I recently stumbled across a gem of a book, totally

out of print, from a group/order calling itself (back

in 1973, anyway, when this book was copyrighted)
Shakti. The title of which is "The Spiritual Science
of DNA" by E.J. Gold. Its not really comparable in
any way with his later, more mainstream works. The
name of the group is also given as the I.D.H.H.B., or
Core Group, the former of which I understand to mean
Institute for the Development of the Harmonious Human
Being. The back cover of the book lists a bunch of
other titles, but I've had no luck locating either
this group or any of its other publications.

Here is a fair-use sampling of some of the more

interesting passages from within its covers. Begin
Some (Fair use) Excerpts from Shakti, the Spiritual
Science of DNA, by E.J. Gold (1973, Core Group
Publications, Copyrighted.)
_____________________________________________________
______________________

(Note -- there are no page numbers in this book, so

those of you with copies will have to locate these
selections for yourself. The line of dashes will be
used to delineate different excerpts. Also note that
there are several "typoes" in here, 'change',
'whick', and a misplaced period that I have
faithfully duplicated. Any others should be assumed
to be the fault of my excerptions and not the
original.)
-----------------------------------------------------
--------------------------

This is going to be kind of an overview of the

BARDO course. Let's first take a look at what some of
the principle words we'll be using mean to us. The
Lama, is a Being who is undergoing Bardo training
assignments designed to free it from the laws of its
own creations and the creation it encounters in
various spaces. And the Mala is a trained technician
in project assignments who is training the Lama to
effectively use our training program as a genuine aid
to Being. An assignment is the period of time during
which the Mala conducts the Lama through the training
process. It is a period of interaction between the
Lama and his Universe, which is assisted when called
for, by the Mala.

We're going to prove to the Lama, by example, that he

has forgotten how to have things happen, and how to
observe what happens as a result of his creations
without identification--we want to re-awaken the
Being, to have a world which is a creation of Pure
Mind, and that it's all right to experience a world
which is a creation of Pure Mind. That it doesn't
have to measure up to a certain definite solidness.
So he's going to have to form new motivations, in
order to do that. That Lama must center in his
genuine identity in order to still have, under those
conditions, a world of creation and experience. Now,
that's going to bring into play a whole new set of
understandings. For instance, the Creations ought to
be subject to, Being, not the Being subject to the
laws and accidents which occur in the Creation. The
Being ought to be able to hold both the Absolute
Reality of the situation, which is that there is
nothing there at all and no one to see or use it, and
the practical experience of the situation, which is
that he can still break a leg and feel it smartly.
But not subject to accident, or to the laws which
form identifications and suffering. And, that Being
ought to be able to regain the opinion that it's all
right to have anything happen, without necessitating
the uncreation of the world--because he realized his
actual position in reality, he doesn't have to have
the entire thing break down just because a slight
alteration in logic has occurred. In other words, he
has the ability to let a wall disappear without
panicking about it. And that means we're going to
have to give him the means to handle his creations
the way he wants to.

What is a BARDO? Up to this period in the

development of man, the Bardos have been very
misunderstood, although they have been known and
recorded by man for tens of thousands of years.
Unfortunately, they have been recorded in terms and
symbols which were familiar to him and relating only
to realities which are familiar to him. The BARDOS
are, in fact, an Awareness-Continuum Coded Package -
called DNA - into which a Being's awareness folds
down as soon as the Being leaves the physical plane.
Here's what happens. The Genetic Code Modular Package
called the GCMP, or DNA, is an indestructible spore,
into which all the basic structure of the Being's
awareness is packed in its simplest possible form,
which travels as a closed-down system until it again
enters a universe, which it seeks automatically
without the need for conscious direction, due to its
program, which seeks out a specific range of choices
of body, choosing any available body which conforms
to that code's program. On the entry into a body of
the Genetic Code Package, it unfolds immediately into
the control area, called the "plexus" of the body,
and extends its awareness out into the central
nervous system, building a matrix of awareness upon
which it can act, and through which it senses and
perceives events in space and time. When it has to
leave a body, the Being retreats completely into the
GCMP and exits from that Universe.

The subjective experience of a Being who has

"spored" into a Genetic Code Package is a series of
experiences and events which are ALWAYS THE SAME.
These experiences, statements, people, etc. are
REPETITIVE and PRECISE - naturally - they are the
symbolic code of that Being's awareness - the modular
building blocks of the Being - and so are always
exactly the same. In the condition of GCM Package,
then the Being might respond to the code in that
package with "It's always the same!" and the
repetition of the code throughout the package with
"Oh, not THIS again!" Of course, the thing that makes
this GCMP an indestructible Survival Package is the
fact that these symbols are ALWAYS EXACTLY THE SAME!
However their SEQUENCE CAN be changed by the
Conscious Action of the Being. And that changes the
program of the package. In other words, that's how to
change your Karma and rebirth cycles. The way the
Bardos have been reported in this local space are as
a series of subjective "dreams" and "wind-ups"
experienced during the interval the Being spends
between universes. Normally, the Genetic Code Module
Package is a survival unit for Awareness that can
seek out and invade a body without conscious
direction. That means the Being doesn't have to
experience the Between-World Unspaces, and doesn't
have to remain awake during "long flights." But it
also has the disadvantages of taking the ABILITIES of
the Being away from the Being BOTH IN AND OUT OF
SPACE AND TIME. It also has another distinct
disadvantage of causing massive
memory blackouts.

The Bardo Module Codes have been systematized in

this local space as "the Tarot," "Kabalah," "I-
Ching," (tri-grams) "Aethyrs," "Planes," "Heavens,"
"Ray of Creation," and so forth; these are all
systems of codifying the DNA Modules in the Genetic
Code Package.

In your beginning training on the Bardos, you'll

be learning the methods of Consciously breaking down
your awareness into the DNA Modules and placing them
in the Genetic Code Package (and riding it like a
Starship!) without confusion, memory-loss, or fear,
and how to use that ability to "stay in Being" while
continuing to operate in a universe. How to move from
universe to universe, world to world, Cosmos to
Cosmos, Scale to Scale --

The exact symbology of a Bardo can be expressed

as the resolutions you, as a Being, make subjectively
from the objective impressions of the basic modules,
of which there are only THREE -- and the secondary
and tertiary modules, of which there are several
dozen and several hundred, respectively. The nature
of a Bardo makes it possible, under ordinary
conditions, to be aware of only the level of modules
in that Bardo.

The Entire-Package-experience is usually

resolved as: "I AM."

The Primary MODULE is resolved as three basic

personifications - (you and two other
personifications) - and stated as "Well, here we are
again!"

The Secondary Module is resolved usually as a

series of action, statements, and RELATIONSHIPS. "Not
THIS again!" usually accompanied by a feeling of
helplessness (which is absurd, in light of the fact
that one is, at that time, LIVING OUT CODE OF
PREDETERMINED SEQUENCE, DURATION, AND ACTION).

Tertiary Modules are usually resolved into

WORLDS, KNOWLEDGES, MEMORIES, PREDICTIONS, and
DECISIONS TO ACT.

There are further encodings which will be

discussed in the advanced
work.

These RESOLUTIONS into subjective

interpretations are called MODELS, and they determine
how a Being is going to view any encountered REALITY
or UNIVERSE.

The Genetic Code Module Package (GCMP) also

contains, although in a very brief "shorthand" form,
all the occurrences and experiences which have been
IMPORTANT in the history of that Being, as PAINFUL,
UNCOMFORTABLE, STIFLING, DANGEROUS, OR INDUCING FEAR,
CONFUSION, OR A FEELING OF HELPLESSNESS to the Being
in previous encounters with universes. Very few
PLEASURABLE or INTERESTING experiences, or IDEAS
WHICH HELP A BEING TO UNDERSTAND ITS OWN NATURE are
recorded in the Genetic Code Module Package, BECAUSE
THEY DO NOT SEEM NECESSARY TO THE SIMPLE SURVIVAL OF
THE BEING.

However - to a Being which has become Self-

Realized, these are of as much or more vital interest
to the existence of that Being. For a Being to have a
record of its entire history, knowledge,
understanding and abilities, it requires, as that is
out of the range of the capability of the DNA Module
Package to cotnain such a "library" of intricate
data, either that such material be stored exterior to
the Being, and that the Being learn only to "read"
the libraries of "local space," or that the Being
gain the ability to CONSCIOUSLY DETERMINE AND DIRECT
THE GENETIC CODE MODULE PACkAGE. We are trying to
transmit to other Beings the ability to do both.

Now we can take a look at some problems related

to existing and acting from Being as a result of the
fact that in a condition of Being, you're going to
have as the limit of your knowledge and understanding
only those modules which exist in the Genetic
Package.

That doesn't just affect a Being outside of time

and space. It affects a Being who is appearing within
time and space as well, because appearance is
DETERMINATE from the Genetic Package. So if a Being
doesn't know how to arrange a new sequence of coding,
and DOESN'T EVEN KNOW ABOUT THE FACT THAT IT IS
LIVING INSIDE A GENETIC CODE PACKAGE - it won't be
able to act from Being, or exist in Being KNOWINGLY.

So one of the first problems we can deal with is

to make a CODE MODULE of THIS knowledge and FEED IT
INTO THE GENETIC CODE PACKAGE. So that the Being is
at least aware of the condition of existence inside
the Genetic Code Modules.

What we want to do is to punch in the data about

Genetic Code Packages INTO THE GENETIC CODE PACKAGE.
Under ordinary conditions, that information WOULD NOT
BE AVAILABLE INSIDE THE GCMP!

But to do that we have to make all of this

complex information into a Module which is SIMPLE
ENOUGH TO BE ACCEPTABLE TO THE DNA CODE, and also it
has to be stated IN THE CORRECT LANGUAGE OF THE
GENETIC CODE! Many individual attempts to place this
information within the DNA code have failed BECAUSE
THEY HAVE NOT BEEN ENCODED properly or simply enough!

So the first thing we're going to tackle in this

DNA code problem is COMMUNICATING IN THE LANGUAGE OF
THE DNA CODE. This language is often called "Esoteric
Language."

You're going to need a method to be able to know

the difference between your perception of a DNA model
or module, and reception of impressions from a world.
In other words, a system of separating the symbols of
DNA from the symbols of any physical world encounter.

And you're going to need a method of seeing an

overall picture of the workings of the DNA Package,
while at the same time paying attention to the
particulars. An overview - or the constant memory of
the situation ("educating" the modules). You're going
to need a method of punching in the data about the
Genetic Code Module Package into the Package on all
levels, in all the modules.

