View source for SOP 8-C - General Discussion (2ACC 531210)

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

'''Date:''' 10 December 1953

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

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Okay. This is December the 10th, and today we have a few more fundamentals I want to go into—go over them again, really—namely SOP 8-C.

When you are doing SOP 8-C, you will have a tendency to mix up getting the preclear to communicate, and you evaluating for the preclear. Now, evaluating for the preclear is a gradient scale. And if you tell a preclear what to do too specifically, you're to some degree evaluating for him. By this I mean, if you can tell a preclear, "Get five places in the past where you are not and name them," he does. You can then say, "Get five more places in the past and name them, where you are not," and he does. And you get five more places in the past where he is not, and he does, and names them. And then, by the locations which he has named, you realize he's going out too far—he's way out.

You know, he's gotten five places in the past, and every time he's got this galaxy and he's out there on the Moon and he's in all the—what we call the "buttered-around places." The fellow that does this is plastered all over the damn universe, by the way. If he won't get in and look at Earth, boy, is he not looking. This is just a matter of not looking, you see. He just won't look at something, so you get him to find places "he's not there," and he eventually finds places where he is not, and he's more and more and more looking at places which he wasn't looking at before.

But you realize by this, after he's named as the past, the bordering continents, and he's—the Moon, and the bordering continents and so on, you can just speed it up and say, "Give me five places in the past where you won't be, or you aren't, which are closer to home." And he will. And you can ask him to "Give me five more places in the past, closer to home, where you aren't." And eventually, why, he gets down to the point he's not in his grandfather's grave, and he's not here and there.

Actually, if you care to take a little time of it, he will simply clean up the past by this process, as long as you keep forcing him to look in closer by simply suggesting to him that you want places which are closer in, and not by asking him specific places where he is not at all.

Now, I'll give you an example of this. You ask this preclear, you can say, "All right. Be three feet back of your head" (this is the patter, you see, of—first step, "Be three feet back of your head") and he looks kind of foggy and dazed and so forth. Well, you don't worry about that. You can sort of tell by looking at him that he's not too certain where he went or why. And you're not going to pester him by saying, "Are you three feet back of your head and—or aren't you?" because obviously he is in a fog.

This takes a little bit of looking on the part of an auditor, but if an auditor can't look, if he insists on looking at his own shoes rather than the preclear's chin, why, he might be left in the dark about this, but the process would be the same in any case. The least harmful process would be to simply start in on the rest of Step Ia.

And the auditor would then say, "All right. Give me three places where you aren't."

And the fellow would say, "Well, let's see, I'm not on Jupiter, I'm not in Galaxy 82, I'm not in …" You've got a case on your hands, son.

You say, "Give me three places where you aren't."

And he says, "Well, I'm not in the desk, not in that corner of the room and not in that corner of the room"—Step I. You just keep this up for a little while, and he'll be right on out and stabilized.

So, this is diagnosis by how well is the preclear buttered all over the universe, you see? Or if he isn't, why, he's—pretty good shape. Well, you'd just carry on with the process.

And then you'd say, "All right, give me three more places in the room where you aren't."

"Well, not here, not there, da-ta-dum."

"Well, give me three more places where you aren't."

"Well, not here, not da-da-dum, and …"

"Give me three more places where you aren't."

"Uh-huh, rahh, rurrh, rrh."

It's come to your attention by this time that none of these places he's offered you is his own body. Although he's kept to places in the room, he's already spotted himself. He's a real shaky Step I.

Good, solid Step I says, "Well, I'm not in the corner, and not in the desk, not in the upper corner of the room."

And you say, "All right, give me three more places."

"Well, I'm not in my right shoe, not in my left shoe, not in my chest."

You say, "Give me three more places."

"Well, I'm not in my head, I'm not in the back. Um, I don't know, I'm not in my body." That's about the way it'll go.

But you can peel it all down to that, simply by keeping on demanding places where he's not. You just say, "All right. Give me three more places where you're not." Very simple. His lookingness will eventually come in to a point where he will look at something.

Now, a person who's going to be down there at about Step IV, something like that, and you said, "Give me three places where you're not."

"Oh," the fellow says, "well, let's see, I'm not in San Francisco—ha-ha! I'm not in, uhhhh—not in Canada. Not in—uhhhh … Mmmmm, not in uhhhh …" That's about Step IV.

Well, if you just kept on asking him for "some more places where you're not, and some more places where you're not, and some more places where you're not, and more places where you're not"—theoretically, if you'd kept this up for ten or twelve hours, why, he'd be stabilized back of his head, and that'd be all there was to that. What you're doing there is collecting his attention, concentrating it.

But now let's take the fellow—let's take the fellow, you say, "All right.

Give me three places …" or "Be three feet back of your head. Okay. Give me three places where you aren't."

He says, "Well, let's see, I'm not urn, mmmmmm—not on the Moon. Nope, not on the Moon, that's right, there's no air there, I couldn't breathe there. Uh, let's see, and I'm not uhh—I'm not uhhh—not in the Sun." (Big, happy thought there.) "No, I'm not in the Sun"—repeat.

You're hitting a Step V. He won't look at Earth, much less look at his body.

Now let's go out further. And you say, "Give me three places where you're not."

The fellow says, "Must there be places?"

And you say, "Yeah, three places where you're not."

