Subject: FZ Bible - PDC Final 16 Lectures 11/18
Date: 3 Feb 2000 11:42:08 -0000
From: Anonymous-Remailer@See.Comment.Header (FZBA Scandinavia)
Organization: FreeZone Bible Association of Scandinavia
Newsgroups: alt.religion.scientology,alt.clearing.technology

PHILADELPHIA DOCTORATE COURSE, FINAL 16 LECTURES
- PART 11 OF 18

Brought to you by:
FreeZone Bible Association of Scandinavia

*Please see Part 00 for the Introduction & Contents

===================================================

STATEMENT OF PURPOSE

Our purpose is to promote religious freedom and the Scientology
Religion by spreading the Scientology Tech across the internet.

The Cof$ abusively suppresses the practice and use of
Scientology Tech by FreeZone Scientologists.  It misuses the
copyright laws as part of its suppression of religious freedom.

They think that all freezoners are "squirrels" who should be
stamped out as heretics.  By their standards, all Christians,
Moslems, Mormons, and even non-Hassidic Jews would be considered
to be squirrels of the Jewish Religion.

The writings of LRH form our Old Testament just as the writings
of Judaism form the Old Testament of Christianity.

We might not be good and obedient Scientologists according
to the definitions of the Cof$ whom we are in protest against.

But even though the Christians are not good and obedient Jews,
the rules of religious freedom allow them to have their old
testament regardless of any Jewish opinion.

We ask for the same rights, namely to practice our religion
as we see fit and to have access to our holy scriptures
without fear of the Cof$ copyright terrorists.

We ask for others to help in our fight.  Even if you do
not believe in Scientology or the Scientology Tech, we hope
that you do believe in religious freedom and will choose
to aid us for that reason.

Thank You,

The FZ Bible Association

===================================================

SUP 6
SOP 5 LONG FORM STEP III - SPACATION

Philadelphia Doctorate Course
19 January 1953

[Start of Lecture]

This is the second lecture of the -- what is it, the nineteenth?
Having to do -- our consecutive line on space and continuing the
material on Step III. And right here at the beginning I'm going
to give you a technique that I've tried out and found quite
successful, that is in conjunction with Self Analysis and
therefore could be worked by an auditor upon himself and could be
worked by an auditor using Self Analysis on a preclear. This is
quite an extension to Self Analysis. All Self Analysis gives you
is a random number of highly differentiated mock-ups. That's
quite valuable, because that's at 40.0 on the tone scale.

Now, what you do with those mock-ups is a professional auditor's
job. You can simply sit there and get those mock-ups, and you can
get quite a bit of benefit out of it. But there are many other
things you can do with mock-ups besides just get mock-ups. And
that's what we're covering now.

Now, I wanted to tell you before we start into the rest of this
material, want you to use this technique and want you to put this
technique down and I would like particularly if you gave me a
report on it. It is using the mock-ups of Self Analysis in order
to establish a Spacation.

Now, let's get somebody with claustrophobia and -- or let's get
somebody where the dimensions are just too vast to grasp, and
let's do this trick. Let's get mock-ups and get them close and
far, at every quarter, and above and below. And let's do those
mockups in rotation, not necessarily moving the mock-up. We won't
worry too much about moving it. Not even necessarily making it
disappear. We don't worry about these fine points. But let's use
the mock-up seen as an anchor point.

"All right. You enjoyed doing something. Put that out to the
right, ten feet away from you." We won't use a perceptic or cloud
him up on the perceptics, we'll just use that.

We'll say, "All right. Put that out to the right, slightly to the
right, ten feet before you."

"Okay. Now, let's get you ate dinner (mock-up) and let's put that
out to the left about ten feet in front of you."

"All right. Now let's get you petted a dog, and lets put that
back of you about ten feet and to the left. Oh, you can't get it
ten feet? Well, put it three feet."

"Okay, you got that? Now let's put another one out to the left
and back of you, and let's get it about five feet out there."

And you've given him the mock-up. "Now let's get one out there
about eight feet."

"You got that? All right. Now let's get one out there at ten
feet. You say it quivers? Well, get another one at eight feet."

"Now get one at ten feet."

Each time giving him a new line from Self Analysis and each time
giving him a new mock-up. You catch why? That is to keep
randomity rolling.

Now get him to put a mock-up a couple of feet below his feet; now
the next one, let's put it down a little bit further. Now these
people that get things out at infinity, have them get mock-ups as
far out as they can possibly get them. Increase, in other words,
this tendency. Let's get mock-ups way out, and then let's get
mock-ups a little closer. Use them as anchor points.
Theoretically there are six anchor points that you use in this
type of processing. One would be -- there would be sort of the
preclear sitting on a cross. One would be out to the right and in
front, to the left and back, to the left and in front, to the
right and back, They'd be quadrants, you see. Instead of before,
behind, to the right and to the left. Now, the other two would be
above and below, and those would be the mock-ups that you would
get.

Of course, you can put an infinite number of points out there to
make a sphere. But let's try this on your claustrophobia, on your
vast distance, and on people who get their space all mixed up.
And let's have them put these mock-ups in present time, and let's
make sure that they are putting them in present time, and so on.

A little trick there in Self Analysis: it remakes the past track.
See, it says "a time when you did it." It's not "Get a -- create
a scene where you are enjoying something." It says, "Create a
scene where you enjoyed something." That's just -- it's just
patching up the track, you see? It's just changing the past all
over the place. And you want to make sure that the fellow is
getting created scenes. All of the things apply. In other words,
use then, for the sake of randomity, line after line of Self
Analysis, and use them as anchor points. Also, use them to make
things stable. Try to get a stable proposition.