You're going to need a system of laying out in

some kind of readable order all the modules. In other
words, create a display of your GCMP in a definite
symbology. Right now, you use the same display
pattern as any world you encounter, and that can
confuse between the GCMP and encountered realities.

You'll want a method of re-grouping, re-

organizing and synthesizing modules. And a method of
getting into "no access" modules, and re-structuring
them. A method of carrying on module language and
world perception language simultaneously, or at least
harmonizing your existence as a group of modules of
DNA.

A method of encoding any information and

associated experience you wish to place in the DNA
modules as acceptable and conformant storage data.

A method of operating permanently from the DNA

Package, and yet receiving all perceptions and
experience from any body or object, and able to
communicate through any body you have the ability to
encode from the modules.

The methods necessary to open the range of your

DNA programs.

There are other skills, but these are enough to

start with.

Perhaps it would be a good idea to begin by

learning to communicate - in a way acceptable in this
local space (in society) - in DNA language. The first
course before you are eligible for the Bardo I
assignments is COMMUNICATING IN DNA LANGUAGE.

DNA COMMUNICATION

On this course in DNA communication, we're

probably not going to be doing any kind of actual DNA
linkup, but we are going to practice together to
speak and be able to accept, DNA language as a
language in which it is all right for us to
communicate. This language is very radical for a body
to use, but we're going to get used to it through
the body, because most of our work on the DNA Modules
is going to be done "by analogy" - we're going to
operate on ourselves by operating on externals - As
Above, So Below, is the principle. You can affect any
module in your GCMP by acting outwardly if you know
how to do it, but in order to see what you're doing
in your GCMP, you have to be able to readout and
communicate in the language of the GCMP, or DNA
language.

One thing we do in DNA language, is we OVERSTATE

our communication, that is, we send it in several
forms, to make sure that the SENSE of what we're
sending is clearly read. However, in REALLY CRISP DNA
Language, that isn't necessary very often.

One thing that you certainly don't need for DNA

communication is a lot of body signals. They waste
energy, which you need to conserve in the beginning
stages anyway, and they are really superfluous if
you're actually communicating with precision. So you
can drop the face-mask and the hand gestures, body
postures and any body posture or signal you use to
QUALIFY your communications and any body language you
use now to MAKE YOUR COMMUNICATIONS IMPORTANT TO
OTHERS. In short, you have no need for EMOTINGG your
desire to have your communication actually reach an
intended destination, because it's DEFINITELY GOING
TO REACH THE INTENDED DESTINATION, and we're going to
MAKE SURE THAT IT WAS CORRECTLY RECEIVED by the DNA
Module concerned.

So - without body signals or postures tacked on

to these communications, learn to SEND and RECEIVE
the MODULE INSTRUCTIONS AND ADDRESS MODIFICATIONS,
after you have fully and carefully defined them -
(see the DNA communication workbook).

The way that the DNA code Package makes an

adaptation to a local space and time is by the
CHAMELEON principle. The DNA is SUGGESTIBLE to the
environment - it does this adaptation by ASSIGNMENT -
it assigns each object, action, or event to a LOGIC
or group of LOGICS, called a MODULE, and determines
its actions and the actions of the organism it
inhabits according to the changes of those
relationships. In other words, the external
environment causes corresponding changes to occur in
the DNA Code. The world of external events causes
KARMA. As an example of how that can affect you, it
is well known that the final events in a life in the
physical universe will create a definite analogous
change in your DNA Code to program your next birth,
unless you are free from the effects of the external
environment upon your DNA Code - that is, the DNA is
no longer SUGGESTIBLE to the physical world. Of
course, that would then require of you as a Being,
CONSCIOUS choice of appearance in a physical world,
and CONSCIOUS adaptation and direction of any
organism chosen as an appearance mode.

But at first, we are going to use this

SUGGESTIBILITY of the DNA Code caused by environment
and event relationship changes in the exterior world
to cause the downfall of the suggestibility of the
DNA to the environment. We do this by creating a very
definite environment which will produce a KNOWN
OPTIMUM re-program of the DNA code into what is
called a "working code" – we rehabilitate the code
into a temporary working condition, and then we work
at freeing it from the effects of the environment,
and then we re-program the DNA WITH KNOWLEDGE. We
study the DNA Package, and we open the "no-access"
areas, and take the pain and fear responses off them
- we re-link them into the DNA network, and get as
high a potential of freedom for that Being as is
possible. Then we train on synthesizing new
relationships of the DNA modules - instead of
altering the basic logics themselves (which is the
usual source of trouble in the "no-access" areas).

And that's about it for the beginning work. Your

group leader will direct discussions about the
consequences and effects of this work with you in
more detail.

We at the Core Group wish you much success!

HOW THE DNA ADAPTS TO AN

ENVIRONMENT

We can think of the DNA as sending out tiny

filament-strings to every single object, action,
event and statement that occurs in any given space
within which the organism finds itself; it has lines
thrown out between modules and externals. The reason
for this is that the DNA function of adaptation works
according to the principle of IMITATION of
RELATIONSHIPS. It always works, in the business of
AUTOMATICALLY and MECHANICALLY making a successful
adaptation to any space and time, but it has the
disadvantage of continually changing the awareness to
match the environment.

Every time an object, action, statement or event

CHANGES RELATIONSHIPS in space and (or) time, THE DNA
CORRESPONDING MODULE CHANGES ITS RELATIONSHIP WITH
OTHER MODULES, TOO. That means that your DNA Code -
your program of awareness - is dependent totally upon
the environment and any change in the environment,
for its degree and type of awareness.
 The problem with this is that, so long as the
DNA is suggestible to the external relationships for
its awareness code, ANY ACCIDENT of CHANGE IN
RELATIONSHIPS, combined with the necessary "shock" to
bring about a slight change in CONSCIOUSNESS (a PRINT
takes place more or less fully, according to the
degree of CONSCIOUSNESS and the loss of blackout and
impedance in the DNA BUFFERS - this can be caused by
a shock of some kind, by meditation practices of
certain types, and also by the state just prior to
death, or during injury. An unconscious period
creates a no-buffer condition as well.) will change
more or less permanently the DNA Code, and therefore
the awareness, of an individual.

It may make some sense to get free of the

SUGGESTIBILITY ADAPTATION mode of the DNA automatic
functioning at this time, but you should also
remember that when the DNA AUTOMATIC mechanism for
adapting to space and time is taken off automatic
(and by the way, it should be remembered that this
adaptation does not go on solely between bodies -
during the time between "death" and "rebirth," but
also ALL DURING THE LIFETIME OF AN ORGANISM) the
adaptation will then have to be made deliberately by
the Being. Better learn to see what is happening with
the adapting going on now, and learn to do it
yourself while you have a change to see it in smooth
operation.

In the first several BARDOS, we're not going to

try either to overcome the DNA environmental
suggestibility, or arrange an external set of symbols
for an OPTIMUM CODE. What we're going to do, is first
see what your DNA is doing to adapt you - in other
words, what TYPE your DNA projects for this space,
and look at some of your DNA's attachments to
externals.

OPTIMUM CODES

There are many methods of re-aligining the

fragmented or dis-integrated DNA Code patterns in an
individual Being who has lost the major portion of
his DNA Modules either through accident, fear,
confusion or misaligned Module-relationships. In a
few cases, it's necessary to actually go into and
recondition the Modules, since the Being has, some
time ago, wrecked it by trying to alter the inner
structure. (The: "I got tired of seeing the same old
"people" all the time, so I smashed his face in -" or
"I killed Harry - he was getting on my nerves" - or
whatever. The actual situation is, of course, that he
has eliminated or altered a module of rigid logic -
which ought not to be altered - it can be patched in
differently, but it is definitely a determined system
of specific logic packages, and not to be internally
altered!)

Some of the methods of altering the patterns

currently held by the Being in DNA Code can re-align
through the method of repetitive patterns of exterior
relationships of carious objects - externals - WITH
THE APPROPRIATE SHOCKS which create the PRINT pattern
by kicking the new code into the DNA – at the time
when there has been an INTENTIONAL BRIDGE set up
between the Being and the external world.

The earliest forms of these OPTIMUM CODES form

the earliest - and the highest - kinds of awareness,
if the patterns have not been lost, changes have not
taken place, no one has added or taken away anything
based upon personal opinion, or they have not been
incorrectly transmitted.

These methods require that the correction in

coding be made in a specific and exact sequence, or
order - otherwise they can be more damaging to the
suggestive DNA.

-----------------------------------------------------
--------------------------

Note: There is about two pages or so between the end

of this excerpt, and the beginning of the next, but
this following excerpt is not really introduced or
led up to (more than it perhaps already has) by the
words of the text.
The keyer of these excerpts assumes the value of the
transmittal of this information outweighs the
potential risk at exposing the uninitiated to this
type of material. Although I feel that the excerpt
above may help ready one for this information, my
intent in publishing this is informational only.

Also, remember that while this is probably their idea

of the concept content of the BARDO experience, it is
not introduced in the book in that manner but
abruptly begins without introduction at the turn of a
page.
-----------------------------------------------------
--------------------------