"Mmm—what kind of places?" Step VI. "What do you mean?" he's playing. That's your next reaction down. This is actually diagnosis straight by just what the fellow says immediately after "three feet back of his head." I mean, you can read him much better than you can read the average book. Much better. He's much easier to read. Average book has a plot and the modern book has social insignificance.

So, we've got the next—next step down, Step VII—you say, "All right. Be three feet back of your head." Then you say, "All right. Give me three places where you aren't."

And he says, "Button my shoe, button my shoe, batter-batter-boo" Step VII.

Now, those are steps by SOP 8, you understand. And those are not steps by SOP 8-C. The steps of SOP 8 do have meaning as to the type of case, SOP 8-C they don't have, particularly. It's just a drill you do on a thetan exterior. All right. Although there is some comparison—they've kept almost the same level.

If you were to actually process somebody who would say, "Button my shoe, batter-batter-boo," at you or something like that, the best thing in the world that you can get him to do is plead with him to tell you some object in the room that is real to him. And he will eventually settle on the light switch, if he's had a lot of electric shocks—or he'll settle on you as an auditor, something like that. Then you make him come over and touch you, touch the light switch, something of the sort, and withdraw from it.

But that's SOP 8, which has its heavier emphasis on people who are still interiorized, that's not 8-C. A thetan—you just get him to touch those points that are real to him. You run him the same way as you run a psycho interior, but a thetan exterior is not psycho, he simply can't see. All right.

Now, if he can't see at all—a psycho interior, you know—if he can't see with MEST eyes and MEST touch and he can't orient himself in any way, shape or form although he is in a body and backed out of it again, why, that's real interesting.

Now look what else happens here in Step I. You've had this fellow who's flying around the place with good perception—you don't know anything about it, you haven't discussed Scientology with him, you haven't told him what you're going to do or anything else. You say, "Be three feet back of your head. Now, give me three places where you are not." Just like that.

Fellow will say, "Well, I'm not—not in any of the corners of the room. Or I'm not—not—I'm not in your pocket," something like that and so on.

You could err, just there, to this degree: It would never occur to the fellow to tell you he was not in his body, because it would never occur to him that people got into their bodies. He'd think this was very strange.

He'd look at you—if you said, "You know most people are in their bodies?" he said, "They are? Gee, I'm in a funny place." But he would eventually get around to naming it. And just by carrying forward the same drill.

Now, after you've had the present dealt with, although he is exteriorized . .. See, it doesn't hurt anybody who's in good shape to ask him three places in the past where he isn't or five places in the past where he isn't—doesn't hurt him at all. And if he's in good shape, why, he'll name them off very rapidly. And if he's in good shape, he will name, more or less, his consecutive time track.

He'll say, "Well," he'll say, "I'm not in—not in Des Moines," even though he was born in Des Moines. "I'm not in—not in New York," you know he was educated there. "I'm not in Washington," you know he was there for a long time. And "I'm not home." Bang, bang, bang, bang—he's just talking about time track. It's what's real to him. Seems quite ordinary and it doesn't seem at all unusual to him not to be in these places.

But we will take somebody now who's going to be way down further steps and you say, "Give us three, four places in the past." Beware, if the fellow suddenly says—starts out by some kind of an incredible. He's way down step. You just—he's volunteering this—you've just said to him, "Be three feet back of your head. And give me these places in the present, these places in the present, these places in the present." You've got him narrowed down fairly well so that he's in much better shape in the present. You've asked him this maybe twenty, thirty times, three more places you wanted. He's pretty well established.

But his perceptions aren't turning on, that he is commenting on—he doesn't mention it if they are, and he's not doing too well. His communication lag is, by the way, what an auditor listens to and tells: how fast does he reply, how long does it take him to consider where he is, so on. These are all indexes to his position, down to a certain point—there is that fellow who merely answers you frantically and hectically, consistently and continually, but not necessarily correctly.

Now, as we get this fellow who is very uncertainly established in the present someplace and we say to him then, "All right. Give me three places you're not in the past."

And he says, "Let's see, the past—three places I'm not in the past—past—let's see, mmmmm. Well, I'm not in Alice in Wonderland in the past. I don't know, where would three places be in the past, auditor? Where would they be that I wouldn't be in?"

Oh-oh, you're dealing, in SOP 8 terms, with somebody between VI and VII. He's right in between there. You can expect to have a little bit of a gruesome time. Although you didn't particularly spot him there with Step I, all of a sudden this came up, the second you said anything about the past. That's gone.

Well now, it gets down to more reasonable past. Your Step III or something like that's going to say to you, "Three places in the past where I'm not? Well, let's see, I'm not—I'm not in—I'm not in Europe, never been there. Not in Africa." Same deal as on the present, only it's just a trifle more significant, if we must have significance. It's just—doesn't have much bearing on what you do next, it's just your estimation of the case.

In other words, you don't have to have a long chin-chin with this fellow, and say, "Now, old chappie, where do you think you are on the Tone Scale," and all of that sort of thing. You don't have to go in for it and say, "Now do you think Hubbard is right or wrong before we start this?" You don't have to say anything about this. Nothing about it at all.

All you do is just start asking him this, and if you have a good grip of theory, you don't even have to have much experience. If you've got a good grip of theory, you just audit three or four preclears and they'll all turn up exactly where they would on SOP 8 with their comparable comm lag, and their perceptions will be just about that good or that bad, see. SOP 8—it was figured out as seven categories of case and they are plotted against communication lag. But this is a better way to plot them—"where-not lag" is what you'd say.

