet but a thetan who will exteriorize at three feet is a Step I. And this is very, very handy to know. Because if we put on there three miles or eighteen miles or something of the sort as the distance he's to be back of his head, you would find, whereas you would get greater numbers of exteriorization, you would find people lousing up lower-toned cases like mad. I've already had this experience.

No! No! It sure doesn't. You have to look in the body to find something to put out in that mock-up.

So if the fellow will exteriorize three feet back of his head, he can handle almost anything while exteriorized. So that's just a little sleeper that's on the line there. And I'll tell you very bluntly that the best distance to be back of one's head is probably a couple, six or eight or twenty or a couple of million light- years. That's the best distance to be back of one's head-way up there, see? And you'll find out your very occluded case quite often will just suddenly spring, because you've got to get him out of interchange distance with the body. The second he vaguely approaches the body, it's just spong! and he's back in it again.

Male voice: Yeah.

Well, now, if you put him out too far away from his body he can't credit he's there, too - he has that difficulty - because he's out in black space so he just thinks he is back in his head again. And if you put him out in black space, you see, if you put him out there, "Let's be back of your head now a thousand miles," - if he's straight back of his head in a lineal line a thousand miles, he's in a black space - curvature of the earth allows for that.

Well, let's hit this one real square and let's think about this real hard.

So, if he's in black space - let's take a look at this. He's just in the same kind of an atmosphere that he was in before which is all black, isn't it? And some of them - some of them are out there. Some of these occluded cases aren't even vaguely inside their heads. The way you'd bring it to his attention that he's sitting in space is to start drilling him on temperatures - temperature perception. Feeling things hot and cold and warm and chilly, breezy, not breezy and he'll come up on perception on just a little bit of drill because his present time environment is not this room.

Male voice: Yeah.

Very often you have to get somebody into his body before you can get him out. It's just like you have to go through the dynamics to get out of the dynamics. It's just like you have to go into looking to get out of thinking. See, a fellow can go from thinking to looking very rapidly and then up to thinking again. See, he runs the whole cycle.

What you want to do is get the thetan so he can make that body feel any condemned way he wants it to feel. And when you've succeeded in convincing him that he can make something at a distance feel at will - even a mock-up - the whole attention on the thing will slide right off.

Well, all right. We've got a matched-terminal proposition with the preclear and a body, with a thetan and the body - strictly a matched terminal. You do, then, Step II of Standard Operating Procedure 8 or 8-L by mocking up in full color a complete duplicate of the body at some large distance from the body. I don't care how far away this is.

Because what he's worried about is that he can't change the emotion of the body; he has to wait for the body to eat or sleep or see something pretty in order to have an emotion so he can feel it. Well, you just reverse this line and you've got it.

I worked on one case when I had the body sitting on Earth as a tiny dot and Earth about the size of a golf ball. We also found this boy stuck in a theta trap, by the way. He was stuck in a theta trap but he was down on Earth but he was not even in a body. And when he backed up out of the body, he was straight into the theta trap. Every time we backed him out of the body, he was in the theta trap. It was just no wonder, you see, he was just going between Earth and the theta trap and Earth and the theta trap. And when we backed him away from the body in this fashion, we backed him away from Earth and the body and the theta trap. And he found himself way up above the theta trap, looking at the theta trap, and he was perfectly clear. And then the second I put him back in his body again, he went back into the theta trap to go back into the - to Earth. This is pretty silly. But that's what he was doing.

So you were putting everything you could find in your body in the mockup. See, that's what we should've had there, see, is put everything you or your auditor could think of in the mock-up. To devil with the body you're in. See, because you were still orienting yourself completely with the body you were standing in. There's no reason to do this.

So, you'll find people who go back into their heads and stay there are up against the problem of too little distance. They put out a beam, push themselves out of their heads; this is too short a distance for them for the amount of energy they have - get this idea of tolerance of distance. They put out a fast beam over a tiny little bit of space and, of course, it was crushed, and boy, does that feel degrading. That's degradation. It's just a massive beam over a tiny space and it's thick, heavy, soupy - gohlup! The guy feels like he is in terrible shape when you do this.