WHAT?
HA HA HA HA HA
I THOUGHT THEY WERE PART OF IT.
HARD WALK.
WOW. NEVER MEANT TO DO THAT.
TOP OF ROLLERCOASTER.
STOP IT.
CHANGE MIND.
TOO LATE.
STOP IT.
ANYTHING TAKE TO STOP IT?
DO SOMETHING.
GET HOME.
QUICK.
THEY KNOW.
CAN'T DO IT.
YOU DO IT.
GET ME HOME.
HURRY.
FEEL FUNNY.
AGAIN.
TOO SLOW.
IT'S FLAT.
WE'RE LOST.
YOU DON'T KNOW.
HURRY.
GOING TO BE TOO LATE.
HURRY.
INSIDE. GET INSIDE.
CAN'T BREATHE.
FALLING APART.
DYING.
HELP ME.
WHAT'S WRONG?
HELP ME DIE.
NO. HELP ME LIVE.
WHY WON'T YOU HELP ME?
HOLD ME.
I CAN'T TELL YOU.
ARE YOU REAL?
I'M AFRAID.
OH, NO, PLEASE.
TURN IT OFF.
TOO MANY AT ONE TIME.
CYCLES WITHIN CYCLES.
WHERE ARE WE?
HELP ME.
WHO IS DOING THIS?
GOING OUT THERE.
GO INSIDE.
CAN'T GO OUT THERE.
GO INSIDE.
CAN'T STAY HERE.
WHAT'S WRONG?
CAN'T TELL YOU.
WHAT ARE YOU AFRAID OF?
YOU KNOW.
WHAT ARE YOU AFRAID OF?
NO!
IF YOU WON'T TELL ME WHAT'S WRONG, HOW CAN I HELP
YOU?
GOTTA GO INSIDE.
STILL THE SAME.
CAN'T BE TRUE.
GO BACK IN THERE.
IS THIS TRUE?
IS WHAT TRUE?
THIS. THIS. THIS!
OF CORUSE.
WHAT'S WRONG?
YOU KNOW WHAT'S WRONG.
WHAT ARE YOU DOING?
PLEASE HELP ME.
ALL RIGHT. WHAT'S WRONG?
HOLD ME.
WHAT ARE YOU DOING?
WHAT'S REAL?
WHAT DO YOU MEAN, REAL?
PLEASE HELP ME.
PLEASE HELP YOU WHAT?
IT'S NOT TRUE.
WHAT'S NOT TRUE?
GOT TO HELP ME.
WHAT DO YOU WANT ME TO DO?
PLEASE HELP ME.
IF YOU'LL TELL ME WHAT'S WRONG, MAYBE I CAN HELP YOU.
I FEEL SICK, I THINK I'M GOING TO THROW UP.
IT MIGHT MAKE YOU FEEL BETTER.
I DON'T WANT TO THROW UP.
I THINK I'M DYING.
HELP ME.
WHAT DO YOU WANT ME TO DO?
I'M DYING.
NO YOU'RE NOT DYING.
I AM DYING.
HELP ME.
OH NO.
WHAT'S WRONG?
TOO MUCH BODY.
I'M GOING TO PASS OUT.
I HAVE TO LIE DOWN.
I CAN'T LIE DOWN.
I HAVE TO GET UP.
I'M SO TIRED.
PLEASE HELP ME.
I NEED SOME REST.
I CAN'T GO ON ANY MORE.
IT'S GOING ON AND ON.
WHEN DO I GET A CHANCE TO REST?
MY JAW IS TIGHT.
MY MOUTH IS DRY.
CAN'T SWALLOW.
CAN'T BREATHE.
LOOK. SWEATING.
HOT. THEY'RE GOING TO KNOW.
I CAN'T HOLD ON ANY LONGER.
GOING TO SCREAM.
HELP ME.
BOILING UP.
SO COLD, MY TEETH ARE CHATTERING.
SHAKING LIKE A LEAF.
HAVE TO GO INSIDE.
CAN'T STOP.
MY JAW IS TIGHT.
MY MOUTH IS DRY.
CAN'T SWALLOW.
CAN'T BREATHE.
LOOK. SWEATING.
HOT. THEY KNOW.
BOILING UP.
SO COLD, TEETH ARE CHATTERING.
HAVE TO GO INSIDE.
CAN'T STOP.
TIRED.
CAN'T TAKE ANY MORE.
WHEN DOES TIME START AGAIN?
WHAT TIME IS IT?
OH, NO. PLEASE HELP ME.
WHAT'S WRONG?
WHEN WILL IT BE OVER?
THE CLOCK DOESN'T DO ANYTHING.
OF COURSE NOT.
THE TASTE IN MY MOUTH.
MY EARS ARE CLOGGED.
NO, PLEASE, HELP ME.
HOLD ME, I'M FALLING.
WHAT'S WRONG?
I HAVE TO GET UP. I'M GOING INSIDE.
WHAT ARE THEY DOING IN THERE?
HUNGRY.
THIRSTY. MOUTH DRY.
CRAWL DOWN MOUTH.
STICKS IN MOUTH. SUFFOCATE. CAN'T DRINK.
STOMACH TIGHT.
HOLD STOMACH. STOMACH EXPLODE.
PLEASE HELP ME.
SAME DAY.
GRAY HAIR. FEEL OLD.
SLOW IT DOWN. THIS IS THE END.
TAKE THIS SO CALMLY?
FALLING.
NO! WAIT!
GOOD.
FEEL SICK.
GOING TO BATHROOM. GET IT OUT.
DID THAT ALREADY.
HA HA HA HA HA
CAN'T DIE.
FORGOT.
THIS IS IT.
DEAD.
NEVER GOING TO END.
SAME ROOM, ALWAYS SAME ROOM.
KEEP MOVING.
TIRED.
WHEN DO I GET TO REST?
OUT! OUT! OUT! OUT! OUT!
NOTHING OUT THERE.
SIT DOWN FOR A WHILE.
HAVE TO CATCH MY BREATH.
LET ME DIE.
SOMETHING IS GOING TO HAVE TO CHANGE.
I CAN'T KEEP THIS UP.
LOSING IT.
YOU HAVE TO REMEMBER.
I'M FORGETTING.
SOMEONE HAS TO DO IT.
WHY AM I THE ONE?
I HAVE TO DO THIS.
SACRIFICE.
BLACKING OUT.
THIS IS THE PART I DON'T LIKE.
HOW LONG BEFORE I HAVE TO DO THAT AGAIN?
STOMACH HURTS.
DIDN'T YOU NOTICE THAT?
SINKING INTO THE FLOOR.
HOW IS IT FROM THERE?
IT GOT BRIGHTER, DIDN'T IT?
MY FACE IS SAGGING.
THE SOUND IS GETTING HIGHER.
GOING TO PANIC.
I FEEL ALL RIGHT, NOW.
BUT I'M REALLY AFRAID.
I DON'T MIND TELLING YOU ABOUT IT.
SOMETHING IS ABOUT TO HAPPEN.
I KNOW I'M ACTING RIDICULOUS.
I CAN'T HELP IT.
I'M MIXED UP.
IT'S GONE, NOW.
IT CAN NEVER BE THE SAME AGAIN.
NOW I'LL NEVER KNOW WHICH ONE IS REAL.
DID YOU KNOW THAT?
WELL, THAT'S IT.
THIS IS A NICE PLACE WE HAVE HERE.
IT NEVER CHANGES, DOES IT?
I'D LIKE TO LIE DOWN FOR A WHILE.
WHEN WILL IT BE OVER?
I CAN'T GO TO SLEEP UNTIL ITS OVER.
IT'S NEVER GOING TO END, IS IT?
HOW MUCH LONGER DO WE HAVE TO DO THIS?
WOW! I COULD NEVER DO THIS BEFORE.
I'M HUNGRY, AND MY MOUTH IS DRY.
FALLING ASLEEP.
DIZZY.
WHAT WAS THAT?
WHAT A JOKE.
SUDDENLY FEEL RELIGIOUS.
WHAT IF SOMETHING IS OUT THERE?
WHERE HAVE I BEEN ALL THIS TIME?
I'VE BEEN SO STUPID ALL THESE YEARS.
IT'S DIFFERENT FOR HER, ISN'T IT?
SHE DOESN'T UNDERSTAND.
SHE DOESN'T HAVE TO KNOW.
WE HAVE TO KNOW, DON'T WE?
WATCHING THAT THING, ALL THE TIME.
LOOK AT ALL THAT BLOOD.
LOOK AT ALL THE HORROR.
SHE LIKES WAR AND SUFFERING.
LOOK AT ALL THAT MEAT.
WHEN IS IT MY TURN TO GO TO SLEEP?
HAVE YOU BEEN HERE ALL THIS TIME?
I GUESS I'LL BE ABLE TO DO THIS SOMETIME.
HOW LONG HAVE YOU BEEN DOING THIS?
WHAT TIME IS IT?
WHY IS IT ALWAYS MY TRIP?
IT HURTS RIGHT HERE.
I'M ALWAYS TELLING YOU MY SYMPTOMS.
WOW! REMEMBER THAT ONE?
DID YOU DO THAT, TOO?
OH, I DIDN'T KNOW YOU DID THAT ONE.
WAS THAT ONE YOU?
DO YOU KNOW WHAT I KNOW, RIGHT NOW?
SO--THIS IS WHY IT WORKS.
I WANT TO DIE, NOW.
BUT I TRIED THAT BEFORE.
IT DOESN'T WORK.
YOU KEEP ON STANDING THERE.
WHAT A JOKE THAT IS.
I FEEL AWFUL LONELY.
YOU'RE NOT REAL, ARE YOU?
WE DON'T EVEN HAVE TO TALK.
I'M PROBABLY COLD, BECAUSE I'M SHIVERING.
I CAN'T CONTROL IT.
I CAN'T STOP SHAKING.
MY TEETH ARE CHATTERING.
I'M COLD.
I MAY BE SCARED.
IT'S GETTING BAD, AGAIN.
MY STOMACH HURTS.
YOU'RE PROBABLY SICK OF LISTENING TO ME ALL THE TIME.
I DON'T WANT TO BE THE ONE TO ALWAYS DO THE TALKING.
I'M GOING TO THROW UP, IF THIS DOESN'T STOP.
HOW MUCH LONGER IS THIS GOING TO GO ON?
CAN'T WE DO SOMETHING ELSE?
WHAT WOULD YOU LIKE TO DO?
I DON'T KNOW.
YOU CAN DO ANYTHING. ANYTHING.
I DON'T WANT TO DO THIS.
WHAT DO YOU WANT TO DO?
I DON'T KNOW. IT'S GETTING BETTER.
WHAT DID YOU DO, JUST THEN?
LISTEN.
WHAT DID YOU SAY?
MY EARS ARE GETTING CLOGGED.
MOVE AROUND.
THAT COUCH.
THAT TABLE.
ARE THEY ALWAYS HERE?
THEY CAM HEAR US IN HERE.
DAD.
WHAT IF DAD COMES BACK HERE NOW?
MOM.
MOM IS HUNGRY.
MOM IS IN THE KITCHEN.
OVERLOADED.
DELICACY.
BODY HARD.
BODY SOFT.
BODY ROUND.
BODY ELECTRIC.
BODY RUNNY.
BODY MOLASSES.
I JUST BECAME THE WALL.
HIDING IN HERE.
BODY SHAPE.
BODY SIZE.
BODY COLOR.
DEAD BODY.
ROOM ALIVE.
ROOM GOT SMALLER.
MILLION LIGHT--YEARS ACROSS.
MILLION MILES TO MY FEET.
MY FEET JUST DISAPPEARED.
THERE ARE STARS IN MY BODY.
THE EARTH IS INSIDE THERE, SOMEWHERE.
THERE ARE PLANETS IN THE WALLS.
EVERYTHING AROUND HERE IS A WORLD.
I DON'T WANT TO MAKE A WRONG MOVE.
I CAN'T GET UP.
I CAN'T MOVE.
I CAN'T GET DOWN FROM HERE.
WOW! LOOK AT ALL THOSE WORLDS!
IT LOOKS LIKE BIG SOFT COTTON CANDY.
WHOOPS! EVERYTHING JUST STREAKED.
THERE IS NO SUCH THING AS COLOR.
IT'S ALL DONE WITH MIRRORS.
THERE'S NOTHING OUT THERE AT ALL.
OF COURSE--THE BOOKS WILL TELL ME.
THERE SEEMS TO BE A BUBBLE ALL AROUND ME.
IS THIS ALL THE SPACE THERE IS?
ISN'T THERE ANY MORE TO IT?
WOW! IT'S ALL SO SIMPLE!