Now, don't omit the next step with this boy. You say—all right, you've said to him now where isn't he past and where wasn't he in the present—you got the present all disposed of, and you've got some of the past disposed of. And you're going on down the line now, and you're going to ask him right away now—you're going to ask him one that will be a shocker to him, if he's down at III or IV. You're going to say, "Give me three places where you are not in the future."

"Hmmm, hmmm …How can anybody tell?" he says. Big new thought has just hit him. Well, you're dealing with somebody down there around V, around IV. Now, this would amaze you that it's that high—that it's only Step IV or V that hits people this way.

But you know, I can swear that an auditor who gets to know 8-C very well and who is operating without it in front of him and who is very handsomely going along at a mad rate—whose own case is not too well fixed up—will consistently omit the future. He'll just skip it. It will occur to him that it's not very important, he'll have other reasons for it, but he just won't mention it. That's right. I know this because I've already seen it happen; and they just skip it. "It's not important."

And yet, when you're dealing with somebody who's down around VI or something like that, do you know that you can say, "Give me three places where you are not in the future," the fellow says, "I—umm—hmmm, three places where I'm not in the future. Well, the—I can't really tell about that. Now, let's see now, three places where I'm not in the future—hmm-hm-hm-hmm-hmm. Three places …Well, uh—uh, let's see, how much future?" something like that.

And you say, "Well, next week."

"Ah, I don't know—how could you tell, really? I mean …"

"Well, ten o'clock tonight." Get that future down close to him. Future's predictable in terms of a few minutes, directly.

He'll say, "Oh, ten o'clock tonight? What time is it now?" And "All right, let's see, ten o'clock at night, now—I won't be at work at ten o'clock tonight, the office is closed. (sigh) Now let's see, see just—you said three places. All right, I'll get two more—now don't—no hurry. Let's see, let's see, let's see—um, hmm-hm-hm-hmm-hmmm-hmm-hmm-hmm—what time do you think I'll leave here tonight? Hmm-hmmm. Well, you give me some places where I won't be."

"No, no," the auditor says, "no, you just give me a couple more places where you won't be tonight at ten o'clock."

"(sigh) Let's see …Hm-hmm!" He's—really run high gear. All of a sudden of his own volition he'll think, "Do you know I won't be in the White House? (sigh) And Fulton's Fish Market is closed." Just—the thing. Do you know his case breaks right at that point? He does a break up from neurosis at that point. You've made that man face the future, even if it's only ten o'clock tonight. Mmm.

People for many years, when dealing in the realm of the human brain, see, were trying to get people to face reality. They neglected to tell people what reality was, they neglected to define it, they left that to the physical sciences. And the physical sciences left it to the people who were in the study of the human brain. And between the two, their shedding of responsibility was total.

And we know what a reality is today. We know what a reality is and we can make people directly face reality, but once you take their face and slam it into reality, they don't react well. That's the method used by the phrenologist—I think that's taught in American universities, phrenology. And—no, it's chiropracty, isn't it? Study of the human brain. I've forgotten what it is. Anyway … Palmistry, that's what it is. These boys almost would shove somebody into it: "You've got to face the fact that you really hate your mother, or I won't have anything more to do with your case. And you've transferred and you know what that's done to you now." Typical. I mean …

Now, it—just don't go in for that heavy a level because it's not necessary. You want somebody to face reality—reality in—far as time is concerned, the biggest barrier has to do with the present, the past and the future. Not the past, present and future—that's not consecutively in a person's command. Consecutively in his command, is the present, past and future. So you ask in that order. And by getting him to spot himself in the biggest barrier of all—time—you can break a neurotic, just bang! You can break an alcoholic, boom! You just keep at it. It's not really hard to do. But it will be as unsuccessful as you are specific about where he is not to be.

Now, occasionally, when I'm dealing with a case level that—stand it easily, I'm very prone to say, "All right. Are you in the window?" or something like that. Just tip-off once in a while down the line. But that's very definitely adjudicated against case level. And the only safe way to do it is just, "Give me three places where you're not."

Now, if you try to be too mannerly about it and say, "aren't," and if you hit a Step Level VI, SOP 8, which is neurotic, the person is too dug in with symbols and he's not going to be sure of what you said. And this will cause him a confusion, and thereby cause a communication break between himself and the auditor. So it's much better practice to say, "Give me three places where you are not in the present."

And it's very upsetting to them to have a little comm break—you know, just a little tiny comm break. He didn't understand you and that—you'll see it reflected through the rest of the session. Because this case is not in the kind of shape that he can easily overlook a comm break. You can overlook one, but he can't. He's got to be puzzle-puzzle-puzzle, so you've actually stuck him on the time track for the eighty-four millionth time, and he's stuck again. He's stuck with that comm break of whether you said "aren't" or "are not" or "are." What did you say? See, that's very important to him. Communication systems and so forth are the big thing. If you ask this fellow to shove around postulates—you'd better not start him in shoving around postulates, because he'll have to get bulldozers to push them. Because they're big and heavy and they're real rough to move.

This person, by the way, you can tell him, you—after you've talked to a person for a very few minutes, and asked him merely for his background, you can tell immediately what trouble he's going to have and where. Once you know reactions with SOP 8-C, you can tell immediately where he'll have trouble.