Female voice: Well, how about having him go physically through the motions you want him to have in the mock-up out here?

So you want him to just keep mocking up his body and mocking up his body and mocking up his body and mocking up his body. Doing things? No! No. Let's not get this as a subjective technique. This is a real sneaker. This is not a subjective technique. It's a gradient scale technique. It goes from a nothing of a body out in front of you to something of a body out in front of you, which is to say a mock-up, to a little bit of the body out in front of you, to the body indistinctly out in front of you, to the body very distinct out in front of you, to the body in full color out in front of you, to you the hell and gone away from the body and your concentration comes off of the body, you see? Because you're trying to get the guy's attention off his body, that's all we have to that.

That's what he was doing.

So what do you do here? You just keep mocking up this body. From what? From an idea of a body? Do you mock two bodies out there? No, because you're not trying to process the body. You mock up one body; remember that, that's important - you mock up one body. You're only trying to make two-dimensional space anyhow. You could mock up two more thetans and one body. You could mock up a thetan to the right and a thetan to the left and a body out in front, but you don't want two bodies out there!

Female voice: Yeah, I know.

Well, this guy will get some very silly things - if you look at a preclear once in a while, while you're out exteriorized and once in a while see the mirrors. Explosions have a mirror effect and they'll hold explosions around with their center mirrors, you know? And they'll use them as mirrors. Out in space they're just as flat and shiny as anything you ever saw. You just pack an explosion together just right and it's a perfect mirror - just beautiful!

Male voice: That's better, all right, because I could do the motion..

So, they use these mirrors. And if a person - if you can ask a preclear just to look around him and tell you what he sees, he'll look around the body, and - from inside his head - and quite often he'll come up and volunteer this. But if he doesn't volunteer it, you can always show them to him. But too many of them volunteer this. They'll look around and they see that there's a mirror over here on the right side of them and it's showing up their body and just like a mirror would. And there's a mirror over here and it's showing up their body and there's a mirror in front of them and a mirror behind. They're all penned in by their own mirrors. Well, it's very comforting - any way they look they see their body. It's a wonderful gimmick. Well you take these and break them and it almost breaks their heart. These are just interesting, you see. They're just gimmicks.

Hm?

Well, a lot of people have, as they start to mock up the body, they get the idea they're in front of their face. Why? Because instead of mocking up the body, they look in the mirror. They look up in the mirror in front of the face, so they see the front of the face and you get some kind of a dizzy prism effect. They really play games - crazy-house mirrors.

Male voice: .. .I could be responsible for the motion that I put in it.

They look at themselves; look at the body as reflected in a mirror and then they don't have to get a mock-up of it and all sorts of darn things. Or, "I'm out in front of my face," they will say. Or, "I can't do that, I keep splitting in half and I'm going out sideways!" And, "I am really the body and a thetan is attacking me," is their favorite one.

Oh, sure you have to be physically responsible for the motion. You mean that you don't have him go physically through? Oh, you're trying to get this - you're just trying to get him exteriorized and control him. You could go at it at a lighter basis. Yes, you could have the mock-up moving; but you'll find out many pcs can do this, and you're into a subjective technique the moment you do. It is just a mock-up, whereas you're...

The fellow really begins to feel this until he realizes suddenly that that face somatic which he has been packing most of his life - when people get angry at him and so forth - that face somatic is the back of his head. He feels, as a thetan, he is actually stuck on the back of his head looking through the eyes of the body. He's actually way in back of the body. I mean, he's right back here, you see, better than half out of the body, you see? And the pressure, the whole pressure against which he is fighting, is the pressure of his own body caved in on the MEST body. But because he is all the sensation there is in the body and it - because it is against his face as a thetan - your occluded cases are very complete thetans; they carry around all sorts of odds and ends of bodies; they have a body as a thetan - because he's got the sensation himself, he as a thetan is pressed up against the back of the body so he wears the somatic because he is trying to be the body on the front of the body's face.

And perhaps this is responsible for a lack of understanding on some of the facets of this very simple step: It's too simple. What you're after there is a complete identification. You're in for the best duplicate you can make. And when you've made the best duplicate you can make - pam! - it'll shift and turn right over into the body.