BODY FORM WRONG.

BODY SHAPE.
BODY UPSET.
BODY GET BIG.
BODY SMALL.
BODY THIN.
BODY DISGUSTING.
BODY LUMPY.
BODY MESH.
BODY SCREEN.
BODY SURFACE TENSION.
SKIN BLOW UP.
BODY WIND-UP.
LONG LOW WHITE BUILDINGS WITH RED TILE ROOF.
SICKENING SWEET SMELL.
GOING TO PASS OUT.
WATCH HIM MAKE THAT BODY.
PUT THE BEING IN THERE.
LIKE HOT ICE.
CARRY IN THROUGH DOOR.
MEDICAL.
SEE HIM PUT IN THERE.
SWEET; SWEET ODOR.
GO OUTSIDE.
MUST HAVE FAINTED.
INSIDE A BOX.
AMPHITHEATER.
WAITING.
WHAT IS EVERYONE WAITING FOR?
BUILDINGS DOWN THERE.
HE'S GOING TO PUT US IN BODIES.
FAST WIND-UP.
THAT WAS CLOSE.
BODY LONG.
SNAKES.
WE'RE ALL SOFT SNAKES.
CAN YOU UNDERSTAND?
YOU KNOW WHAT I'M THINKING.
DON'T PANIC.
GRAND CENTRAL.
BODY FLAT.
MY FEET ARE WHERE MY NECK SHOULD BE.
THE MOON IS FUNNY.
BODY SHORT.
BODY ORGANS.
TOO MANY FACES.
I HAVE TOO MANY EYES.
I CAN SEE IN THE BACK OF MY HEAD.
I CAN SEE RIGHT THROUGH THAT WALL.
PUT THAT WALL BACK THERE.
TOO MANY ARMS.
MY ARMS ARE RETRACTING.
YOUR ARMS JUST WENT INTO YOUR SHOULDERS.
YOUR LEGS JUST DISAPPEARED.
WHERE ARE WE?
THE CRYSTAL BALL.
CAN'T TALK.
CHARADES.
SOUNDS LIKE.
HA HA HA HA HA.
TOO MANY LEVELS.
GOT DARKER, DIDN'T IT?
WHICH ONE IS THIS?
HOW ABOUT JUMPING?
SIDE-STEP.
BODY TOO SLOW FOR US.
BODY TOO FAST FOR US.
YOU JUST DISAPPEARED.
BODY CHANGE FREAKY.
THIS BODY BECOMES ANYTHING IT SEES.
BODY SLIPPERY.
THIS BODY IS STUCK.
STUCK IN BODY.
STUCK IN SPACE.
STUCK HERE FOREVER.
OH. THAT OPENED IT UP.
WHAT DID YOU DO?
STUCK IN THIS MIND.
CAN'T LOCATE.
BODY RADICAL.
BODY TOO MUCH THINKING.
BODY TOO MUCH FEELING.
BODY TOO MANY SENSATIONS.
BODY TOO MUCH PAIN.
MENTAL PAIN.
I CAN'T STOP THINKING.
THIS MIND WON'T STOP THINKING.
NERVOUS SYSTEM FRYING.
BODY RIPPLE.
BODY COLD.
BODY RUBBER.
OVER AND OVER AND OVER AND OVER AGAIN.
BODY SHAKES,
BODY SHIVERING.
BODY TENSE.
BODY TOO HEAVY.
THIS IS DRAGGING ME DOWN.
I'M SINKING AGAIN.
GROUNDED.
GRAVITY IS PULLING ME DOWN.
MY LEGS ARE MELTING INTO THE WORLDS DOWN THERE.
THIS IS STRETCHING ME OUT.
TOO MANY SENSATIONS ON THIS ONE.
I'M THE ONLY ONE.
OH. ONE IS A NAME.
I'M ONE.
NERVES CROSSED UP.
UNIT.
FLOATING.
STABLE STATE.
VARIABLE BODY.
BODY SOLID.
BODY GASEOUS.
BODY DISCONNECTED.
I DON'T FEEL A THING ANY MORE.
SOMETHING JUST SHOT OUT FROM MY BODY.
MY HEAD JUST SHOT OUT THROUGH THE NET.
MY NECK.
I'M GOING TO THROW UP.
MY HANDS JUST DISAPPEARED.
I MUST HAVE FAINTED.
MY ARMS AND LEGS.
I HAVE TO HAVE A BODY.
OLD FOLKS HOME.
THEY'RE GOING TO KILL EVERYONE.
RUN DOWN THE HILL.
BODY DESTROYED.
MY ARMS JUST GOT MANGLED.
I DON'T FEEL A THING ANY MORE.
HEAD IS GETTING SQUASHED.
NECK IS GETTING SQUEEZED.
SHARP PAIN IN MY CHEST.
SHARP PAIN IN MY BACK.
STOP THAT, PLEASE.
DON'T YOU KNOW THAT'S UNCOMFORTABLE?
PLEASE DON'T KILL ME ANY MORE.
I WAS JUST SHOT, BUT IT'S ALL RIGHT.
THERE IT GOES AGAIN.
SOMETHING JUST SMASHED THAT BODY.
RUN OVER.
NOT BREATHING.
THAT BODY JUST STOPPED RUNNING, ALL OF A SUDDEN.
I'M FALLING.
DON'T CUT ME UP, PLEASE.
I WAS JUST SMOTHERED.
I JUST FELL ASLEEP, AND THEN I WAS OUTSIDE OF IT.
THIS BODY IS DECAYING PRETTY FAST.
I GOT SICK AND THEN I DIED.
THIS BODY WON'T LET ME KNOW WHAT'S WRONG.
BODY LAYERED.
BODY FILTERED.
BODY CAN'T HEAR.
BODY CAN'T SEE.
BODY CAN'T SPEAK.
BODY CAN'T MOVE.
I SURE WILL MISS ALL THOSE INTERESTING SMELLS.
BODY DISSOLVING.
I JUST KILLED MYSELF, AND HERE I AM AGAIN.
I SEEM TO BE FALLING UP.
I SEEM TO BE CONTRACTING.
I SEEM TO BE EXPANDING.
THIS ROOM SEEMS TO BE MY BODY.
THIS BODY IS FOLDING UP INTO ITSELF.
THIS BODY JUST TURNED INSIDE OUT.
THIS BODY IS SPOTTED.
THIS BODY DOESN'T MOVE.
THIS BODY HAS NO CONTROL.
THIS BODY WON'T LISTEN TO ME.
THIS BODY WON'T STOP MOVING.
THIS BODY IS DIRETED FROM THE OUTSIDE.
I MOVE THIS BODY.
THIS BODY IS LOCKED UP.
I CAN'T REACH THE CONTROL CENTER OF THIS BODY.
BODY HYPNOTIZED.
BODY DRUGGED.
THIS BODY IS A SOFT WORM.
SOFT WORMS WITH HUMAN HEADS.
I CAN'T GO IN THERE.
NO ACCESS IN THERE.
THEY'RE WAITING FOR ME.
THEY'RE GOING TO LOOK AT ME.
BODY SPIDER.
BODY SQUIRMY.
THIS BODY EATS LIGHT.
THIS BODY EATS DARK.
THIS BODY EATS LIGHT.
THIS BODY LIKES THE COLD.
THIS BODY LIKES THE HEAT.
LOOK AT THAT RED OVER THERE.
AND THERE'S THE BLUE ONE.
WHY IS IT ALWAYS RED AND BLUE?
I KEEP GOING BACK AND FORTH.
THERE MUST BE SOMETHING ELSE.
FLEXIBLE BODY.
RIGID BODY.
PLASTIC BODY.
THAT SPINE HOOKED ME JUST LIKE A WORM.
THIS THING IS TWISTING.
GROWING FAST, NO WARNING.
I DON'T THINK I'M READY FOR THIS.
YOU TRICKED ME INTO THIS.
THIS IS YOUR FAULT.
YOU MADE ME DO IT.
IT WAS YOUR IDEA.
YOU SUGGESTED IT.
CHANGES INTO STRANGE SHAPES.
THIS BODY IS NO GOOD ON INTERFACE.
I THOUGHT YOU WERE THE DEVIL.
THIS BODY RUNS AUTOMATICALLY.
BODY BEFORE BORN.
USE ME, BUT DON'T CHEW ME AND EAT ME.
FUSELAGES AFTER OFTEN.
BODY SPACE.
BODY NOT SPACE.
WE'RE ALWAYS IN SPACE.
WOW! YOU MEAN THERE'S NO SUCH THING AS AIR?
THE SUN IS A LIGHT BULB, ISN'T IT?
BODY NOT BEING.
BODY TAKE BEING.
THIS BODY IS DUBBED INTO SPACE.
THIS BODY EATS OTHER BODIES.
I DON'T WANT TO TOUCH ANYTHING ALIVE.
LET'S GO BACK TO THE THEATER.
DO YOU WANT TO SIT THERE?
I WOULD RATHER JUST WATCH THIS.
WE'VE BEEN IN A DARK SET ALL THIS TIME.
THERE'S A LIVE SET.
THE WORLD IS JUST LIKE A DOLL HOUSE.
PEOPLE ARE JUST A BUNCH OF TIN SOLDIERS.
PEOPLE ARE JUST PUPPETS.
YOU'RE ALL JUST A PACK OF CARDS.
I THINK I JUST ATE SOMETHING ALIEN.
THIS BODY KEEPS GETTING DEFORMED.
SYMIOTIC.
PARASITIC.
STRETCHING OUT ACROSS THE FLOOR.
THE FLOOR IS CREEPING AROUND.
NO ONE CAN RUN THIS BODY.
THIS BODY JUST CAN'T WORK CORRECTLY.
THERE ARE TOO MANY OF US INSIDE THIS BODY.
THIS BODY CAN NEVER BE AWARE.
THIS BODY WON'T EVER CALM DOWN WITH ME IN HERE.
THIS BODY NEEDS ATTENTION.
THIS BODY NEEDS TO BE FIXED UP.
WOW! MUCOUS MEMBRANES!
I THINK I MAY HAVE JUST GROWN WINGS.
I CAN FLY.
I'M SURE I CAN FLY.
THIS BRAIN JUST OPENED UP.
I FEEL LIKE THERE'S A HOLE ON THE TOP OF MY HEAD.
NO DOUBT ABOTU IT, MY SKULL JUST OPENED UP.
THE BACK OF MY HEAD HAS ALWAYS BEEN SOFT.
THESE LEGS FEEL LIKE MELTING LEAD.
MY STOMACH HURTS AGAIN.
IT'S GETTING BAD AGAIN.
HOW MUCH LONGER, NOW?
SLITHERY.
THIS BODY IS STUPID.
THIS BODY IS LEATHER SKIN.
FUNNY HEAD ON THIS BODY.
MOUTH WON'T TALK.
THIS HEAD HAS NO FEATURES.
MY FACE SEEMS TO BE MELTING.
I BETTER GET OUT OF HERE AND CALM DOWN.
IT SEEMS TO HAVE STOPPED.