Let's take semantics: This man has been an avid student of general semantics, he just has studied general semantics and so forth. You don't even have to know that, but you will say, "Well, this is a science which …" And he will say, "Well now, a science—the meaning of that word science. Well, how do you mean a science, you mean in terms of the same way that the Christian Scientist says 'science'? Or do you mean, science is it science, is it science, is it science?"

And you will say, "Well, the last time I read Korzybski, this—he wasn't this worried about meanings and definitions. He didn't say, 'Stop four times and don't think before you speak.' He didn't say something like that." Well, the thing about it is—the only thing that's significant is this man's going to be stuck badly in symbols. So when you're—this is what I'm saying, it's very, very sequitur, there's nothing wrong with general semantics; wonderful piece of work.

But as far as your preclear's concerned, if he's stuck on this subject and you say "aren't," and he thought you said "are," but maybe you didn't; well, you might have said "are not"—you got him bogged. And you're bogging a boy who won't stand very much bogging.

You can't immediately tell him, "All right, put that remark and that incident behind you and move it over on the chair." Huh-uh. That's too soon. He probably would not be able to do it. I mean, it's too heavy, too big. Symbols. The symbol is the thing! Also, he's stuck in his head like a piece of—like a bullet in a rock.

Now, you see what diagnosis—if you want to use that careless term—can mean just in terms of the response, the immediate response you get from a preclear. You can read him much better than you can read a newspaper headline. All right.

As soon as you've gone over this "where he is," "where he's not," let's go into, immediately, others. All right, cover this. "Give me three people who are not in this room." There you can be that specific, because you have to be that specific. Because if you ask him, give him three people who are not, you have asked him something that can't be answered. "Give me three people who are not"—you can't do that. "Give me three people who are not in this room."

Now, every once in a while it'll fascinate you to find how many people are present. You thought he was okay right up to this point, until all of a sudden you ask him this "What other people are present?" You didn't ask him, "What other people are present," by the way, because he would tell you lots of people then. But "What other people are not present?" you would say.

And he says to you, "Ohhh," he says, "mmmm-mm, well, she is. Let's see, mm-hm, they are, mm-hm. Yeah, yeah, yeah—and that family is over there. Yeah, and the sergeant, he is. Let's see, who isn't present?"

You know you'll get that on a SOP 8 Step VII? Hey, right away, bang! So, if he does that and he can't find it, you just go back to who isn't in the—where he is not, right in the present and past and the future. Just go over that again. If people turn up, just step back that one step, because you're dealing with a real rough case. So let's handle it very carefully.

But if he says, "Well, let's see, three people that aren't present. Well, Joe, Pete, Bill, Mama," so on.

And you say, "Well, three more."

"Hmmmm-ummmmm-daa-uhm … Mm!"

Don't pass that one by. You have discovered a perpetual presence, which he has just discovered. And this will happen to a Step I. That's how common this one is. It will happen to II, III—you can always find somebody around at a Step Level SOP 8 IV, and they just are around there in mobs when you get to V, VI and VII. If you go asking for trouble, you can just turn them up one after the other, see. I mean, you can—and you could also beat it with such an uncertainty, see? You could say, "Are you sure there's nobody else present?"

A Step Level V would say, "Well, I've got a vague impression of some—how do you know thetans aren't present? How do you know that? How do you know something else? How do you know …"You get into a big argument right there.

So you just back up one, the second you discover another person present, rather than get into a virtuosity—a big virtuosity of how hot you are with Creative Processing and Something and Nothing, and getting rid of people and so forth.

In the first place, your case may not be ready to have that line of technique run on him. Let's play it safe. So let's—here's somebody else present—there's his ex-wife standing there. You just discovered this—he didn't know it! She's been standing around for years, as far as he could tell. She's still alive, she's in some other part of the country, but he's had this picture of her all this time, and he's just discovered it. Now, that's a big stickler.

Well, there are other trickier methods to get rid of her. As I said, Creative Processing, "is—somebody is present, somebody isn't present." At the last resort you can say, "She is standing there I am certain. And I am certain she's not standing there," and break the maybe. You can do this, just the last resort.

But it's much easier, as I said, to go back one step and ask three places where he is not in the present, three more, three more; three more places where he's not in the past, three more, three more, three more, three more; three places where he's not in the future, three more, three more, three more.

Now, "Give me three people who are not present."

"Well, chom-chom-chom-chom-chom-chom." Blew the girl. She left. Because he reoriented himself out of some geographic locale where he had lived with this person. Quite commonly people have their mothers present. When you do Postulate Processing on some people, it's wonderful, it's gorgeous. If you were to ask them carefully, exactly how that postulate was moving back and forth, you would discover, every now and then, that Mama was carrying it. Or you'd discover that something else was happening that's very peculiar—there—a small boy of four himself is carrying it.

And the people who laid the postulate in will suddenly show up out of the engrams and start carrying the postulate around. That's all right, after they've done that just about two passes, it's a dead postulate, believe me. It's not a postulate, see, it's an engram phrase that turned up. You just keep on running the postulate, that—that person would stop carrying it around and somebody else would start carrying it around. Eventually they'd get their own postulate back on the thing, it'll rephrase or do something like that.

So what happens here if you find out somebody else is present? You just back up and find three places where he's not.