And this gives people the doggonedest ideas! They say, "Well, you know I actually have two thetans." When I first discovered this manifestation I was talking to a small group of people about it, and 50 on, and I explained that it was old facsimiles. Very inexperienced in this, didn't have a similar sensation and this small group of people were perfectly willing with this. But one of them suddenly starts coming up, and has been ever since, with thetan senior and thetan junior. Oh boy, he's squirreling on just one thing: he's probably on the back of his body with his face as a thetan pushed up against the back of the head of the body. You got a collapsed terminal there and the only sensation he has, actually, is sensation as a thetan. So he, of course, mocks it up for the body. He's the only one that's putting any sensation into the body. The body's just too close to him so he can emote through the body, you see. And when he gets that close, he doesn't even emote well. His emotions are fixed.

Now, there's another thing you can do to a pc and you should make this experience on images. And you should take this experience on images and I'll give you this for your homework.

Now, there is a process merely by which you would ask a person to expand his anchor points an inch at a time, as a sphere, one inch further out from him, see? Get that process? There is a process by which you can do that. Just get him used to having them farther out. There's another process and you could always show a person what he's worried about, simply by saying, "What are you thinking about? Well, all right, put it there about a foot in front of your face."

Stand in front of a mirror at least three minutes in a place where it's quiet, where you can see down to your waist, with a dark room behind you preferably. And just stand and look at a mirror. You don't look at anything particular in the mirror; just look in a mirror and tell me tomorrow what happens to you. It gives you some sort of an idea. Because remember, that mirror is just the MEST universe's process of making a mock-up of you. And you'll find out what happens.

The guy says, "What?"

Now, if you want to know what will happen to some pcs with this mock-up process and you want to get the sensation, just stand there and look at a mirror for a few minutes. About three minutes will do it. And if it doesn't do it in three minutes, why, you're either already well outside and it doesn't worry you, or...

"Well, think about it a foot in front of your face. Okay, now put it a yard in front of your face. Put it a hundred yards in front of your face. Put it two light-years in front of your face. What's it look like?"

Male voice: I did.

"Well," he says, "my father!"

Hm. Well, just do it. Whether you've done it or not, do it again so that you can recover that sensation. You'll know it's something new.

Of course, it becomes visible. You just make him stretch it and the thought uncollapses and you get a visibility.

Male voice: I got a fear on it.

In the same way, remember that you mock up this body a foot away or two feet away, it isn't so good. But also if you mock it up a billion miles away, it isn't so good either because you're not mocking it up so that it's going to do him any good because you want this thetan in the room. You don't want him out in space someplace. You're trying to pull him out of that. So mock him up at least ten feet away - at least ten feet away. He'll sometimes become bothered because he has to see through a wall and puzzled about mocking up the wall and mocking up the body and then seeing the body, and so forth, so keep him in the room but get the most space you can. So, if you're going to do this exercise, put him, more or less, with his back into the room. And then he'll feel comfortable and you aren't asking him to penetrate and go through walls as well as mock up the body at the same time. You're just getting too complicated, you see. It's too complicated for him.

You got fear on it?

So you'd say if you had an eight-foot room, just set him in the corner - set the body in the corner and process him more or less behind him a little bit and have a lot of space back of him. And then have him start mocking up the body and mocking it up and mocking it up. How long would you do this? Just go on and on. Well, don't mock up the body twice. That one you must remember because all you will do is discharge the body.

Male voice: Yeah.

He's happy to do that. He'll fool around with the body all day long. He thinks bodies are wonderful. Now, you'll sometimes find him trying to mock up and get out of a body in front of him before he gets out of the body behind him or he gets out of his own body. He's gone through his body and is - thinks he's really stuck in some other body that isn't there. Well, remember this is a technique which is an objective technique; it's not a subjective technique so you're not interested in cleaning up any other bodies as far as Step II is concerned.

Well, stand and look at it for about three minutes and find out what else you got. Any other questions?