DISGUSTING THINGS HAVE BEEN HAPPENING.
I FEEL AS IF MY STOMACH IS GOING TO BURST.
MY INTESTINES ARE GOING TO SPILL OUT.
MY WHOLE LOWER HALF IS GOING TO EXPLODE.
THIS CAN'T GO ON FOREVER.
HOW DO YOU TURN THIS THING OFF?
I JUST CAN'T THINK IN HERE.
TAKE THIS BODY OFF ME, PLEASE.
THE SKIN IS GETTING TIGHTER.
ALL PUFFY AND BLOATED.
PINS AND NEEDLES.
BREATHING LIQUID.
NO PERCEPTIONS AT ALL.
I CAN'T SEE ANYTHING.
I HAVEN'T NOTICED ANYTHING UNUSUAL.
I SEEM TO HAVE DOZED OFF FOR A WHILE.
BURNING INSIDE.
LIFE, FEEL, SENSE, OFTEN.
I DON'T UNDERSTAND A WORD YOU'RE SAYING.
THIS BODY IS ALL OPENED UP.
I FEEL DIZZY.
I FEEL AS IF I'M GOING TO FAINT AGAIN.
THIS BODY KEEPS DYING ON ME.
I FEEL AS IF I'M DYING EVERY SO OFTEN.
YES, THIS BODY IS DYING CONSTANTLY.
I'M TIRED OF DYING ALL THE TIME.
THIS BODY IS SICK TOO MUCH.
THIS BODY GETS SICK SO IT CAN FORGET.
THIS BODY GETS STUPID TO HELP ME FORGET.
REPULSION.
ATTRACTION.
DESIRE.
MUCH TOO RADICAL FOR THE SPACE HERE.
FOOD FOR LOCAL LIFE FORMS.
WHAT ARE THOSE THINGS JUST OUTSIDE THIS SPACE?
VERY WEAK.
I CAN HARDLY MOVE.
WHAT IF I HAVE TO DO SOMETHING?
CUNNING.
OUTSMART ME.
TRAPPED ME IN HERE.
PREADATOR.
NOT HOLDING THE MATRIX.
YOU CAN'T FOOL ME, I KNOW WHAT YOU'RE DOING TO ME.
THIS BODY WON'T LIVE IN THE PRESENT.
I'VE BEEN JUST ABOUT TO DIE, HAVEN'T I?
THEN ALL THIS LIFE HAS JUST BEEN A DREAM.
YOUR LIFE PASSES IN FRONT OF YOU.
HOW MANY TIMES HAS THIS HAPPENED?
WHO ARE YOU, REALLY?
WHAT DO YOU WANT ME TO DO?
WHEN ARE YOU GOING TO LET ME OUT OF HERE?
YOU JUST WANT TO TORTURE ME.
YOU'RE TRYING TO DRIVE ME CRAZY.
WHY CAN'T I GO INSANE?
HOW MUCH LONGER DOES THIS GO ON?
CAN'T WE DO SOMETHING ELSE NOW?
USE ME FOR FOOD.
TAKE MY IDEAS.
TAKE MY ENERGY.
PULL ME UP TO MAKE FUN OF ME.
DO YOU WANT ME TO AMUSE YOU?
WHAT DO YOU WANT FROM ME?
NOT ABLE TO USE ALL THIS ENERGY.
BODY EAT GRAIN.
HORSES EAT GRAIN.
I MUST BE A HORSE.
EAT MEAT.
PIGS EAT MEAT.
I MUST BE A PIG.
PIGS EAT MEAT AND GRAIN.
THE PIG EATS TOWARD THE HORSE.
NOW I'M THE HORSE.
I'M WAITING HERE FOR THE PIG.
WHEN THE PIG EATS ME, I'LL BECOME THE PIG.
I DON'T WANT TO DO THIS ANY MORE.
BACK AND FORTH, BACK AND FORTH.
CAN'T WE DO SOMETHING ELSE?
SEX BRINGS ME DOWN.
THIS BODY WANTS TO HAVE SEX.
THIS BODY NEVER EXPLAINED WHAT IT WAS DOING.
THIS BODY AGES TOO FAST FOR ME TO DO ANYTHING.
THIS BODY IS TOO UPSET IN THIS SPACE.
I SURE WOULD RATHER NOT HAVE A BODY.
I CAN'T FEEL ANYTHING ANY MORE.
IS THIS ALL RIGHT FOR YOU?
I WISH I COULD GO INSANE.
THEN MAYBE I COULD GET SOME REST.
NOOOOO, IT'S NO USE. ONLY LAST ONE LIFETIME.
YEARS DON'T MEAN ANYTHING, DO THEY?
TIME DOESN'T MEAN ANYTHING, EITHER.
I WOULD LIKE YOU TO TAKE CARE OF MY BODY.
THIS BODY ISN'T ABLE TO STORE KNOWLEDGE.
THIS BODY WANTS TO GO AWAY AND BE LEFT ALONE.
THIS BODY DOESN'T WANT TO BE TRAINED.
YOU'RE DOING THIS TO ME, AREN'T YOU?
I WOULD RATHER NOT KNOW, IF YOU DON'T MIND.
GET OUT OF MY MIND!
GET OUT OF MY BODY!
THERE'S NOT ENOUGH ROOM IN HERE FOR ALL OF US.
I'M AFRAID IF HE WAKES UP, EVERYTHING WILL DISAPPEAR.
I'M AFRAID IF I WAKE UP, EVERYTHING WILL VANISH.
NOW I KNOW WHAT MAKES IT WORK.
SO THIS IS HOW IT ALL IS.
WOW! I FEEL LIKE CRYING, EXCEPT IT'S REALLY FUNNY.
THIS IS RIDICULOUS.
I WAS JUST SOME KIND OF HOLY PERSON.
SUDDENLY I REALIZE THIS IS THE WHOLE THING.
I FEEL SO STUPID.
EVERYONE KNEW BUT ME.
THEY'VE ALL BEEN LAUGHING AT ME ALL THIS TIME!
STUCK. GET ME OUT OF HERE.
THIS BODY'S CODE IS ALL SCRAMBLED UP.
WILL YOU HELP ME RE-CODE IT?
CONTROL.
DESTROY.
DON'T KNOW THE EFFECT.
WHAT HAPPENS NEXT?
BELIEVE ME, I'M NOT ALWAYS THIS MIXED UP.
I'M NOT ALWAYS THIS HELPLESS.
USUALLY I'M IN CONTROL.
BUT THIS IS DIFFERENT.
YOU'RE DOING THIS TO ME, AREN'T YOU?
WHEN IS THIS GOING TO END?
FEAR IS A MUSCLE, ISN'T IT?
THIS BODY IS AFRAID OF ME.
I'M AFRAID OF YOU.
WHAT ARE YOU GOING TO DO TO ME?
I FAILED THE TEST, DIDN'T I?
NOW YOU'RE GOING TO DESTROY ME, AREN'T YOU?
I DESERVE IT FOR EVERYTHING I DID WRONG.
THIS SPACE IS GETTING CRAMPED.
YOU DIDN'T HEAR THOSE THOUGHTS JUST THEN DID YOU?
IT'S GETTING BETTER AGAIN.
I WAS PRETTY PARANOID THERE FOR A WHILE.
THIS SPACE HAS A LOT OF SCANNERS.
MY SKIN IS GETTING TIGHT.
I FEEL LIKE AN EXPANDING BALOON.
IF THIS THING BURSTS, IT'S GOING TO BE ALL OVER.
SOMEONE ELSE. I CAN FEEL SOMEONE ELSE HERE.
SOMEONE IS RUNNING ME.
THEY CAN MAKE ME DO ANYTHING THEY WANT TO.
I CAN'T DO ANYTHING ABOUT IT.
THEY RUN MY WHOLE LIFE.
THEY MAKE ME MOVE MY BODY AROUND.
THEY MAKE ME HAVE SEX.
THEY WATCH ME ALL THE TIME.
THEY'RE BEHIND THE WALLS.
THEY USED TO WATCH ME FROM BEHIND THE MIRROR.
THE LIGHT IN THIS ROOM IS PULSATING.
THERE'S ALWAYS A LITTLE CHUNK OF SPACE MISSING.
LOOK IN THE CORNER, THERE.
THAT'S A HOLE IN SPACE.
YOU CAN SEE THAT THERE'S NOTHING OUTSIDE OF HERE.
THIS ROOM ISN'T REAL.
NEITHER ARE YOU.
I MAY NOT BE REAL EITHER.
I DON'T THINK I'M HERE.
I MAY NOT BE ANYWHERE AT ALL.
I SEEM TO BE HERE, IN THIS CHAIR.
WHAT IF THIS IS ALL THERE IS?
MAYBE I'VE BEEN SITTING IN THIS CHAIR FOREVER.
THAT'S IT, I'VE BEEN DAYDREAMING.
I'VE NEVER LEFT THIS ROOM.
NO ONE IS SAYING ANYTHING.
IT'S ALL BEEN A DREAM.
NOTHING MATTERS.
IT DOESN'T MAKE ANY DIFFERENCE BECAUSE NONE OF IT IS
REAL, ANYWAY.
WHY DO I HAVE TO SUFFER SO MUCH?
NO ONE CAN HEAR ME.
NO ONE CAN HELP ME.
I HAVE TO DO IT ALL ALONE.
THERE IS NO ONE ELSE.
JUST ME.
MY EARS ARE RINGING.
MY HEAD IS BUZZING.
I CAN'T TELL WHAT'S DOING THAT.
SOMETHING IS HAPPENING DOWN THERE.
IT'S AFFECTING ME, BUT I CAN'T TELL WHAT IT IS.
HEY, YOU, DOWN IN THERE, CUT THAT OUT!
I'M STARTING TO VIBRATE REALLY A LOT.
A GIANT CATAPAULT IS PULLING BACK.
IT'S GETTING READY TO LET ME GO.
IT'S GOING TO SHOOT ME FORWARD SO FAST I'LL NEVER BE
ABLE TO STOP AGAIN.
EVERYTHING IS SHAKING!
IT'S GOING TO LET GO!
DON'T DO IT!
NOT YET!
I'M NOT READY FOR THIS.
SLOW IT DOWN.
THAT'S BETTER.
EVERYTHING LOOKS LOPSIDED.
THE FLOOR IS TIPPING OVER.
IT FEELS LIKE A SHIP.
I CAN'T STAY IN HERE.
YOU WANT ME TO BE STUCK IN HERE, DON'T YOU?
CAN'T WE MAKE SOMETHING OUT THERE?
HOW MUCH LONGER IS THIS GOING TO GO ON?
WHEN WILL TIME BE NORMAL AGAIN?
DID THE HANDS ON THE CLOCK MOVE YET?
WHEN THE CLOCK IS MOVING THEN I KNOW IT WILL BE ALL
RIGHT AGAIN.
IT'S ALWAYS THE SAME DAY.
AND IT'S ALWAYS THE SAME ROOM.
IS THIS AS FAR AS YOU CAN GO?
I'M GOING TO HAVE TO LIE DOWN SOON.