Now, you go into objects. The main reason you touch objects is not because it's terribly therapeutic, but because somebody sooner or later will run into a sure-enough neurotic or psychotic who is trying to be a bedpost. And a person doesn't have to be too neurotic, as a matter of fact, somebody categorized as Step II, occasionally—they'll get a sudden flash of insight they're trying to be a washbasin. They don't quite figure out why they're a washbasin, and they can puzzle their heads no end as to why they were, till it occurs to them that their name is Washington. And the closest they've ever been able to be Washington was to try to be every washbasin they ever ran into.

This is completely idiotic, but that's what they're trying to do. This will show up. So you just give objects.

"Now give me three objects which are not in the present." Auditor says, "Three objects which are not in the present. Three more. Three more. Three more. All right. Give me three that's not in the past. Give me five more that are not in the past."

"Fellow by that meant objects that are not in the past. Mmmmm. Mmm." That's real tough, see. "Gee," a guy will tell you, "I don't know how—I don't know what you're talking about. Let's see, well the past is—gee, it's all kinds of things in the past, I mean, there's textbooks, and gee, there's just all these objects in the past—what are you talking about, of course objects are in the past. I mean …"

He'll sit there with complete—he just won't fall wise to himself, that's all, the second you start in on objects, if he's going to hang up around III, IV or V on the track. "Objects are in the past, naturally. They're all in the past, that's right." He's just liable to go on at that rate. Because, you see, he has never given very much direct attention or admiration to objects, and they have certainly never given much attention back to him and they have hung up.

Actually what's the proper answer? Three objects in the past. Three objects that are not in the past—as far as objects are concerned—would be here on this desk: that microphone, that ashtray and the other ashtray. That's all. It's just—those objects are not in the past, they're right here.

Well, a person will pick that up, quite obviously, if he's a high communication level, that'd just be very obvious to him. And the person who's down around III, IV and V is liable to miss this one. And an auditor is liable to miss this one. Because after he's in good shape, it doesn't occur to him that people get into that bad a shape. And yet people are in that bad a shape.

Now, he might not, you see, have had any people in the past because they're more mobile—people can move out of the past. But none of these objects are mobile and so of course they can't move out of the past. They have no will, no volition of their own, they don't move out of the past, they stay in the past. He's stuck all over his own time track when he's done that, and by the time you've handled objects—three more in the past, three more—it'll dawn on him all of a sudden that there aren't any objects in the past. There are no particles in the past. The past is composed of patterns of objects which are in—still in the present, if they exist. That's as easy as that.

And you ask for three more, and three more, and three more, and three more. If he's been even vaguely doubtful about it, why, just chew it to death, just beat it to pieces. Just make him so sorry he thought that there was ever any object in the past—don't just lightly handle it, just murder him. Not because you're jeering at him, but because there is an object in the past which is very important to his case, and he is assigning nearly all the significance around to this darned object. And it may turn out to be a baseball bat he'd lost when he was three or five. It may be a tennis racket of his sister's that he broke and he hasn't been able to play tennis since. It may be this and it may be that. It may be an automobile—it's Pop's automobile that he drove when he was sixteen and smashed it all up, and Pop never let him drive again and so forth. There are all kinds of things, you see.

But here's another question of looking at something: "Now, what objects aren't in the future?"

And the fellow "Ga-ga-zum-za-za, um—let's see, the future—objects not in the future …"

Of course, the answer is, there's no objects in the future. What objects aren't in the future? Every object in this room's not in the future.

And he'll give you three objects not in the future, and you may have to peel it off, you say, "Well, let's see now …"

"Well, there's …" (This is the way that most people hit this and go about it.) "Well there's—well, let's see, there's—well, there's flintlock muskets in the future, because they still put those in museums. Let's see . .." He goes onto this weird one.

If he still fumbles over that, you take him back to the past some more, see, with objects. If he has any trouble with objects in the future, he never got the point about objects in the past. You don't have to tell him or inform him, he'll find it out.

Okay. Now, just so that he was not dazed off in some fashion or another, you come back at him this way. You say, "Okay. Now where aren't you thinking right at this moment?"

Now, a very fast way to audit, but actually not an exact or correct way to audit is, "Are you thinking in your right foot? Are you thinking in your left foot," and so forth. This is just to speed up the thing and take a look at it, and get him fast exteriorization. It's not very good auditing. I do it, but I know my case that I'm doing it on, and I'm very alert for any automaticity that'll show up that'll start him thinking every place you indicate.

No, the proper terminology on the line—"Give me three places where you're not thinking just now."

"Oh," the fellow says, "one chandelier, the other chandelier, the corner of the room, no."

"Okay. Well now, give me three places where you're not thinking in the past."

"Mm."

You see, you make this very brief, you don't give it this much time. "Three places you're not thinking in the past."

"Not thinking in the—huh?" Three places he's not thinking in the past. "Well, let's see, the Moon—well, I'm not too sure about that. Saturn—well, I'm not too sure about that. Now, let's see, three places in the past—hang on a second ..."

Well, boy, if you've stuck him at that point, you'll have to help him out sooner or later, because he's all over the place. So you say, "All right. Now, let's be very specific now. Give me three more places you're not thinking in the present," and that's the way you solve it. "Three more places you're not thinking in the present. Three more where you're not thinking in the present. Now give me one place where you're not thinking in the past."

"Building across the street hasn't been built yet."

That stumps you. (audience laughter) And give him two more places, two more places, three more, several more, some more.