But what is reality? The reality of the thing is he has a body there, it is dressed a certain way and it is in a certain position and he can move back of it; so that's reality. So let's just keep putting that body there. Nobody else around it - anything - let's just mock it up real. Because you're really not mocking it up at all. You're taking a viewpoint way back of his head and then finally making him assume that viewpoint without collapsing in against the body.

Male voice: Well this certainly doesn't directly apply. The element of fear of being judged seems to be something that I've found is present in almost everybody I've worked with.

It's reality. You're asking him to contact present time, not the past. So you want the body he's in, dressed as it is, positioned as it is and without any other fancy business to it at all.

Well, that's just the fear of being a force effect.

And that's Step II in complete essence; that's all it is.

Male voice: Mm-hm.

[Please note: an addition to this lecture was given later in the day. We now continue where the lecture resumed.]

.. which runs out on explosions.

This is an added note onto the morning lecture.

Male voice: Mm-hm.

There are variations of this technique. One of the variations - there are many variations to it; you could get real fancy if you wanted to. But once you start crossing reality and mock-ups for a fellow, he's crossing reality and mock-ups all the time, so he gets awfully upset. But there are variations on this technique.

Fear of being judged is a fear of being an effect of force. And when a person has become an effect of looking, it is easy for them to become an effect of emotion. And when they become an effect of emotion it is easy for them to become effect of effort. And between emotion and effort there's some nasty emotions and some nasty efforts that people don't like, such as being beheaded, being struck by lightning, and so forth.

It is more important - you can put this down in green fire - it is more important to get a line admired than it is his terminals. The line is more important than the terminals. It is the line that is important on Admiration Processing, not the terminals.

And judgment is, of course, the reason why we hit you with the effort. And if you ever want to make a case just feel like it's in complete horrible pretense, and so forth, have him run - this is just an experimental technique, a very effective button - but it doesn't - you ought to run this: "The reason why I'm punishing you is..." And they'll run this for a little while and all of a sudden things become very plain to them.

So, if you were to mock up his body and then mock up a whole bunch of people down below admiring the line between the body and himself, you would assist the dissolution of that line. Or if you would simply ask him to keep mocking up lines between himself and the body, they would keep vanishing. You've got at last the body mocked up, see? Now you keep having him mock up lines between himself and the body, why, he'll snap back into the body and snap out again. And eventually he'll get enough energy there so that the line itself - the lines which are holding him in, the collapsed terminals holding him in - will permit him to exteriorize since they'll uncollapse.

If you waste pain in brackets for a while with the pc, all of a sudden he'll come to the same conclusion: It's a phony. It's a real phony. But one has to have a good reason to punish. One has to have a good reason for judgment. See? See, why that is?

Now, the other one is, is you start getting explosions between himself and the body. But just as you saw here in a demonstration a short time ago, after the fellow had been nebulously exteriorized.

Male voice: Well, yes. And then there's the fear that they are being judged and they don't have data on it. I've found that in a lot of preclears.

And by the way, as a word in passing, never try to sell anybody on the idea he's exteriorized; he's going to fight against you.

Maybe you - yeah, I know. But maybe you missed what I was saying there a little bit. Is there isn't any reason ...

He's exteriorized out there someplace. He found out, gee, he got nice explosions between himself and the tree. Is that right? He got better explosions between himself and the tree than he did between himself and the body.

Male voice: Yeah.

And so, what do we have, then, as an alternate technique? It's to run both black and white explosions between the viewpoint where the thetan now is and the body mock-up. Now, you could theoretically run explosions between himself and that space. You'd find out he'd get space - he'd get explosions very ably and beautifully right up to himself about halfway down the line toward the body, you see? But the half of the line that's close to the body, no explosions there.

.. to being judged, you see? So, of course, that is the most uncertainty there is. There never is a reason on being judged so that they hang up on the track like this. All you've got to do to tell a man is he's going to be arrested even though he's innocent - he very often will just fly to pieces. There's no reason for it. Then somebody will explain a reason.

You'll also get various face somatics. Look out for this, because you're not doing anything peculiar. The fellow's going to get face somatics every once in a while. He never had any sensation in the front of his face, he'll tell you so, many times, if you ask him. But the point is that he can't have any sensation in the front of his face because he's - all the sensation he's got he has changed to his theta body.

