View source for Outline of SOP 8-C (2ACC 531207)

'''Series:''' 2nd Advanced Clinical Course (2ACC)

'''Date:''' 7 December 1953

'''Speaker:''' L. Ron Hubbard

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

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.

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

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.

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."

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.

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."

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.

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.

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.

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."

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.

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.

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

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."

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, 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.

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

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.

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.

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, 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.

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.

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?

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.

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.

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, 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.

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.

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!

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.

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.

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.

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.

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, 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

(a) Be three feet back of head.

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

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.

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.

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.

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

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."

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.

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 "cowboyitude".

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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, 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 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.

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.

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, 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.

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.

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.

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.

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.

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.

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.

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?

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.

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?

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, 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.

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.

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.

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.

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.

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

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.

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?

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.

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.

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.

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.

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, 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.

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.

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

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

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

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.

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

"Thataway."

"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."

He very often doesn't like this.

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.

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.

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."

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.

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.

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.

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.

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 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, 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.

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.

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.

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.

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.

OUTLINE OF SOP 8-C PAGE 9 2ACC-17B - 07.12.53

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