Whenever they start slowing down too much, give them one place and whenever they're going like hot cakes, why, ask them for ten. All right.

And right there, after we've got him all squared around in fairly good condition, we have this business of remote viewpoints. And how do we do that? We have him create, use and destroy. Now, he'll just do it if he's fairly low on SOP 8 scale. If he's pretty low on the scale, he'll do this conceptually and it might mean quite a bit to him. But if he—you're having any trouble with this at all, "Now get the idea of putting a viewpoint over by the window and using it."

"Mmmmmm …"

Hm-mm. You go on, don't linger. Run, don't walk for the next step, because this is over his head. But remember to handle him eventually and you'll save yourself an awful lot of trouble with somebody who is putting his thetan out someplace. Because that's what that remedies immediately. And the reason it's there is because it's got to be hit, that's all. It would probably be better on this student form—I don't know that this isn't a misprint—it should be, "b. If exteriorized, have him create, use and destroy viewpoints."

But if you use it as you're using it here, you'd use it in that fashion. Probably in the other edition I'll go back and look at that; that should be on the next line. It's okay. Doesn't matter. In that step, you've got to have him create and use and destroy viewpoints, that's for certain.

Now, supposing after all this, why, you found he was back of his head. Just conversation. You talk to him. You know, you finish up that much of it and you talk to him and say, "Be three feet back of your head" or something like that.

He seems to be there. Far as he's concerned, he is there. You'd have him be, then, in pleasant, unpleasant, beautiful, ugly, dangerous and safe places.

Now you have him be in places, but boy, he'd better be certainly exteriorized if you use that step—real certainly exteriorized. Don't bother with the step if he isn't certainly exteriorized, because it'll slow him down.

So, the way this is plotted, you can just ignore this step until such time as you know damn well he's exteriorized and simply skid on to the next one. Say, "Be three feet back of your head. Now, mock up your body." Now you're not asking him to look at his body, you haven't told him to look at a thing. To date you haven't told him to look at a thing, you haven't persuaded him to do anything. "Look at his body"—why, pam! he's liable to go right straight back into his head again.

You say, "Look at that ashtray"—no, he's not likely to like it at all. Well, you could say, "Be in the ashtray" and that's all right, perfectly okay. But "Look at the ashtray"—no, thank you.

And so, as you'd come down the line, you can just go through this by ignoring the "b" step here at every time, until you're darn good and certain this fellow is really exteriorized, and his perception is pretty good. Because Step Ia, Step IIa, and Step IIIa, run over and over and over, will function eventually in this fashion. All right.

So we say, "All right, now mock up your body." You say to this fellow, "Mock up your body." You don't care whether he's inside or outside. "Mock it up. Did you get a mock-up? Okay. Poor one. Well, it's all right. Mock it up. Okay. Now duplicate it." You didn't ask him to destroy it, see? Duplicate it. If you asked him to destroy it and he got a poor mock-up, oh brother.

Even people who get good mock-ups won't destroy their first—their body the first mock-up you give them. So you just have them—"All right. Duplicate it. Now duplicate it. Now duplicate it. Now duplicate it. Now duplicate it. Now duplicate it." And just for the sake of some randomity, "Duplicate it. Now duplicate it. Now duplicate it. Now, take the last duplicate which you made, and make the feet disappear. Now make the whole body disappear up to the waist, now make the. rest of that duplicate disappear."

Supposing he had trouble making it disappear. Well, duplicate it and duplicate it and duplicate it and duplicate it. "Now put another body beyond it and look through the first body at the second body until the first body disappears. Now duplicate it. Now duplicate it. Now the last one, throw it away. Okay. Throw away the next-to-the-last one. Throw away the next. Now throw all those away. Okay."

"Now mock up your own body. Duplicate it. Duplicate it. Duplicate it. Duplicate it. Duplicate it. Duplicate it. Now make the last one disappear. Now make the rest of them disappear. Okay."

"Now mock up your own body, make it disappear. Mock it up, make it disappear. Mock it up, make it disappear. And mock it up. Now make its head disappear. Okay. Make the rest of it disappear. Okay."

"Now mock it up, make it disappear. Mock it up, make it disappear. And mock it up, make it disappear."

Well, he's—about this time, he's getting the idea that he can handle this body. If you wanted to be even more specific than that, you would run "moving" in on this. You'd say, "Mock up your body, now move it around." And you would get some sensational results on that with some cases. He'd exteriorize like mad. You've moved the body up to the roof, and you moved it to the corners of the room, you moved it downstairs and upstairs and around. This is the first time he's moved a body for years. Bodies have been moving him for years.

So—that's not the most important step, however. The main thing is to get him to mock up and unmock his own body until his perception betters. His perception will better on this considerably. But supposing he didn't exteriorize, and it doesn't make sense to him, and he did it poorly, and he didn't get any mock-up to amount to anything, and he's real upset about the whole thing and so forth. Well, I tell you, you just go to Step III. Just like it says here. You say, "All right. Now be three feet back of your head." You've asked him this two or three times and he says at all times, "No."

And you say, "All right. Be three feet back of your head."

"All right. Now find the two back corners of the room"—whether his perception betters or not.

"Go behind the two back corners of the room and get interested in them. Get interested only in them. Now, don't bother thinking, just get interested in them."