Try and get a criminal to accept a reason as to why he's being arrested or agree that this was absolutely necessary. They're all innocent down at the big house, every man jack of them - those that are in good shape, the ones that are guilty and so forth.

When we say theta body we simply mean some body that he's concocted out of screens or old Fac Ones or something of the sort. Once upon a time he found he could make good bodies. But one has to know how to mock up the MEST universe before one finishes it up and can completely duplicate the MEST universe.

This business about guilt - the person has a "guilt complex"? That's really base apathy. A person has at last accepted a reason why they ought to be judged. "It's their fault" goes right along with that and so you're in that "responsibility-no responsibility."

So the alternate technique for this would simply be Duplication. And this would be on the gradient scale of duplication. So, you would - to run this technique very smoothly - you would simply start the fellow out by Duplication as given in Six Steps to Better Beingness. And you just run Duplication and all of a sudden slide him in to mocking up his body.

I want to say one thing in conclusion which you just brought up. You brought up judgment; I bring up responsibility. Every preclear has a hot button on that.

You've taken the curse off his whole environment with Duplication. Now let's take the body. See, that would be the gradient scale of the technique.

Your preclear cannot accept responsibility until he can generate force to his own belief and ability. When he can make space and generate force, he will then accept responsibility.

Negative Exteriorization - interesting technique. You tell a fellow, "Try not to be a foot back of your head. Try not to be a yard back of your head," and so forth - pow! Every once in a while he is, but the person has to be at a certain position on the Tone Scale. He has to be inhibiting. You get this DEI? Well, it runs on a DEI. There's a level there where he'll inhibit. Well, that DEI is applicable to Look and then it's applicable to Emote and then it's applicable to Exert and then it's applicable to Think. So there's a DEI for each one of those steps of Look, Emote, Exert and Think. See, Desire, Enforce, Inhibit as you start down Tone Scale.

In military services, it's common to say that a person does not have any responsibility if he cannot have any authority. But if he has authority, he must take the responsibility. The word "authority" there is a substitute for force.

Well, the fellow is trying to inhibit himself from staying in his body. He's trying to enforce himself from staying in his body or he desires to be in his body. Of course, originally on the track he was curious about bodies, the darn fool.

But if a person has no force, he cannot take responsibility. And if a person has force, he can take responsibility. The time when a person will take responsibility is when a person has force. And you'll find that people who aren't taking responsibility are quite commonly continually tired and also they can't direct the effort in the direction that's called work. And this is why we get the common denominator of work as a common denominator of all such cases.

Negative exteriorization occurs under these conditions and you tell the fellow to start mocking up his body in front of him and of course the inhibition on the line makes him start mocking up his body behind him. Well, don't pay any attention to it. Just keep mocking up the body in front of him.

So, let's remember that the stretch of the engram bank, its position, the ability of the preclear to handle and juggle and package them up and put them in his pocket or throw them over his shoulder depends upon his ability to handle force and admiration which depends basically upon his ability to handle space. And as a consequence, you start, as a therapist, to load responsibility onto your preclear and you're going to get noplace.

Now, you'd alternate this technique. You alternate it variously with other techniques.

And the place where a case is hanging up is the thetan - it's inherent in the structure of the body why you got a dwindling spiral - the thetan cannot generate force adequate to any performance in the confines of a Homo sapiens' body. If he generates any force inside the Homo sapiens' body, he'll blow ridges.

Now today in - I want you to work with this particular technique and work with Duplication on your own case and it'll do you a lot of good. And then work with this particular step until we understand this step and get it all beaten to pieces. Because it's a very interesting step. It starts with duplication in its best use and winds up with mocking up the body.

We were standing there the other night, and a speck of something hit my eye this time out in - the Jersey wind was blowing - and I very carefully shoved a beam in from about twelve or fifteen feet well forward into the right of my body. And I just put in a very, very careful beam, very gently, just to push this eye grit immediately out of my eye. Of course, it went out of my eye immediately, but... Tell them what happened.