I CAN'T JUST SIT HERE WHILE ALL THIS IS GOING ON.
HOW DO YOU TURN OFF THE LIGHT?
PLEASE DON'T KEEP DOING THIS.
MY EYES KEEP SEEING EVEN WHEN THEY'RE CLOSED.
I JUST MELTED INTO THE CHAIR AGAIN.
I ALMOST FELL ASLEEP IN THERE.
I MIGHT HAVE BECOME THE CHAIR FOR A LONG TIME.
I CAN FEEL THE OTHER SIDE OF THE WALL.
MY BACK FEELS COLD.
THE ROOM JUST BECAME THE INSIDE OF MY BODY.
MY HEAD IS JUST STUCK HERE INSIDE THIS ROOM.
YOU'RE VERY OLD, AREN'T YOU?
ARE YOU THE ONE WHO'S DOING THIS?
THE FLOOR JUST DROPPED AWAY.
IT'S MILLIONS OF MILES BELOW ME.
THIS IS LIKE A GIANT NURSERY.
THEY WON'T LET US NEAR THE WALLS ANY MORE.
WE HAVE TO LEARN BEFORE THEY'LL LET US OUT.
WHAT DO THEY WANT US TO DO?
WE HAVE TO LEARN TO CHANGE WITHOUT FREAKING.
IT'S GETTING DARKER.
MY BODY IS ALL OF SPACE.
ALL THE WORLDS ARE INSIDE MY BODY.
NO WONDER IT'S SO DARK.
I CAN'T MOVE.
I SEEM TO BE INSIDE SOME KIND OF CELL.
EVERYONE IS IN A CELL JUST LIKE THIS ONE.
IT LOOKS LIKE A GIANT ANIMAL WITH A BUNCH OF CELLS
INSIDE IT.
THERE ARE VOICES COMING FROM THE OTHER CELLS.
THIS IS LIKE THE CAVES IN TIBET.
I CAN HEAR EVERYONE THINKING QUIETLY.
THEY'RE ALL TRYING TO SOLVE A PROBLEM.
ALL OF US ARE TRYING TO SOLVE THE PROBLEM.
THIS CREATURE WE'RE INSIDE OF IS SUFFERING.
IT'S TWISTING AROUND INTO ITSELF.
IT CAN'T SEEM TO STOP DOING THIS.
IT'S DESPERATE.
HYSTERICAL.
IT'S GOING TO LOOK AT ITSELF.
I'M GETTING AFRAID.
IT SEES ITSELF NOW.
IT'S SCREAMING.
IT SEES ITS OTHER END.
IT CAN'T DECIDE WHICH END IS THE HEAD.
IT HAS TWO HEADS.
FRANTIC FEAR.
STUCK HEAR FOREVER.
I WANT TO GET OUT OF HERE.
THE WALLS ARE GOING.
ARRANGE IN SHADES.
I WAS DOING A LIFE JUST THEN.
THAT WAS A LONG TIME AGO.
WE SOLVED THAT ONE A LONG TIME AGO.
THIS IS HOW WE SOLVED IT, ISN'T IT?
I'M SHAKING AGAIN.
MY TEETH ARE CHATTERING.
SOMETHING IS ABOUT TO HAPPEN.
WHY IS THIS ALWAYS A BIG SURPRISE?
WHY CAN'T I REMEMBER WHEN THIS IS GOING TO HAPPEN?
I'M HUNGRY.
I HOPE I DON'T EAT.
HERE I GO INTO THE KITCHEN.
I'M LOOKING FOR FOOD, AGAIN.
WHY CAN'T I STOP THIS?
I DON'T WANT TO EAT ANYTHING.
I KNOW WHAT IT REALLY IS.
WHY AM I EATING MYSELF?
I'M COLD.
VERY, VERY COLD.
EVERYTHING FITS.
THIS IS THE WAY IT HAPPENS.
THE SIMPLER THE UNIVERSE IS, THE MORE THEY CAN SEE IN
HERE.
THEY CAN SEE ME IN HERE.
THE MORE COMPLICATED IT IS, THE SAFER I AM.
I FEEL MUCH MORE SAFE NOW.
THIS IS ALL THERE IS TO IT.
IT'S SET UP LIKE THIS.
I SET IT UP THIS WAY.
THIS IS WHAT I REALLY LOOK LIKE.
WHY DIDN'T ANYONE TELL ME I WAS DEAD ALL THIS TIME?
IT'S ALWAYS THE SAME.
MY BODY FEELS STRANGE AGAIN.
ANOTHER STAGE IS COMING ON.
I HAVE TO GET OUT OF HERE.
WHAT'S GOING ON HERE?
THIS ALL SEEMS VERY FAMILIAR.
SO ANCIENT, IT SMELLS OLD HERE.
THIS IS THE FIRST TIME THIS IS HAPPENING, AGAIN.
WHY AM I FOLLOWING YOU AROUND?
I DON'T WANT TO DO ANY OF THIS.
I DON'T WANT TO SAY ANY OF THESES STUPID THINGS.
WHY AM I DOING THIS?
YOU'RE MAKING ME DO THIS.
MAYBE IT WOULD BE BETTER IF I WERE YOU.
THIS ROOM IS ALIVE.
WOW! IT REALLY IS ALIVE!
I'D LIKE TO APOLOGIZE FOR THE WAY I'VE BEEN USING ALL
OF YOU.
IF I HAD KNOWN YOU WERE ALIVE, I WOULD NEVER HAVE
TREATED YOU THE WAY I
DID.
I KNOW YOU'RE JUST WAITING FOR A CHANCE TO HAVE THIS
BODY, AREN'T YOU?
I DO FEEL A LITTLE GUILTY FOR BEING HUMAN.
I SUPPOSE I SHOULD GIVE YOU A CHANCE.
I'VE REALLY BEEN A HOG ABOUT IT. HAVEN'T I?
I FEEL LIKE GRABBING THIS BODY AND RUNNING AWAY FROM
YOU.
THERE'S NOWHERE TO RUN FROM YOU, IS THERE?
THIS BODY BELONGS TO YOU, DOESN'T IT?
THIS BODY IS MADE OF YOU.
THAT'S WHY I GET THE FEELING YOU WANT IT BACK.
I'M GOING TO STAY HERE, FOR A WHILE, IF YOU DON'T
MIND.
YOU'RE TRYING TO MAKE ME FORGET.
YOU WANT ME TO SWITCH WITH YOU.
YOU WANT TO BE ME, DON'T YOU?
BUT I'M GOING TO STAY RIGHT HERE.
WHICH ONE IS YOU, AND WHICH ONE IS ME?
I CAN'T TELL THE DIFFERENCE.
THEY LOOK THE SAME FROM HERE.
ISN'T THIS THE ONE I CAME IN WITH?
I JUST MELTED INTO YOU FOR A MOMENT.
I'M BACK NOW.
NOW IT'S A TWO.
I'M SORRY FOR EATING YOU, BUT I'M HUNGRY.
THE TELEPHONE ALWAYS RINGS AT THIS POINT.
THE TELEVISION IS A TEACHER.
THERE'S NO ONE AT THE OTHER END.
IS THIS REALLY HAPPENING?
YOU SUDDENLY LOOK MUCH BIGGER THAN ME.
DON'T SQUASH ME.
DON'T EAT ME.
IF YOU HAVE TO EAT ME, PLEASE DON'T CHEW ME UP.
JUST SWALLOW ME WHOLE.
IF I GET VERY STILL, YOU WON'T NOTICE ME.
IF YOU DON'T NOTICE ME, YOU WON'T DO ANYTHING TO ME.
THE MORE I STAY STILL, THE SAFER I AM.
IF I DON'T DO ANYTHING AT ALL, I'LL BE AS SAFE AS I
CAN BE.
IF I MOVE OR DO ANYTHING, I'LL BE EATEN.
IF I DO ANYTHING, YOU'LL GET ME.
I MIGHT DO SOMETHING BY ACCIDENT.
IF I WERE DEAD, I WOULDN'T MOVE BY ACCIDENT.
IF I WERE DEAD, YOU WOULDN'T NOTICE ME.
IF I WERE DEAD, I'D BE SAFE.
YOU MIGHT EAT ME ANYWAY.
IF YOU WERE DEAD, NO ONE WOULD GET HURT.
IF I WERE DEAD IN HERE, MAYBE YOU'D GO AWAY.
WELL, THAT DID IT.
THAT DIDN'T LAST LONG.
THAT WAS QUICK
I KEEP COMING BACK HERE.
EVERY TIME I FINALLY GET INTO A BODY, IT DIES ON ME.
THERE OUGHT TO BE A BETTER WAY THAN THIS.
ALL THOSE BOOKS SAY THE SAME THING OVER AND OVER
AGAIN.
GOD IS VERY LONELY.
ETERNITY NEVER CHANGES.
I HAVE TO AMUSE MYSELF FOR ETERNITY.
I DID ALL THIS TO MYSELF.
THIS IS THE STUDIO.
I'LL WRITE UP A FUTURE.
MODERN.
DON'T DO ANYTHING UNTIL I UNDERSTAND ALL THIS.
I'LL NEVER UNDERSTAND ALL THIS.
I'LL NEVER DO ANYTHIMG.
TRYING TO TELL ME SOMETHING.
I CAN'T UNDERSTAND WHAT YOU'RE SAYING.
MY EARS ARE CLOGGED.
I FEEL DIZZY.
WHO IS DOING THIS TO ME?
WHY ARE YOU DOING THIS TO ME?
THE UNIVERSE IS A BIG JOKE ON ME.
WHY CAN'T I BLACK OUT ALL THE WAY?
TRY TO FORGET.
KEEP BUSY.
KEEP MOVING.
BEGINNING TO FORGET.
NOW, THERE'S A LOGIC I CAN USE TO FORGET WITH.
NOW I'LL KICK IN THE PSYCHOLOGY.
THAT SEEMS TO BRING ME DOWN.
LOSE THE KEY.
HIDE THE KEY SOMEWHERE.
WHY IS THE KEY EVERYWHERE I LOOK?
HAVE TO GET CONTROL.
CARELESS.
I WOULDN'T MIND IF YOU WERE ANOTHER BEING.
I WOULDN'T MIND IF YOU KNEW ALL MY SECRETS.
I CAN TELL YOU THE TRUTH.
YOU ALREADY KNOW MY SECRETS, DON'T YOU?
I MIGHT AS WELL TELL YOU WHAT'S WRONG.
FOOLING MYSELF.
TRICKY MIND.
CAN'T STOP MY THOUGHTS.
YOU HEAR THEM, DON'T YOU?
I WOULDN'T MIND LIVING FOREVER.
I WOULDN'T MIND HAVING KNOWLEDGE.
IT WOULD BE ALL RIGHT IF ALL OF THAT WERE TRUE.
IT WOULD BE ALL RIGHT IF I DIDN'T ADAPT TO SPACE.
I WOULDN'T MIND INTEGRATING THE THREE FORCES.