Do you know that a very large percentage of the cases that had gotten this far—I mean a large percent of the cases—if you as an auditor just simply sat there and let this fellow suffer through it, the locks will pour off and everything will slide away this way and that. And they quite commonly, even cases that are real hard to exteriorize, just quite commonly slap up into one corner of the room and take a look at their body, take a look at the room. This is a routine action.

And how long does this take? Longer than you as an auditor would actually care to sit still. It's generally in a—terms of a couple of hours. About four hours of this with a Case Level III will exteriorize them pretty well and straighten up their life pretty well. I know one auditor, by the way, who was practically doing nothing else. He had such fantastic good luck with this, the first three preclears he ever latched on to, that I don't think you could blow this auditor off this technique with dynamite.

Anybody comes in to get processed by him, believe me, they sit in that chair and hold on to the back anchor points of the room. And they hold on to it till—we just go on and on and on with this technique, that's all. And life cleans up, and things straighten out. There was one fellow at the Philadelphia congress who had spent forty hours doing nothing else but this technique and he looked lots younger and he felt lots better. That's just its routine report.

Well, you're apt to do it too briefly for it to do too much good. And there's really where you can err. And you're apt to chatter—and there's the other place you can err. This is a silent one, as the auditor can take a breather after all of his hard work in Step I and Step II.

Now, the funny part of it is that an auditor reassures a preclear just by his continual presence. If you ask the preclear to do it while the auditor steps out of the room, it's very possible that you will get no great benefit from the step—very possible. When the auditor gets beyond ten feet—he can get up to eight feet without worrying—eight feet away, you see, without worrying the preclear too much, and he gets up to ten feet, it starts to be a little bit worrisome. And when an auditor gets up to fifteen feet away, he's gone. And if he were to walk on down the hall, this is dynamite. It's only really the feeling that there's somebody there who is competent to suddenly pick up the pieces, that gives the preclear nerve enough to go on and hold on, on some of the things that start rushing through. Because a lot happens when you do this. I mean, this is not a light little process. This is a slugger. You can do it forever, but that doesn't mean it's a light process.

Some time ago when I started calling things "limited" and "unlimited," well, when I said something was an unlimited technique and that it could be used continually and so forth, why, people of course thought this was very light—nothing much to this technique. And said, "Oh, it's all right, we'll just use it, regardless of what…"

And then all—oh my, everything started breaking loose, see? And "Oh, what do you mean, calling that a light technique?"

I didn't call that a light technique. I said it was an unlimited technique—could be used for a long time. So don't make the mistake of thinking that because something can be used for a long time, it is a patsy. It's not a light technique merely because it's usable over a long time.

Those techniques which have to do with—are subjective techniques and validate too much the barriers of one's own energy, are quite—they're poor, they're limited techniques. That is what a limited technique is. It's a technique which can be used only for a short time beneficially, and after a certain period of time will begin to cause deterioration on the case rather than otherwise. Double-terminaling, for instance, is a limited technique.

This is the old master of all the unlimited techniques, though, that Step III.

Well, after he's done that for quite a while—you can just do that—you go on to a more subjective technique, which is brackets of space by eleven commands. Now you have a table of those eleven commands and they're simple commands. You say, "All right. Now put up four balls in front of you in a quadrangle. Okay. Now put up four behind you in a quadrangle. Okay." You find out whether or not he can do that. "All right throw them away."

"Now put up eight balls around you in such a way as to make space in which you can be." Yeah, he can do that. Well, you're all right if he can do that. If he can't hold one there at this time, and yet—don't bother going on with it. If he can't hold up eight anchor points of space around himself or see them or do something about them, why, that's all right—just skip it.

But there's five of them you can use, see, without putting up the anchor points. That's straight on the MEST universe, which is the consecutive technique after this. The five of them you can use, run like this:

"All right. Now hold on to the eight corners of this room for yourself. Okay." Have him do that for a while. I say a while—maybe a minute, something like that.

"All right. Now have somebody else hold on to the eight points of this room for himself. Now have somebody hold on to the eight corners of this room for somebody else. And somebody contact and hold them for you. And you hold them for somebody else." Each time, duration thirty seconds, something like that. And then you start shortening the duration.

But what happens is that you get a gradual approach into anchor points, and then you add the others, eight—I mean, pardon me, the remaining six. Which is, 'You put eight anchor points around you, have—for yourself. Somebody else put eight anchor points around him for himself and he holds it a moment"—and just a moment. Well, it's very brief—three seconds, five seconds, as soon as he gets them up. You throw them away each time, see? Banish them, vanish them, throw them away, do something with them, make them disappear.

"Now, have somebody put up eight anchor points for somebody else around somebody else. Now have somebody put up eight anchor points for somebody else but around you. And have you put up eight anchor points around somebody else, and somebody else put up eight anchor points up around you." And those are the commands as they go through. He should be able to do that fairly soon.

But, trouble—you might even have trouble with this person communica-tionally. He doesn't get it too well when you say, "Hold on to the corners of the room." And what's he supposed to do, and he's a little bit upset about it. Anybody gets upset about something like this and gets too stirred up about it, don't alarm him, don't alert him, don't get him resisting you in any way—just skip it. Go on to the next little line.

Because this next one is pure murder, and even a V or a VI can do that. We just have him put emotions—particularly fear, competition, desirable sensation—in three universes including walls, objects and people in the street.