Now, this is a technique sitting there all by itself; it's doing
this in the wide aggregate of what we are doing otherwise, but
this would be a method of handling Spacation. And I may say it is
probably a very important piece of processing. I underscore this
as a piece of processing, because it has a great deal of
latitude.

You can do, then, with the mock-ups of Self Analysis everything
that you might be doing with the anchor points, just as such. But
anchor points aren't interesting. So if you run into that one,
switch off to Self Analysis -- created scenes instead of anchor
points.

But in particular, in just curing a person's misconcepts and
inability to handle space, let's just take that and put those
mock-ups out further and further away or closer and closer.
Person has an idea that he's got everything too close to him.
Well, that's fine, let's see how close we can get a mock-up to
him: "Oh, you can get it much closer than that."

All right, let's just set that aside as a little wedge there in
these talks, as a technique, and you'll find out -- I've done
some of this -- you'll find out that it's very productive. This,
by the way, as a technique runs over into GITA (Step IV) but is
particularly addressed to space so that it -- and Step IV is
space and objects. Possibly it belongs in Step IV, but I would
say it belongs in Step III because it teaches one to handle
anchor points.

Now, the rest of this talk here, I'm going to talk to you about
some quite pertinent affairs. Don't make a mistake, by the way,
that theory is unimportant. Too many times in the past, a
Foundation-trained auditor had that opinion.

Lord love us, the theory is the technique. The theory is the
technique. What he's isolating as theory is really the technique.
Nobody expects him to exhibit a great deal of virtuosity on this
theory, nobody expects him to be able to change it around; but,
boy, if he doesn't know what he's doing with that technique he
won't know when the technique's done.

For instance, you take old theta-MEST. You can read Science of
Survival today, and you can read the basic theory of theta-MEST.
There's some fascinating material in it, by the way, which aid
one's understanding of Homo sapiens a great deal, just on the
theta-MEST theory. We postulate there's such a thing as enMEST;
we postulate there's such a thing as entheta -- just for the sake
of argument -- and then we see that entheta and enMEST go
together and theta and MEST go together. Then we'll see that
entheta will tackle theta, and we'll see enMEST will Mess Up
MEST. See, we're just talking; I'm just giving you words. EnMEST
would be MEST which has been organized but has been all loused up
afterwards (technical definition).

All right. Here we have -- here we have our -- a car. And we take
this car, and it's an old, dilapidated car. And we put it on a
parking lot or in a garage with a lot of brand-new, sleek, high-
geared, beautiful cars. Now, by this theory, the presence of that
piece of enMEST, enturbulated MEST -- once organized and now in
horrible condition -- will actually demonstrate and show itself
up in those beautiful big cars. Just park it in there, that's
all. That's all you have to do, and you'll get it affecting those
other cars. What do you know? It will! It drips oil, for one
thing. Mechanics walk by, they pick up the oil on their feet,
they get into the big cars and so forth, it gets on the
carpeting. Small point, isn't it?

When you start that car, it's got a lot of exhaust fumes. It
coughs and spits and spreads exhaust fumes all over the place;
and the first thing you know, the cars parked immediately near it
have a thin coating of exhaust waste over the backs of them. A
lot of other things happen.

There's also another factor. Somebody comes in and takes a look
at this old car, and it would seem apparently to accentuate the
newness and beauty of these other cars. Actually it doesn't. It
makes the whole place look run-down to him.

Now a person can get so concentrated upon enMEST that he never
sees any MEST. And he can get so concentrated and down tone scale
on enMEST, which is below 2 on the tone scale, that he will make
enMEST out of every MEST he's got. You can just take such a
person and hand him a good, solid piece of MEST and then get it
back in twenty-four hours, and see what happens to it. You would
be surprised. That much couldn't happen to a piece of MEST! (I
see somebody looking very uncomfortable there; he's just been
through that experience.)

All right. Now we take entheta. There's some weird attraction
between entheta and theta. They seem to come together with a dull
thump. Every time you put out a theta line, for some cockeyed
reason below-2 will attack it madly, Either below-2 is trying to
bail itself out on the strength of the entheta or thinks
everything that is theta has to be entheta. Therefore you see the
most confoundedly dull attacks on the subject of Dianetics or
Scientology. You see the doggonedest things! I mean nobody could
possibly think or believe those things: just nobody. There's more
rumors and more garbage thrown around on this line.

Well, the best reason is in this society today, possibly about
the highest theta line that anybody is putting out rather
consistently happens to be Dianetics and Scientology. It says you
can have a chance to be free; it says you have a perfect right to
your own sanity; it says you have a perfect right to your own
life; it says you can help others to be free: it says lot of
things, It says there's some hope, there's chance for us, and it
says we might be able to do a lot of things with this. And it
just says so consistently, and it isn't saying anything else. By
this theory, you would then expect and predict that it would just
be machine-gunned from every quarter.

Now, they say there is a method of getting around this. And that
is to say, for every good fact you put out, put out a bad fact.
That is to say, for every piece of good news, put out a piece of
bad news. You know where you find yourself if you do that? You
find yourself at 2.0 on the tone scale.

Who wants to be at 2.0? I don't. Because those entheta facts are
going to snarl up the theta facts. So can you go out on an overt
line of attack against entheta and come off with clean hands? No,
you can't. What can you do with it? You ignore it. It won't
ignore you, but -- what do you know -- if you ignore it, it'll
disappear. And so it does. So it does. Where are the attackers of
yesteryear? New crops come up. They go down. Too bad. It's not
serious.

But you take the newspaper. Let's take a society and just
saturate it with entheta. Just saturate it. Pick up a newspaper;
what do you find? Death, rape, wrecks, murder -- oh, my! I mean,
good facts we just can't do without! Drive in their anchor points
is all that -- the operation. And by the presence of that in the
society, the presence of that alone driving in people's anchor
points consistently, you get a down tone of the society. They say
it sells newspapers. The devil it does! Has anybody ever tried
putting out a newspaper that published good news? No, they sure
didn't.