Remember all steps apply to an exteriorized thetan as well as to interiorized. And actually work better on somebody exteriorized than they do interior; and that includes all steps. Now, one thing more in passing: You are not asked to use very much imagination in processing. One of the things that I've had complaint about is that one had to be too imaginative (I just mentioned this before but I'll mention it again) to run SOP 8. Because in IV you had to imagine things to be wasted. That's the one thing you mustn't do. You just tell the pc to waste it. The pc says, "Well, waste it! What'd you say for me to waste?"

Male voice: It blew a big ridge across the front here. Changed the whole shape of your face for about two or three hours.

And you'll say, "Waste vomit."

I had to get in there and put the - put the ridges back.

"I can't waste vomit."

Male voice: It looked like you didn't have any teeth up here.

Then he finally finds out that he only can waste vomit by vomiting when he's by himself. And then he suddenly discovers that his mama was easily handled by getting sick at the stomach. And that Mama resembles wife and that wife is sick at the stomach and that's why he had three-quarters of his stomach cut out by a surgeon not too long ago.

You start throwing force around a body and a thetan gets used to monitoring his force so as to restrain himself. So we get "the greatest of virtues is self-restraint" which would be the greatest ability he had, to care for a body, is not to blow it to pieces.

The end product of all Freudian self-analysis is Expanded GITA. And it works so much faster than Freudian analysis and takes in so much broader territory than Freudian analysis and yet works out Freudian analysis, so we can say with Step IV of Expanded GITA that we've knocked in the head any question about, any necessity for, following down anything like Freudian analysis, because you've got it right there.

Well, until you get a person operating and controlling a body well away from himself, he doesn't dare generate force. Well, the reason he can't get out of the body is he can't generate force. You get the two ideas? That's why you must get him some distance from the body.

There's another little step in Expanded IV (because you'll be doing this and I have to tell you this), is there is a save. After wasting you find there's a saving before you go into an accepting. Of course it has its variation of Acceptance Level Processing which is merely you get the lowest level the fellow can accept. And you have a tendency to miss the lowest level he can accept when you keep wasting things because you just gloss over that. If you really want to find out about the case you find out which of the level of the item he can accept and it's really grim.

Now, he can't take responsibility and he can't be cause and he can't wipe out being effect, and so forth, just by running thinkingness. Because every time he makes a hole in the middle of all these effort ridges coming in on him again, they just come in tighter.

All right. Not to belabor that too much, remember that any type of this subjective processing, as of Expanded GITA, has a tendency to lower the person into an introversion. And the only process I know of which is a borderline, which is neither extroverted nor introverted, which is both subjective and objective, and goes at it from both sides of the middle is Step Il - mock up his own body. And that can be a benefit to anybody we have in the room.

So as you run concepts, you run out energy; you just collapse him tighter. But you can sure make him feel better, because he gets rid of a lot of loopy ideas. You can then accustom him to having force blowing itself all around the body in mock-up form so he isn't as scared of it, which is Explosion Processing, you see?

Mocking up your own body from outside, just mock it up. If you get bored with it, mock it up and blow it up. If you're a good Step I, getting terrific perception on it and so forth, why, don't just keep mocking it up forever - mock it up and blow it up.

Or you can have ridges melt down so that he knows they're melting, and it doesn't upset anything, such as in Admiration Processing.

But it's a wonderful way to return accurate perception. A thetan would rather see the facsimile of what he is looking at than look at it. See, he'd rather do the approximation, look at the approximation than to do a direct perception of the exterior or the interior of it - in other words, pervasion. So it helps a person differentiate between the mock-up and real contact.

Or you can mock him way out in front of himself and construct himself beautifully, inch by inch, and again blow himself up a few times so that he isn't caring quite as much. And at length he will be well away from himself and he will be able to put out a beam.

Okay. That's all I have to say.

If he puts out a beam inside his head... It quite often happens that a preclear will put out a beam inside his head, be able to see inside of his head beautifully, push on the beam, push himself out through the back of his head, be exteriorized, walk around the room on beams, have a very good time on beams and so on. And two days later you meet the fellow and he's stuck back in his head again.