EVERY TIME YOU ACTUALLY SUCCEED IN TAKING A NEW

ACTION -- MAKING A NEW ACTION CYCLE, NOT ALREADY PART
OF A CONTINUING ACTION CYCLE, YOU GO BACK TO THE
BEGINNING OF TIME--BACK TO "GO".

Right there, that should clear up a lot of

problems that you've had, or have been having, if
you're interested in working on yourself at all.

Because if you've been doing your Spiritual

Discipline homework, you no doubt have gotten into
trouble on this one before, and are likely to again.

In other words, it's true. Time does re-start

with every new action cycle. It isn't part of an on-
going action cycle already in progress. So that means
initiating an action in Objective Reality.

And that can be a thought. Or a breath. Or

another sensation. Or feeling. Or idea. Or a shift in
the currents. Or anything. Because in the Objective
World, every change is a Real Change, and begins a
new Action Cycle.

So every change begins a New Time.

And there you are at "Go" again. Why do you

wonder what you would have to do to "get somewhere"?
You can't get anywhere in linear time. No matter how
long any Action Cycle is--it still comes back to
"Go."

You find yourself looking for a stable time-

flow. You look at a clock. It isn't moving. But
that's all right. You don't expect it to. Because
time doesn't exist. You know that nothing ever
happens. Or, that everything always happens. But you
don't understand why.

Real Time does exist--but if you're not looking

for it in the right way (for instance, if you're
looking at a clock) it doesn't seem to exist. We're
going to try to train you to see time. To see into
The Fourth Dimension.

The Real Time Course first became a requisite

for the training programs when it was found that most
of the people who had enrolled in our Training
courses did not realize that time re-starts at each
New Action, Thought, or "I".

This is a startlingly ordinary idea--and one

which should be very familiar to everyone--but which
just isn't at all familiar, and that's a result of
wrong education.

It isn't enough just to know about Real Time. It

requires, to be able to have Real Time replace linear
time (measured by clocks, called "arbitrary time")
takes a program of intensive applied exercises. Now,
most people, even if they have the motivation and
understanding to undertake this problem, won't have
the will and intention to carry out such a program to
live in Real Time (called Living In the Here and Now)
without help of some kind.

Moreover, it's going to take a very special kind

of help, because many people have only a vague idea
about what's so vital about learning to live in Real
Time. So an instructor also needs to be qualified to
demonstrate the importance and the use of living in
Real Time.
 WHAT REAL TIME IS
It could be said that, every change of thoughts,
aim, intent, or action-- every different angle, point
of view, opinion, emotional state or physical state
change--is as if a time--clock were being RE-SET TO
ZERO. You could, perhaps, understand that a little
better, if it were stated that every time you change
actions, and begin a new action, though, state, or
condition of existence TIME STARTS ALL OVER AGAIN.
YOU GO BACK TO THE BEGINNING OF TIME—AND YOU "LOSE"
ALL YOUR ACCUMULATED INFORMATION ABOUT WHAT YOU WERE
JUST DOING IN THAT ACTION CYCLE.

So in the sense of linear time, TIME DOESN'T

EXIST. But Real Time
does.

Some states are available to the ordinary person

under perhaps unusual circumstances where it is
possible to realize this situation as a real
condition existing for all universes.

In fact, a universe is nothing more than an

action cycle, and lasts as "long" as the action cycle
takes to run down. Then time starts all over again.
There is no escape from that basic fact. The linear
time which is experienced is part of the action cycle
of a circular portion of that action cycle--strictly
speaking, that shouldn't bother anyone who adjusts to
the experience of Real Time. But it bothers anyone
who, through "education" expects a time flow in a
linear path.

But children don't experience time in a linear

path. They experience time as one event, followed by
another event and so forth, where each new event is a
new time not connected to any other time, except at
zero time. Until they're taught to connect and
compare experiences--and tell time by the clock. And
search out and live in the past. And try to outguess
and expect future events. And so forth.

Children are educated out of Real Time, and into

Linear, or Social, or Cultural, time. Which is a
criminal thing to do to a Being. Why is it a crime to
do that to a Being? Because a Being cannot live in
linear time, and cannot function in linear time. If
you are living in linear time, you haven't got a
Being there at all.

In Real Time everything is always possible. A

cycle of action can be taken, and still be
experienced in Real Time.

To live in Real Time takes a lot of the fear and

frustration, disorientation and confusion out of the
PEAK EXPERIENCE (Whick is also called the Mystical
Experience, and also Samadhi, etc.) all of which
kinds of experiences of living in Real Time are also
associated with the knowledge of Real Time.

HOW CAN ONE WORK WITH REAL TIME?

Through training or actually through re-training

one can learn not to expect linear time, and can
construct in and about in, Real Time using methods
which can be learned easily by anyone applying
themselves to the program sincerely, and without a
great deal of theory. In fact, unless a person
doesn't know about and understand a personal need for
this kind of training, only then is a theoretical
understanding necessary. Otherwise, it is simply a
matter of re-education of the person to accept and
live in, Real Time which re-sets, or begins anew,
when a new Action Cycle is undertaken.

What is the "right place" to look for time? Why,

the place where time
actually exists!

Time is the Fourth Dimension, and it helps to

know about it, especially if you're caught in an
Action Cycle, or are observing an Action Cycle, or
wish to begin or initiate, an Action Cycle.

And knowing about it will help you to see time.

But just knowing about it won't help you to live in
Real Time. Because to live in Real Time, you have to
be able to use and move around and feel comfortable
in, Real Time. And it's going to take a lot of effort
and skill to get you used to that.

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--------------------------
this last excerpt is from the very end of the book.
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--------------------------

AN OPTIMUM CODE is a new DNA Code which will, either

at random or by deliberate effort, take a Being out
of a SNAP and re-place the identity with the Being
for a long-enough period to allow an opportunity to
correct the error.

We're going to take a look at what we're doing

with the movements and breathing exercises, with the
music, in relation to Optimum Codes, Snaps, and their
sources. We also want to explore in this course the
specific effect these efforts have on our ability to
respond, adapt, and act, within physical worlds and
life-forms.

You'll remember from the Shakti! beginning

course, that the DNA Code Package is so simplified in
its structure that it has to adapt by the IMITATION
OF ENCOUNTERED RELATIONSHIPS' And you should keep in
mind, as well, that this adaptation takes place
because of the function of the DNA towards the
environment-it imitates easily AND WITHOUT QUESTION
any space which it encounters, and any actions of
life-forms or environment which it finds, which we
call SUGGESTIBILITY, and the whole methodology of the
DNA is a process where it throws all adaptation
mechanisms into high gear (called SPINNING THE WHEEL)
and learns to adapt BY ASSIGNATION--by assigning each
object, action, statement or event, to a specific
corresponding component within the DNA logic-
structure for storage and synthesis usually into a
MODULE, or under very complex conditions, into a
MODEL or logic.
 What should be carefully stressed, here, is,
that any relationships in any sort of pattern should
be carefully observed by the training Lama to see the
effect it has on the DNA Code presently operating,
which will be apparent as a "change in attitude, or
opinion", and to make certain that an OPTIMUM CODE is
really being presented, we want to try to LIMIT to
very definite impressions the type and number of
impressions which are "talking to" that DNA Package,
in our training spaces.

And then, there's the problem of RELICS. This is

called "animal", and are old pieces of adaptation and
survival mechanisms which have somehow managed to get
printed into the DNA Code more or less permanently,
traveling with the individual from space to space
like a trailing ghost, and are responses to real or
imagined danger to, or damage to, the organism as it
is coded at that time. In other words, the natural
desire of the coding mechanism is going to run
towards maintaining at any cost whatever code it has
got running, for as long as possible. Remember that
every automatic function of nature is inherently (and
mathematically) "lazy" -- running to the least amount
of effort to get the job done. Also called
"efficient", but seldom effective on a level at which
Being wishes to operate. These RELICS get printed
into the code some time in the history of the Being's
awareness adaptations, very early in the creation of
the Being. And usually BY ACCIDENT -- which means
that the buffers normally operating to prevent
accidental change, the printing of new codes, were
"down" for some reason. Either through periods of
blackout, drugs, unconsciousness, hypnotism, certain
forms of meditation, such as "alpha training",
unusually strong emotional stress brought on by real
or fantasize danger, strong and emotionally "loaded"
music, sharp sounds, fast movement, certain pitches
and ranges of sound, and so forth. There are many
ways to break those buffers which keep human beings
from perceiving reality. They aren't very strong at
all, and they usually are down at the moments when
the organism is striving very hard to adapt to a
fast-moving environment, leading the DNA into new
patterns. These are periods of fear, confusion,
danger, threat, hunger, approaching sexual contact,
all of which can lower these buffers. We want to hunt
up all the relics knocking around in there as quickly
as possible, and dump them out. That's part of the
work of ceasing to adapt automatically. We're just
going to clean up the space junk we find in there,
and so, you can see that we're not trying to solve
any "ultimate questions" about what you're going to
do with your Being-those are questions for you to
work out for yourself--you are going to have to do
this work for yourself; but you can get help in doing
that. Remember, by the way, the DNA can put you right
there, adapt you to it, and MAKE YOU LIKE IT!