So what do we get, then, out of the old theta-MEST theory? We
come up to a higher technicality. We come up to a better
explanation of what we were talking about with theta-MEST. It
gets awfully simple. If you scramble up and drive in somebody's
anchor points, you get enMEST and entheta.

The operation of entheta: what is entheta anatomically? It has to
do with the corruption and mess-up of somebody's space. So we
were right when we were saying it was sort of straight lines were
good and crooked lines were bad. So we're right when we say
aberration. Well, how do you create entheta, and what is entheta?
Entheta is driven-in anchor points saying, "You can't occupy that
space."

As everybody has his own individual concept of space and as these
concepts when combined make our collective concept and agreed-
upon concept of space, it then becomes very interesting in a
society to watch the contagion of aberration on "Drive in the
anchor point." Somebody gets afraid, he gets scared. So he drives
in somebody else's anchor points.

There's nothing more embarrassing to an advancing army than to
have a regiment in full retreat hit it as it's advancing. You
know what happens? It takes the most seasoned veterans (in other
words, guys that just don't give a damn anymore, they're in
complete despair) -- takes seasoned veterans to keep on advancing
or holding a line. The militia comes back through them like shot
rabbits. It's terribly depressing. And there is anchor points
being driven in.

All right. We have somebody around whose anchor points, one
conceives, are being driven in continually. So they have to react
by driving in other people's anchor points. What they're basing
their conclusion on is that there isn't enough space.

That's wonderful. I mean, you don't have any space anyhow, so of
course there isn't enough space -- couldn't be -- and this person
thinks they have to defend all this space by doing what? By
driving in everybody else's anchor points. And so we get loose
characters going around banging away, and we get newspapers
banging away and banging away at everybody's anchor points.

Why? To sell papers? No, they don't sell papers that way. They
don't sell anywhere near the number of papers they should sell
that way. They, to that degree, control public opinion. They seem
to stabilize a tone scale below 2 for a whole populace, which is
a great mission; and I think they ought to be complimented and at
the same time sacked.

So driving in anchor points is quite an operation. Now, any time
you look at a whole-track incident that is really serious and
that the preclear has in restimulation, it has first and foremost
these characteristics: It was lots of space, and then suddenly it
wasn't very much space. Somebody actively led out his anchor
points to a vast distance and told him it was terribly desirable,
and then drove them in, smash!

And that operation -- out, in -- locks a person up on the time
track. What is being stuck on the time track? It is the way out,
way in of the anchor points.

There used to be -- I used to talk a lot about the suddenness of
bad news or an accident determined its aberrative quality. Well,
that's true enough. If you break bad news suddenly to somebody --
it is actually the rate of change of distance to anchor points.
Here's this person; he's out there, a beautiful sunshiny day. And
you walk up and you say, "Your father's dead." That would be the
quickest and most wonderful way in the world to do it.

Now, there are other ways, there is a method of breaking bad news
that must be broken, and that would be to take him out of the
brightness and take him down to someplace that was fairly close
and dark, and then say, "Well, I have something to tell you which
you probably won't like very much, but I'm sure you can recover
from it," and so on, "and that is the fact that your father..."

And they say, "What!" and "He's hurt?" and you say nothing, and
they say, "He's dead?"

Well, you -- they told themselves.

And you say, "Okay, that's that." You find out the amount of
shock would not be very great.

I saw a person told this one time, and often wondered afterwards
why it produced such a shock value. It was a crippling shock: the
person went immediately to the hospital, just bong! And yet they
didn't care very much about this relative. Until I just the other
day was going over this and suddenly remembered that it was told
to them in the most beautiful,

expansive scene that a fellow could possibly put together. Just
gorgeous scenery: lots of space, warm, balmy day; and all of a
sudden, bang! somebody dropped this one on them. And they
collapsed.

Now, the technical point is, Would they have collapsed if it had
been told to them in another scenery? No, I don't think so.

So what are you looking for when you're looking for a very, very
bad incident? You're looking for the way-out and way-in speed.
Not so much speed out, but good and solid anchored anchor points
way out in all directions and the person's owning everything and
so forth, and then you drop a boom on him quick. Now you can drop
that boom simply by shooting him in the -- between the eyes.
That's a very fast way to drive in a person's anchor points.
Drives them all in to between the eyes. Look what this thing is
working out to: this thing is working out to the theory of a
somatic. Now we're talking about pain, aren't we?

In the Axioms, when we say attention units, put in anchor points.
And so, too fast a motion on the part of those anchor points
produces the manifestations of pain, the manifestations of
unconsciousness. More optimum motion and change of the anchor
points produces what we know as the sensation of pleasure.

The preclear does not happen to be a particle. He hasn't any
particles. He hasn't any other anchor points than those he
himself postulates. Follow this closely. He doesn't have a
particle! He is not a particle. Therefore how in the name of
common sense can any particle impinge itself upon him to create
within him a sensation of pain? Answer: It can't. How can he then
feel pain? Or how, as far as that's concerned, can he feel
pleasure? He has to be interested in at least two particles. In
other words, he's interested in these two particles; and the
distance from one particle to the other particle and the rate of
change of that distance between those two particles establishes
whether or not he feels pain or pleasure, unconsciousness.

Now there's -- look at your preclear as a thetan. He's sitting
there and he will get interested, then, in terms of twos. This
whole universe is built out of twos -- dichotomies. So he's
interested in two bodies more than he's interested in one.
Marriage and interpersonal relations. Groups, group activity.
He'll get an interaction between two bodies more, much more, than
he'll get an interaction with just one. There isn't anything to
interact in the body except one body, so there's no body to act
against the body. So if he's just interested in one body it'll
start to fall apart. Why? Because he's got to have it in separate
chunks in order to have it produce an interaction between.