Why? It's too small a distance for the beam, because the length of that energy wave, which is the two inches inside the head, is in itself a sort of a degradation. It gets the emotion "too little space." Degradation is too little space.

And when he turns on the energy, it's too thick. And he puts forward his (quote) "hand" or beam, as a thetan, up against a wall; he'll stick! If he's really developing high power he's liable to stick because the MEST is like a sponge for electrical energy. So he has to be able to turn on a beam, throw it into the wall and let the wall soak it up. The dickens with it! It doesn't matter to him. He can always make another beam.

So long as he has a feeling of scarcity of space and scarcity of electrical energy and he can't handle force, he's not going to get out of his head and stay out of his head. So you want to get him out, get him at a distance and get him used to looking and controlling things at a distance.

And that's a real distance. If you could control your body easily and ably at about thirty miles, if you could just sit up on a cloud and control your body very nicely and beautifully and get all of its perceptions coming back and be quite certain of where it was and what it was doing and what it was looking at, and had - just have...

The way you'd do that is just to park one of your anchor points inside the skull. And if you park a nice bright anchor point somewhere around inside the skull it serves as - by the way, when you get good theta vision, you'll sometimes see somebody doing this - you put an anchor point back of the eyes and then you get the relay from that anchor point. See, it's like television. Instead of you being back of the eyes, you just assume an anchor point which is not back of the eyes, and you be that new anchor point thirty miles away.

If you were sitting up - oh, it's wonderful at about, oh, somewhere in the neighborhood of about two hundred miles up. You're out of the radio waves, and every once in a while you can change your wavelength enough to collide with the static field of Earth down closer. But at about two hundred miles up it's getting less apparent and you can sit up there and there's the doggonedest calm. Boy, it's real calm.

Sometimes, you go up there and sit down for half an hour or so. It's just - sit down. You begin to sort of think to yourself, "What the hell am I doing down on that piece of rock for?" And you get to thinking about this and that or looking at this and that, and you don't think as much as you look. You get interested in some star. Boy, the stars are really bright out there. They're just like solid diamonds on black velvet and beautiful colors and so on. And you shift over once in a while and take a look at an asteroid or take a look at the sun.

I had a pc one time who became an addict - I'm sorry, but he did - an addict of processing. He used to go up and sit on a corona plume of the sun and roller coaster. Turn on his gravity sensitivity and let the sun pull him in. And it's about a 240 thousand mile chute at its extremity. And you get to going real fast toward that big mass of sun, you know, and it produces quite a sensation which is very exterior to the preclear.

And I asked him, didn't the radioactive particles bother him, and so forth, and he didn't seem to hear me. It was sure lots of fun though. It was more fun than the Rabbit Eight down at Venice, California, which is the big rolly coaster machine.

So there are things in this universe which are interesting. And going skating on liquid air on Jupiter is always very interesting, too.

There's a lot of things to do in the universe; but of course, this intense, packed-up, enormously crowded society does offer a considerable impact of sensation. The preclear becomes an addict to that just like he'd become an addict of going and riding a plume of the sun. Okay?

Male voice: Probably

Hm?

Male voice: Probably.

Okay. Well, let's pick up these auditing assignments and - as you've been processing - and with this new wrinkie in the little time left to you today, let's see you get real hot on this. Real hot.

I want to see somebody - somebody sprung with violence to a certainty level which he has never before had. He thought before he was certain. He thought before he was certain, but we really want to see how certain he can get.

By the way, that wall or something like that, don't - don't limit yourself on what can happen to you or how - how your preclears have trouble with this whole process. It's just a gradient scale up.

You can turn on that wall so bright or those leaves on the tree there so bright that they just have a tremendous gold sheen over the whole day. And it's not gold at all. You don't see it at all. It's tremendous brilliance.

I've had a preclear all of a sudden get this and unfortunately take a look through his eyes at all this and get all this through his eyes and darned near blow his eyeballs out. The intensity of radiation which is - he'll get back off of these stuff after he puts enough on them to see them is fabulous. So there's no limit to up. "Up" is way up.

Okay, let's get at it.