We know about something which could life your

DNA Code enough for you to begin to do something
about your situation FROM BEING. It's called an
OPTIMUM CODE, and there are a great many of them,
each for a different purpose, all working for the
right type of awareness for the situation. You could
say that every awareness has its own KEY, and under
ordinary conditions of space of this type. which is
random event and random Codeprint, sooner or later
the right Optimum Code (called an OPTION, in the Core
Group) will break your awareness lock-in. In other
words, you'll eventually get Unsnapped AT RANDOM--
just because you've been occupying space for a long
time! The whole game of the Universe is finding
something to be subject to, for a Being who isn't
subject to anything at all!

First of all, before we get into the business of

Archetypes and Options, we had probably better take a
look at what's going on here, in this world and in
this space, on a Being level--and keep in mind that
this is no joke that someone is laying on your head.

We're into the business of a funny kind of game,

on a level of Being, and it's not any less serious or
any more serious than any other kind of game in which
you can learn something, and which you undertake to
play in order to get some particular skill or set of
skills, and understanding.
 I can give you some examples of games which are
learning games and might be familiar to you. ROCK
PAPER SCISSOR, KALAH, PARCHEESI, CHESS, KARATE KUNG-
FU, BUNRAKU, GHOST, CHARADES, HOP-SCOTCH, I-CHING,
VIRGINIA REEL, CHESS. There are a lot of games,
designed to teach something. Some of the games are
played between children, usually, although most
adults could really use the experience and opening-
up, to show how to get in touch with another
individual. And there are a lot of awareness games.
Logic and strategy. Stretching the logical muscles,
and the belief muscles, and the experiential muscles.
Riddles. Guessing games. I know that if you take the
time to ponder it, you'll realize that you know a
great many ways to learn things which have been made
into games to make them easier to learn, and to give
a direct experience with them, rather than straight
intellectual rumors about what they're teaching. Show
and tell. You know, to hang them on an experiential
situation. Use them in a sentence. Show how they
work, with an immediate example.

This funny kind of game that's played between

Beings is called THE GAME OF SNAP. It's not a
competitive game, it's a game which is designed to
help you learn to DO, as a Being, oddly enough,
largely by learning to UN-DO. When this game was
"invented" or "found", it was not the intention of
the original players that anyone suffer as a result
of playing the game, or the game in the process of
being played. But unfortunately, certain players have
formed in themselves the belief that if they can
demonstrate to others that they are suffering as a
result of being trapped in a particular awareness, or
"world", that some other Being will come along who
pities them enough to pull them out of the SNAP,
without any effort on their part.

And the funny thing about that is that there is

a rule of play designed for the protection of all
Beings everywhere, particularly directly within the
games.
 NO BEING MAY EITHER DIRECTLY OR INDIRECTLY MOVE
OR USE A BODY, OR PIECE, OR MOVE IT AROUND ON A
WORLD, OR BOARD, IF THAT PIECE IS A MANIFESTATION OF
ANY OTHER INDIVIDUAL.

Maybe that doesn't mean anything to you at this

point, but keep in mind that YOU HAVE TO MOVE YOUR
OWN PIECE, if its going to move anywhere at all, in
and out of awarenesses. That may be the best news
you've gotten so far!

Now, before we get into how pieces are moved,

and why, and who is moving them, and what kind of
"trouble" you can expect to run into and get out of,
it might be a good idea to discuss what a "PIECE" is.

A piece, is an awareness. Now we're getting into

a bit of depth, so maybe you had ought to increase
your attention here. First, we can look at what an
awareness is. It's a set of logics which enable you
to perceive, accept and deal with, encounters with
physical spaces. A way of getting and using and
countering impressions. The false idea connected with
that, is, that the Being is, identifies itself as,
the awareness. And the awareness changes as rapidly
as events dictate, which means that the Being will
have the impression that is many different life-
forms.

And that belief, the misplacement of identity

with the awareness, is what makes the game of SNAP.

Remember that what is meant here by awareness is

"an" awareness—a sequence of awarenesses which the
Being could "have" and "use", but instead, with which
the Being places IDENTITY. And each of these life-
form awarenesses, or space-form awarenesses, are
called, in the game of SNAP, a PIECE. So a person, or
an object, could be a piece operated by a Being in
the game of SNAP, and could also be a SNAP-TRAP.

You see, the object of the game is to SNAP an

opponent into a space from which he can't escape. And
the space itself isn't going to be a problem for a
Being--but for a Being which believes itself to be an
awareness, with all the limitations of an awareness
(which is adapted to local space so thoroughly that
it has to obey the local laws of physics) getting
free of that space IS going to be a problem.

So the basic operating principle in the game of

SNAP is to get a Being into a space and convince him
that he isn't a Being, but an awareness. Now, there's
no way that any Being is going to actually convince
another Being of that--but there's another operating
factor. The Being will do the job himself. So that's
done by SUGGESTING a set of LOGICS which that Being
identifies with, and has a desire to relate to; an
uncontrollable desire to adapt to that space. And
when you SNAP your opponent, you show him some kind
of desire which he hasn't dealt with yet. And you've
given him the opportunity to do that, by bailing
himself out. And to bail himself out, to unsnap
himself, he's going to have to break down that
awareness with which he so strongly identifies.

So far we've covered roughly the WHY and the

WHO. Of course, we expect you to find out about this
much more in detail on the course itself--this is
just an outline for the purpose of introducing this
game and these ideas to you.

About the how of the game--we're getting to it.

The GAME OF SNAP is a very simple game, and a very
ethical game, played for the common good of all the
players, and any sentient Being which becomes
involved one way or another.

It's basically a game of influence between two

matched players, or more. The matching-up of players
is called the Honorable, or Worthy, Opponent. And the
matching is very very important, because an early
player will play strictly to win, and he'll tend to
play hard. He'll want to use his pieces to remove
opponent pieces from the board. He's using his pieces
as HEAVIES. And that's the word which describes just
about where his awareness of the game is at, relative
to the Planes. HEAVIES. Later, a new kind of game
will unfold in which the stakes are all INSIDE, and
still later, the winning will increase the abilities
of Being. And still later maybe he'll see that each
move can be a thing of beauty. So the players are
carefully matched.

We already have seen that awareness can be

altered and moved around by an environment, but did
you also know that we can shoot a Being into a space
by pre-adapting? That's right--we can structure out a
logic of how a life-form or an awareness has to be,
and that targets right in on the appropriate space.
And if the Being is convinced that he is identity
with that awareness, he's in that space until he can
break down the awareness, and get it to quit
adapting.

We can use this game to do several very

educational things for a Being. We can show him that
he doesn't have to have his IDENTITY committed to an
awareness in order to be able to use and direct an
awareness, and he doesn't have to be committed to
identify with a life-form or an organism to be able
to use it and direct it.

Now, what do we here in this space call an

awareness? It's considered to be WHO WE ARE. But in
reality, all an awareness is, is the LOGICAL
INFORMATION ABOUT A SPECIFIC SPACE. That's all an
awareness is.

And if we can INFLUENCE a Being with a logic

about a particular reality, and he's all set to adapt
automatically on that reality, why, off he'll go.
He'll adapt himself to that logic, and the moment he
does that, he targets in on that space, and when he
does that, HE'S SNAPPED! He's got himself SNAPPED,
because he adapted his Being, he adapted his
IDENTITY, to a SPACE. What we just did was, we
confronted that Being with a space he likes so much
that he's willing to commit his identity to it.

So he's gone from having just been a player, to

becoming a PIECE. And now he's stuck in that space,
just as if he really were that piece. He can't move.
And he starts to consider his place on the board, in
that space, as very important--his whole existence
seems to depend on his awareness being in that space.

Now, to a MASTER PLAYER, a Being who really has

a good knowing of the game, and of its uses, the only
opponent who would be acceptable would be another
MASTER PLAYER. But a MASTER PLAYER is always willing
to accept the responsibility to teach a player who is
learning. But learning, not just in trouble. On a
board, that is, in a space, everyone's in some kind
of trouble, if only to figure out a move, or counter.

There really is no obligation to bail anyone

out, or to teach, but if there is a ready student, a
player will nearly always, conditions and game
permitting, take the time out to instruct on the uses
and niceties of the game, and, also, conditions
permitting, lend a hand to assist a Being who has
been making efforts, but perhaps wrong efforts. IN no
way will a player, a MASTER PLAYER, assist in that
way a Being who is not making any efforts at all, but
instead using ploys, such as suffering and
demonstrating the pain to gain sympathy. So this game
isn't competitive in that sense, and perhaps its an
unfortunate language that gives the only choice of
another Being operating in a mutual game as an
opponent. What would you call the fellow who releases
the clay duck in skeet shooting? An opponent?

Even if you've just come a little way out of

identification with an organism or life-form, you
have to appreciate the lovingness of this game.

And again, I might mention the safeguard which

is operating here, that no one else may lawfully move
your piece. The only lawful attempt to move your
piece is by trying to influence your piece by getting
it to adapt automatically, which, if it's set to do
that, you, as a Being, want to know about that,
anyway.

Of course, we're not playing so drastically, but

you can find Beings who have become so desperate, or
so lazy, that they use ploys to gain sympathy, hoping
that someone will bail them out without their effort.
That can't, because of the piece-moving rule, be
effective at all.

The most effective method I know of, is to

completely destroy in yourself the desire to
automatically adapt.

We can see, then, in this game, in the course of

playing this game, that the awareness of a Being are
not the identity of a Being, but are many different
costumes which he can have, which if he can adapt
consciously, and deliberately, can choose to have.
And what is more, these are things which he can
operate and use without commitment of his identity to
that awareness or to that space. In fact, properly
speaking, he ought to be able to have many different
awarenesses operating in many different kinds of
spaces simultaneously if he so chooses.

Actually, the game of SNAP could be run entirely

from the level of Being, learning other things than
automatic identity changes to which a Being has
become subject, and maintaining multiple awarenesses,
changing awarenesses, and so forth. But that comes in
advanced work with this game.

Any pattern represents an awareness, or a set of

logics, and you'll remember that an awareness, if
accepted as an identity (on this level—on higher
levels, acceptance is on a logic) SNAPS the Being
into the corresponding space. He snaps into a space
where that awareness is real. So we could say that an
awareness is how a Being realizes.

In this game we see your desire, as a Being, for

realities.

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--------------------------