And you'll actually get somebody who's been very lonely and who
has lost a great many partners and that sort of thing, somebody
like that, and you will wonder why he seems to be so fascinated
with his liver. Well, the only way he can -- he'll actually run
pain. Pain is sensation, isn't it? He thinks he has to have
sensation to convince him he's alive, so he runs the liver
impinging against the backbone or something of the sort. And he
gets this proximity and changes the distance between the two, and
he gets pain. And he'll go around savoring this. He says this is
horrible, but he knows he's alive.

Now, when you get too close a proximity, in other words high
nervous tension: you want to know what high nervous tension is,
you want to know why a guy's shoulder muscles, for instance, get
very tight and that sort of thing when he isn't in very good
shape? He's actually doing this. He's thinking up ways and means
to crowd these things together to produce a sensation! And
because of the reversal of flows of the MEST universe, when he
tries to spread them apart they crowd together. You get all sorts
of manifestations on that reversal flow.

This fellow absolutely detests watermelons. Watermelons drive in
his anchor points, drive in his anchor points, drive in his
anchor points. So he winds up growing watermelons. Why does he?
It's the only thing that he could possibly do. You see? I mean,
that's the one thing that drives in his anchor points. So
therefore, every time he tries to put out anchor points and that
sort of things, he runs into watermelons (he thinks) or
something. So the best thing to do is to at least have the damn
watermelons where you can locate them.

Now you're controlling that which drives in the anchor points.
And a person will make a whole profession out of this,
controlling that which drives in the anchor points or that which
is an anchor point.

Now don't omit the fact that a body is an anchor point. People
get very interested in this big particle, which is a composite of
small particles, called a body. Therefore you find marital
affairs get very, very involved; and they have a lot to do with
proximity. Marital partners like to be certain distances, and
they don't like to stretch those distances or shorten them
suddenly. And all hell results when you suddenly stretch them or
collapse them. That's why traveling salesmen never have any happy
home life.

That's one of these big, high generalities, this. I think it was
Rube Goldberg who was collecting wonderful generalities, and one
of those generalities was "Jewelers never go anywhere." You can
add that one, "Traveling salesmen never have any home life."

Anyway, you get people spread apart and brought back together
again and they will tend to stabilize at a certain distance. Now,
when somebody else comes along it adds a new complication to the
situation and you get this distance, you get a diversion. And one
of the thetans in this pair is keeping this distance constant.
Now somebody else comes along and makes this second particle --
the other body -- go in some other direction, and it leaves a
vacuum because he's already established a communication line
there between two vacuums. I mean, he's got two solid places
which have vacuums in them and it leaves a hole, because it's all
adjusted so that there's a solid something in the second
position. Now all of a sudden there isn't any solid something in
that second position, so of course that's a vacuum.

You can locate these vacuums in the geographical vicinity of your
preclear. You can say, "Where is there a vacuum around you?"

And he'll tell you, "There."

"All right, who belongs in it?"

Fellow will say, "I don't know... My mother! Ha-ha! Yes, that's
my mother."

Sure enough, he's been trying to fit everything into that vacuum
and all he was trying to get there was one anchor point called
"Mother." And he married Mother, and he did this with Mother and
that with Mother, but he never got Mother in there. That's
because she's gone.

Now somebody dying leaves one of these vacuums. And people sort
of try to fill that vacuum with anything, everything. All you've
got to find out as an auditor is what belongs in that vacuum, and
the preclear will come out of that manifestation and get over
Mother's death and so forth, just snap!

Do you have to run a grief charge to do this? No, you don't. You
don't have to run grief charges to cure loss anymore. That all
comes under GITA, next step, which I'll take up next series.

But this tells you then that this individual must have a feeling
that there's a scarcity of space. Space around him must be
valuable, because it has to be filled and emptied. Why doesn't he
get some more space? That's a good question. Why doesn't he --
why doesn't he just go get some more space?

Now, have you ever had a preclear who couldn't move an object or
a mock-up from A to B in front of him? Well, you'll find them
that have difficulties in doing so. Well, they have difficulties
in doing so because A to B was never a motion that was undertaken
by this object you're trying to get him to move. What moved was
the environment.

Reverse the thing. Move the space around the object. That sounds
like it's somewhat fast and non sequitur to you maybe, but you've
got a preclear here that has a tendency not to want to move
himself or a mock-up or anything else. Well, shift the
environments around him. In other words, keep running space under
this mock-up and around this mock-up and over this mock-up and so
forth. Just run its various and assorted space. You'll find out
the space will move. Mother will stay right there, but the space
will move in all directions. And all of a sudden he'll say,
"Well, the dickens with that vacuum!"

Why? You've shown him that there was never a scarcity of space.
That's another way of giving somebody space. The reason why
people can't get things to move easily in mock-up is because they
think there's a scarcity of space. There's a scarcity of space
because it's only MEST-universe space that they can have and
there's only so much area on the top of a planet. That's the way
they figure it out.

There are people who advocate all sorts of birthcontrol and
starvation measures. They even go to the point of saying it was a
good thing there was a famine because places like India are
overcrowded, and therefore they have to have a famine to wipe
them out; and disease is good, and we'd certainly better not
clear out yellow fever or malaria out of some area because it'd
get overpopulated otherwise. That's space!

Well, they're operating on the delusion -- they're operating on
the delusion in the first place that there is some space; and the
next, they're saying there's a scarcity of it.