Now, although that only occupies a line, it may occupy, with a very tough case, fifty hours of putting emotions and sensations, betrayal, ridicule, grief, apathy and all the rest of it—pain particularly. He could just go on this way, and when you say three universes, this is completely beyond them, so you take the mean universe—the average universe, which is the MEST universe—and you just have him do it on the MEST universe, and you just beat it to pieces. See?

Because that's making space with emotion. And if they can't get it in terms of feelings, they can certainly get it in terms of effort. And I gave you, early in this course, some examples of how you did this.

You put the blackness on the outside of the walls and pull it through the walls and push it out again. Doesn't matter what you do with it.

Now, you could also put various thoughts into MEST objects, but that again is merely the dramatization of fixing and planting a thought.

Now, the best results are gotten—on this process of putting fear and so forth in the walls—the best results are gotten when actually the greatest speed is used. Bam-bam-bam-bam-bam-bam-bam-bam! Best results, greatest speed. But a person can do it bam-bam-bam-bam-bam-bam-bam, that isn't putting it in at all. So you as an auditor had better make sure that he's putting it in, putting it in. Okay.

Now we go from that—maybe he doesn't have to do too much of this, you see, but you get him to do some of it, because it'll give you a good index on a case. It's—also improves him.

And any thetan—I don't care, see, if he's outside or inside. This is for outside. These steps are designed mainly for an exteriorized thetan. And if he can't make sexual sensation and tastes and smells while he's outside the body, by himself, he will interiorize sooner or later because he's dependent upon the body to get his effects. So that's why he goes back in. So you've got to solve that. So that step gets much more important as the process continues—till he can mock up admiration by the quart and sexual sensation by the fifty-gallon keg. (Kegs aren't fifty gallons, by the way—I just didn't want to direct you wrong on keg measurement.)

So anyway, the next step, adjust the anchor points in the body. Now, a fellow can be awfully bad off and still find his anchor points. He can be in very good shape and still not find his anchor points—still not find his anchor points. He can be in wonderful shape. If you've run a Spacation, it will make it much easier for him to find the body anchor points. That is, brackets of space around himself and others; it'll be very easy. But even then sometimes, why, you have to coax him along to see his anchor points. He's—always can see some anchor point or other, if you're good at it.

You say look here and look there in the body, and see if he can't find an anchor point.

"What's it look like?"

You say, "Put up a gold ball," or something like that, "and take a look at that. You find any of those in the body?"

And the fellow starts to say, "No," and then all of a sudden gets an idea there might be something like that.

And you say, "Well all right, mock up one, mock up another one, mock up another one, mock up another one, mock up another one, mock up another one. Throw it away, throw them away, throw them all away. All right, now mock up another anchor point. Now throw it away. Now mock up a couple more, throw them away. Now mock up an anchor point and move it into your—side of your face."

Yeah, he throws it away. And all of a sudden, "Say," he says, "there's—are some points here like that."

And if you're failing in this process, it's simply because you're just not patiently sitting down and having the fellow mock up some anchor points in the right place. That's all, you're just not having him mock them up until he can see them. Because you're mocking up things real close in and they're very easy to see.

So you just have him mock them up and throw them away, and mock them up and throw them away. Now, don't let a preclear do this—this is the only danger point that can enter in, in the adjustment of anchor points of the body. The reason he can't get out of his body is because his anchor points are all shot. That won't completely bar him from getting out of the body, but it'll make sensation in the body—too much current, too much this and that, out of adjustment. It's like trying to crawl out of a wrecked building as compared to walking out of the door of a well-built one. And so you just get him to adjust anchor points until he can walk out of the building that's upright.

The point I'm making is that a preclear will very often get into this one: He can make such beautiful anchor points as a thetan. He is so good at it. People who are—that you would think are pretty bad off can do this. They get such sparky diamond anchor points—they're beautiful anchor points. Gee, they're just the nicest anchor points, and they move those into the GE anchor point positions. Oh, brother.

And then you see them about two days after the session, and they've been doing this on their own because, of course, it's just like a fellow would manicure his fingernails. He's straightening up the body. He sees that he can do that easily. And you see him a couple of days later, and he's talking to you very happily and so forth.

Well, you might not suspect what's happening. You say, "How are you feeling?"

"Well, I've got a little headache, but I..." You know he's liable to do this: put his own manufactured anchor point in the place of the GE anchor point. And when he does this, he of course throws out the whole electronic structure of the body, because the GE's anchor points are nicely balanced one to another and he's put some bright anchor points in. You just have him throw those bright anchor points out—no matter how much it breaks his heart—throw them out and find the GE anchor point and reassemble the GE anchor point and put it back in the proper place.

Now, these points go in, click! How many are there in the body? Actually there are probably millions, if you count the little sheets of them, like those under the eyes and so forth. They're in the jaws—every place where you once talked about a control center, there is one central anchor point and actually thousands of other anchor points through the body.

There are many major ones. Anchor points are way out in the front of the body to the right and to the left. There's a big anchor point down just below the abdomen, on which sexual sensation depends to a marked degree. The sensations and twists and shapes to the body are varied by these anchor point positions. And that's when somebody straightens up his body. When you get somebody to work on his body, doggone it, don't have him work on muscles and bones and things like that—have him work on electronic structure, which is to say anchor points.

Now I hope you understand this process maybe just a little better than you did before.

Okay.

SOP 8-C: GENERAL DISCUSSION PAGE 2 2ACC-20B - 10.12.53

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