Now in Self Analysis there's a chapter there it has on the
abundance of things. You have to have abundance to survive, it
says. Well doggone it, you have to have abundance of space to
survive, but if space is a concept then you'd better get the
concept of abundance of space into the head of your preclear to
make him well. Because he won't get well as long as he thinks
there's a scarcity of space, because there's space back of every
object and space back of every energy and space back of every
being and space back of everything there is on the track.

And therefore, unless you hit for space and by Spacation cure up
this idea (I use that word cure up for lack of English; the
language doesn't give us as many words as it ought to), unless
you orient your preclear property -- wrong word, you see. You
know why -- you know why these are all wrong words (unless you
"cure up" space and so on)? It's a simple thing that space, in
terms of English, is an arbitrary; and we're dealing on a basic
denominator of English, and the basic denominators of English are
matter, energy, space and time. And in view of that fact, there
are no further abstracts than that, and the second that you start
hitting one of these and start discussing it: in the past they
started just talking about it in terms of the other three; and
they thought that was making sense, and it never made sense.
Never will.

So we talk about curing up somebody, we talk about altering his
concept of. And he has this concept of space, all right, and he's
got a concept that space is scarce.

Why does he stick on the time track? Because space is scarce.

Why does he think he has to have other beings around him? Because
space is scarce.

Why can't he tolerate other beings in his vicinity? Because space
is scarce.

Why has he got so many things identified with so many things that
he's -- that he's so loopy that he has to work for the
government? Because space is scarce.

Why does he think objects are so supervaluable? Well, that's a
funny one. A condensed space, condensed object, is the most
valuable object. So therefore space is very scarce, so therefore
we have value.

What is the basic definition for us in terms of value? It means -
- it means a space which is -- which is possessed or which can be
possessed, which is scarcer than other pieces of scarcity. That's
all. Value is determined by scarcity.

Don't think your capitalista doesn't know that. Boy, how he works
and slaves to create a scarcity! He would starve -- isn't that
horrible? -- if anybody came along and broke the theory of
scarcity. If anybody just took it and busted its spine, those
poor fellows would starve. They wouldn't have any Cadillacs and
nobody would have any diamonds and mink coats, and they wouldn't
be able to control people and kick them around, and they wouldn't
be able to starve little babies so they could make another penny
out of the milk and everything. Isn't that terrible?

So let's not breathe of anything about this scarcity. Let's keep
that strictly amongst ourselves and under no circumstances let it
out that scarcity of space is the thing which creates extreme
value, and that the cure for a sick society is giving it space.
Any time you want to cure a society, cure this concept of
scarcity of space. Just as -- I don't care whether you're doing
it in propaganda or anything else.

By the way, you probably think I'm anticapitalist. I'm not
anticapitalist, not even vaguely anticapitalist. In fact I think
the capitalists are good people, and I think that they ought to
be all put together and made very scarce.

I've had my bellyful of what they've tried to do to Dianetics and
Scientology. If once more one of those characters walks up to me
and says, "You've got to make it scarce," I swear to God I'll
throttle him, just like...

Now therefore, if there's a scarcity of space, it follows then
that -- in view of the fact that you think you occupy space --
there must be a scarcity of you. Interesting concept, isn't it?
Then why -- how come you're not there? How come your preclear
isn't present? How come he's operating through his MEST
perceptics but he's sitting someplace else, or he's dispersed
around in an area or so forth? It means space is so scarce that
he has no space which he can honestly occupy and he can only
pretend to occupy a small amount of space.

So you say, "Get out of your head." He can't get out of his head:
there is no space to get into, of course. Space is scarce.

How do you cure this? Just cure the scarcity of space, that's
all. Give him lots of space -- lots of space. Have him mock up
space. Have him mock up lots of space, and mock up some more
space and throw it away. How do you mock up space? You put out
anchor points. You put something terribly valuable in it, and
then make the whole thing disappear.

Scarcity of you. Well, it goes further than this. Do you know
that you don't occupy space? And yet you've got to come up scale
to the point where you occupy space, not to have to occupy space
again. You're in negative space. You're in a space scarcity where
there's no space at all. You get the idea? There's not only no
space at all, there's got to be a lot of space before there is
any.

Now that sounds very weird, and you could only get a condition
like that in terms of concepts, which is one of the most
interesting demonstrations that space is a concept. You can have
a negative concept, but you certainly couldn't have a negative
space if there were space.

So you want intervening distances between you and other people.
That gives you an identity, that gives them an identity. That
gives you something to perceive across. It gives you all sorts of
things. It's very interesting. And you've gone all the way down
the line to be sure and agree with this so that you can have
these differences. Well, that's fine, there's nothing wrong with
that, but that does not create a difference. With a typical MEST-
universe flow, this longing to have a scarcity of space so that
you can always estimate space also delivers to you pain.

You've got to have that object there, haven't you? It can't be
anyplace else, can it? Well, if you've got to have an object in a
fixed position and you can't move it fast enough, you're
certainly going to get it hurt -- you're going to lose it. This
is the history with bodies. You find your preclear can't get out
of a body because the body needs him too much. Well, basically
what's wrong is not the supervalue of bodies, but the scarcity of
himself. He knows he can't exist very much.

You know, this is a very interesting concept. If you want to run
a concept, ask somebody to run just this one (this is a dirty
trick, by the way, because this is ruinous): just ask him, "You
mustn't multiply any more of you." Run a bracket on it on
somebody and see what happens.

"You mustn't multiply any more of you." The guy's got an idea he
can only be one place at once, you see?

He's got an idea there can be only one of him.

There is no reason under the sun why a fellow can't exist in ten
hundred thousand billion places simultaneously. So he -- because
there's scarcity of space, there has to be a scarcity of him
then. He can't multiply himself all this time because if he did,
you see, why, he'd be in terrible straits. So therefore he gets
stuck on the time track. Get the idea? He can't be back on the
time track, he thinks, over here to the left and rear. You see,
he -- that's space. And so he can't be back there on the time
track unless -- there's so little of him that he has to divide
what is of him in present time to be back on the time track. You
get the idea.

When he left the body or wherever he's stuck, when he left that
body, he had to have the idea that there was just so much of him
to leave and not all left. That's why there had to be some sort
of a scarcity of him. In other words, he was a finite quantity.

A thetan is not a finite quantity. He could be -- there's enough
of him to be stuck in every engram and incident on the whole
track, liberally and awarely stuck, and have enough of him in
present time to be more of him than you will ever see in present
time, and aware of only present time and not even vaguely
affected by past time.

You see, it's only scarcity that makes him so valuable to him
that he has to worry about what's happening to him. So if he
operates freely -- in order to operate freely, he's got to have a
scarcity of space cured and he's got to have the scarcity of self
cured. A person doesn't operate freely: Why doesn't a person
operate freely? Why doesn't he go out of here and throw himself
under the wheels of a truck? Why not?

Well, there's only that much of him, you see? I mean, a fellow,
by the way, just for amusement's sake might stand on a curb and
sort of throw himself under the trucks as they go by, just to
scare the truck drivers or something of the sort. There is no
reason why he shouldn't do it. Wouldn't hurt him any.

But he's got to bring two items in proximity, he thinks, in order
to get a sensation. When you bring them in too intimate a
proximity and try to crowd them into the same space, it says
right here in the rule book, MEST universe (I think they're still
running on Issue 1!) -- it says right here that he can get in bad
trouble.

How can two particles come so close together as to create pain?
Well, that's because there isn't enough space between them. Well,
how can you keep more space from getting in between them? Well,
if you're not careful, there won't be any space between them. And
if you're not real careful, there won't be any particles there.
So this is scarcity deluxe, you see? Scarcity of you-ness. You
have to be very careful not to get stuck anyplace, because you
can't be elsewhere than where you are.

Now we take Step II, and that teaches a person to be here and to
be there and to be someplace else. Now let's add another one in
Creative Processing under Step III. Let's take the Step II mock-
ups that create him here and there and so forth, and in terms of
space let's just create lots of him, as a thetan. Just create
lots of him. All kinds of identities and so forth all in present
time or... Then get linear distances and stretch them all up and
down the line. And now instead of running a cycle of action,
let's have a new thetan be in each moment of the time track. Be a
brand-new beingness with the full knowingness of the past
beingness, but a brand-new beingness with great amplitude being
in each new moment. Leave him stuck in every moment of the time
track, in other words. He's trying not to be stuck; let's fix him
up with mock-ups so that he's stuck in every moment.

"All right. Let's have him being beheaded."

"That's good. That's good. Now get the thetan being crowded down
and staying right there in that beheaded body."

"Okay? You got that there? All right. Now let's mock up a new
body of yours----"

The fellow says, "Wait a minute, I didn't get out of that last
one."

"That's all right. That's all right, just be right there. Now
mock up this new body of yours be hanged. That's good, you got
that body hanging there?"

"All right. Get yourself being stuck completely in that body."

"You got yourself stuck there? No possibility of you getting out?
All right. That's fine. Now mock yourself up over here in
eighteenth-century clothes and so forth, being killed in the
Crimean War."

Now the fellow says, "Wait a minute!"

And you say, "Wait a minute: that's what you're trying to do. You
just wait in those two bodies all you please."

Let's get mock-ups all over the place under Step III, and let's
cure this scarcity of you-ness. Let's just get lots of mock-ups
and get him stuck in every mock-up, till he all of a sudden gets
the idea (which is the true idea) that he has unlimited
amplitude, unlimited volume, unlimited beingness.

Now what do you think returns to him? Differentiation of the
widest sort on facts. Oh, he can get lots of distance.

What else returns to him? Immunity from pain. There's so much
space between particles that unless he wants to put them in
proximity they won't go into proximity. Pain is enforced
proximity of particles.

There is no scarcity of you. There is no reason why you can't be
here fully knowingly, and sitting home in your own living room at
this moment fully knowingly listening to the radio, too. There's
no reason why not.

You think, "Well, I wouldn't have an identity if I did that." You
know why you want an identity? I'll tell you why you've got to
have an identity: so that others will be wrong. How could you
possibly ever prove anybody wrong unless you had an identity?

"How could you -- what do -- why do you want to be famous?"

"Well, it'll make them so wrong."

"Make who wrong?"

"Them."

"Well, who's them?"

"I don't know. They..." Probably all degenerated into cells by
this time, or they're in trouble so many other ways they don't
need any further trouble about you making them wrong.

You'll be surprised. The only reason a person wants an identity
or he has to have a face is to prove them wrong. Now, you don't
think that's -- you don't think that that's right or that that
connects? Well, just put it down in your notebook and run it on
somebody, and find out what happens.

"All right. Let's prove them wrong now. Let's run a bracket on
proving them wrong."

"Let's get people proving you wrong."

This goes, by the way, right downhill, and having an identity is
below having force. Here's the terrible trick: You feel like if
you get enough of an identity and you get famous enough, that you
can't then be limited in what you do. And of course that is
exactly the way you get limited. Just try and get a little bit
famous sometime and find out all of the -- all of the shackles
that go onto you.

Look at some of these characters around; that was one of the
first things that struck me down in Hollywood. I used to look at
these stars. My God, they might as well have been anchored with
elephant posts at the studio, and they might as well have been in
cages and been wheeled from their homes down to the studio every
day and wheeled back again. You talk about captive by fame! They
were objects, and they were valuable.

Person says, "No, someday I'm going to get famous and do anything
I want to do. I'm going to be president of the United States." Do
you know what the president of the United States runs into every
time he turns around? Secret Service. I would hate to tell you
some of his activities that have to be supervised by the Secret
Service!

Now Harun al-Rashid had a cure for this. All Harun al-Rashid used
to do was mock himself up as a beggar and go on out and talk with
the common people. But I noticed he was always cracking out with
"I am Harun al-Rashid." That was the only way he could solve
anything. What a dope. The only way he could solve anything or
award somebody for doing something was by suddenly disclosing the
fact that he was the sultan. Boy, was he low on the tone scale!
There's so many things you can do besides disclosing an identity
or calling upon a hoarded wealth, but of course you have to be a
Scientologist to do that. And you have to be a good one. And so
we won't blame Harun al-Rashid.

But the track leads you to believe that you should become an
identity, that you should have a face, that people should know
your name. Why? So you'll have rights. Why do you want rights?
I'll tell you why you want rights. Well, the reason you've got to
have rights is because you're liable to be hurt if you don't have
rights.

So the need for identity and the need for rights is the effort to
avoid pain. And so a person becomes an identity, becomes a solid
object -- as handled as a solid object, really -- when he's got
all the fame he can stand. And he has no rights anymore. He's got
all the rights in the world, only he hasn't got any rights. And
that is the very, very spooky trap that the MEST universe has all
pegged out. The more of an identity you become, the more of an
object you become, why, the safer you are, you think. Uh-uh.

Boy, you really have to be a tough guy to help anybody. I'm not
kidding you. You have to be tough enough to knock somebody's
block off before you can help them. You have to be real strong.
Because the only way you can get famous is to help somebody or
something. That's a lower level than being able to command people
to do something, so what are we doing? We're falling down from a
postulate.

"Boy, would I like to be king!" somebody says. "Then I could do
anything I want to do." Except wear the pants you want; except
eat the things you want to eat; except be where you want to be.
Did you ever see one of these fellows running around, and they
christen ships and so forth? I've never -- Edward, Prince of
Wales and so forth: my father had something to do with a part of
a tour that Edward was on, and the poor kid had to change his
clothes in the back of a Rolls Royce about four times a day to go
to these new meetings and appointments and that sort of thing. I
mean, it was wonderful! He was just a walking clotheshorse. And
was he handled!

One day the most horrible thing that happened in the -- over
here, one day in one headquarters was the fact that he turned up
missing. One time during the war he was able to cut off across
country and jump a fence and get away from the colonel and a
couple of troops that were shepherding him. And he was taking a
run one morning before breakfast and he all of a sudden realized
that these guys couldn't get over the fence on their horses, and
so he just skidded through the barbed wire and took a run across
a plowed field and went and found a tree and sat down someplace
and relaxed. And he had practically half the Allied army on its
ear. Everybody got worried because he wanted some freedom.

And that's the way it goes. So how do you restore this? What's
the cure for an identity? The cure for an identity is the
possession of power. And what's above power? Space. You have to
recover the ability to use power before you can get into space.
And so we get a whole technique that has to do with that. I've
written it down up here: "Is unable to use force or display
force." So we put that under the heading of Demonstration of
Power, and we put that as the bridge to be crossed -- one of the
bridges to be crossed in III.

And why is it sitting there in III? Well, it's sitting there in
III because it's the bridge that goes from III up to II.
Somewhere on these five steps we've got to rehabilitate power, so
let's rehabilitate it in III.

We disabuse the fellow completely from using force in Step II and
get him to use postulates. All right. Where's the bridge to that?
Well, the bridge to that comes up from being an identity up
through the ability to use power. And when he's able to use
power, he doesn't give a damn what identity he is.

Why does somebody want to be king?

"'Cause I could have all their heads chopped off."

"Why do you want their heads chopped off?"

"Well, because they've done me in."

"Well, what have they done to you?"

"Well, they did this and they did that."

"Well now, they did all that; well, why do you want to be king
then? Maybe you couldn't get at them."

"Well, I could at least show'em they were wrong."

"Well, why do you want to -- why do you want to be this famous?
Why do you want to be able to do all these things any----"

"Well, I'll show my teacher. She didn't think I was any good."

Wonderful motivation, isn't it? But the truth of the matter is,
nobody gives you permission to go way up tone scale to 40. You
don't have to ask permission from anybody to go in that
direction.

So beware of all routes where you have to ask for approbation and
permission in order to be.

And boy, you sure have to ask everybody's permission to get
famous. If you go along and don't give a doggone what people
think of you, and you just go on and you do your job and you let
them chatter and you let them yak and you don't care about
anything, boy, you'll really get in Dutch sooner or later. Of
course, all things come to an end -- if you can stand the gaff,
if you don't wear out. But the only possible way that you can get
any freedom is to stop asking everybody's permission to be.

And beware if you start operating in your community and you're
operating in an area, and you get yourself way up tone scale and
you're able to do some tricks, people start finding out what you
can do about ills and that sort of thing: beware, as you would of
the plague, of a thirst for fame.

I've had to do a very bad thing in Scientology and Dianetics. In
order to secure the line of research, I've had to hang my name on
it continually.

You can ask anybody who was in the first Foundation. One day I
raged and stormed and beat the desk until I was fit to -- I
scared everybody. As a matter of fact the whole board of trustees
said, "Oh, why, Ron, I never knew anybody..." They thought that
just because, you see, I'd do something like Dianetics and
Scientology that automatically and immediately I would thereafter
have to be completely controlled and be a perfect gentleman.
There isn't any -- that doesn't follow. It's non sequitur. I'm
much more at home on a quarterdeck. They were trying to tell me
something or other and I got mad about the thing because (this
was very early) they wanted me to put my name on some things, and
I had it all beautifully rigged up into the most wonderful little
swindle, up to that time, you ever heard of. And more people
believed this swindle. They believed that Dianetics was the
creation of a number of engineers, of which I wasn't even one.
(You can ask them, the early Foundation, about this.)

And then, what do you know! All these engineers that were named
turned into prima donnas and started turning up and saying, "What
you should do is all go out to church...." and some of the others
said that what you should do would be to go over and change all
of this and that, and they were going off in all different
directions except the direction to make anybody well. They hadn't
even bothered to learn this subject before they began to become
authorities on it. They became such horrible authorities that
everything got mopped up.

Well, somebody pointed this out to me, and I went into a storming
rage on it. I said, "You know what'll happen from here on out?" I
said, "My good name won't be worth two cents. If I want to go up
to the Alaskan tundra and thumb my nose to all this, I'll have to
stay here. No!" They won. Not five months later I was all over
the pages of the Los Angeles newspapers with the darnedest bunch
of garbage you ever looked... A gal I wasn't even married to was
suing me for divorce. Fame!

All right. We got this name on it as a trademark. But at any day
-- at any day, you're liable to having a ten-year-old boy or
something showing up here to draw any paycheck I might be drawing
from this operation -- any day. And this body just beautifully
buried with the nicest ceremony. Much as your life's worth. So
that's a bad route.

I'm using -- I'm using this as a horrible example. You -- it
probably doesn't come home because you don't know how horrible
the example is. It's a roughie. For the last two and a half years
this has been just pure, unadulterated hell on the subject of
public repute.

You know I used to be able to go into New York City and they knew
me as an explorer and as a writer, and they used to run nice
columns in the New York Times about me. Not now. No, I'm the
leader of a cult or something. Devil with that!

Now, if there was to be a prevention of that, it would be through
the field of force. When is a person unable to use force? It's
when he's got a public repute to protect. You can't use force. I
haven't thrown a tantrum for years. Yet I well remember with what
satisfying memory an ink bottle, as I hit the desk, jumping off
of it and landing in the lap of the person I was talking to,
upside down. Boy, that was the last satisfying view.

Now, actually you'd have to be anonymous to use force. If you
used unlimited force you'd better be sure anonymous because these
cops, they've got Bertillons and everything else. What do you
know, they can't list a thetan yet.

Why do you want to use force? Well, it's just to use force,
that's to... Well, it's a good reason it must have. So many
people want to use it. It's all backwards, by the way; it's
unusable. You can do things by postulates but not by force, but
in order to do things by postulate you've got to have complete
control of force. Awfully interesting idea, but it happens to be
true.

So, demonstrate force. Now how do -- what's the mock-up of this -
- not to get long-winded and windy about this sort of thing --
what's the mock-up? (You're not interested in me and my problems;
you're interested in this mock-up.) All right. This mock-up that
we do to get this is to mock the individual up using unlimited
quantities of force. Do mock-ups of using unlimited quantities of
force. Now, remember we had in II (or was it I?) -- stage fright
was in II. You had to cure a person of stage fright.

All right. Now that would be the last rungs of it. Let's cure a
person in III of being wary of using force before witnesses:
mock-ups which give demonstrations of temper, unlimited
quantities of force, destruction and so forth, before witnesses.
And just a series of mock-ups which show him busting up
everything and breaking everything through and everybody saying,
"Tsk tsk tsk tsk tsk! " and so on and so on. This is not the same
as stage fright exactly, but it has some bearing on it. So you
make him use force, and always before witnesses. Just using
force, you see, won't pull him out of it. So the long form of
Standard Operating Procedure 5 on Spacation here, then calls for
mock-ups using force.

We get him up to a point where he believes he could use any kind
of force on anything. Good. The second he does that, he will be
cured of something else -- thirst for identity -- which lets him
out of his body like that. Because about all his body is, is a
very expensive, unusable method of having and carrying around an
identification card. (Actually I have little cards, and we can
issue cards here and code names and put your wavelength on file
if you've got to be identified; but you won't want to be.) All
right. There, then, is that problem: unlimited use of force.

Now, why are you afraid of space? You're afraid of black space
because unlimited force is liable to come out of black space. So
you do a series of mock-ups, under III, of locating the most
horrible things in black space -- not seeing them: creating them
in the black space. Just think of all the things you could create
and then not bother to look at them. Just keep creating things in
black space till the fellow's completely accustomed to finding
anything in that blackness. He just gets the -- more locks will
come off, by the way, (brrr!) the thousands. Locating things in
black space.

Now, what do you know -- white, dazzling space is just as
important to locate things in because it's an electronic area.
(What's smoking? Evidently smoking is merely energy.) And so
we've got another one under Standard Operating Procedure 5 Long
Form, and that is locating things in flaming energy. Get a big,
great big ball of energy and the fellow thinks that's all there
is; well, put a dragon in it. In other words, get them objects
and energy flows, black and white. And get them around him and
mock up things in that, and not even see them but just know
they're there. And get him up to a point where he could know
anything is in the black space. And you'll get him over a lot of
fear.

Now there's one in the next step, number IV (which I'm not
covering at the moment, I'll just mention it offhand) is we will
have energy GITA. YOU mock up energy. A person getting energy and
a person giving out energy is part of Step IV. So this is -- this
is just above that. It's a higher -- it's a higher level. It's
locating things in energy. GITA, we're just getting energy,
getting the idea of taking energy in and putting it out. Well,
let's get, in III, locating things in.

And the goal of III is: For heaven's sakes, let's absolutely get
a person over two things in III, if we don't get him over
anything else. Of course, basically we're just getting him over
any aberration in space, but let's get him over two things that
are very specific. And one of those is being afraid of black or
white space, that it might mask something.

[End of Lecture]
