Thank you.

Thank you very much.

Well now, I was going to do something else but there somebody just found my notes. And somebody left them on the rostrum in the Athenian senate or something. All done in Greek!

Well, we approach the last lecture. of this year's congress. And usually, we have messages about the future, and deplore the past, and not-is the present. Usually, we speak from the heart.

Want to talk to you about create and confront, before it's too late. It's darker than you think.

I'm going to talk right straight into and out of your case this lecture. I'm sorry to have to do it. You've been making out all right. You've been getting along somehow. You were happy till I came along. You knew all you had to be was more and more irresponsible and you had it made. I know.

Now, it takes something like a course to cover the material which I'm going to give you right now, and it will be covered in a course. But I want to give you enough of this so that you'll have a bit of a gen of it; a bit of the gen in handling cases and so forth, so that you can understand a little bit of what's wrong with these cases.

Oh, I'm being hard on you.

It's fairly important that we have some clue of this because it's a minor subject. Has to do with the formation and creation of this particular universe. And something like this does - does rate at least a few minutes of one lecture at one congress. We mustn't overrate the importance of some of these things. And to a lot of people, the existence and continued existence of this universe is - well, they just can't see - they just don't recognize, you see, that it's there. It's gone.

Scientology and Dianetics have included the upper ten thousand of Earth very easily. If you don't believe that and you're not a professional auditor - if you don't believe that, why, just try some professional auditing some day and just start picking them up at random off of the streets or out of the hospital wards and so forth, and start processing them. And you will find - you will find that you are amongst the upper ten thousand of Earth.

There was one whole religious activity, they - to which we're indebted, by the way, for some of the clarification of legal codes in the United States. An activity, however, which - Christian Science - which didn't believe the universe was here. Now, that's all right, but it's not a workable philosophy because when you run a car into a lamppost, the car dents, the lamppost bends. And you can think all the right thoughts you want to, but neither the car nor the lamppost do anything but stay there not-ised. And there's been a bit of controversy concerning the creation of this universe, and I thought that you might like to know about it. There's been some argument concerning who created it or something of the sort. And various credit lines have been given. I think the last one was Sam Goldwyn. But it's only fair that your part in this should be recognized.

Now, I'm not trying to give you a swelled head. It's true. It's true. You had brains enough to know you didn't know, just like I had sense enough to know that I had to do some tall remembering and reorganization here in order to get anything together, because most of the information had gone zock. And we knew we didn't know, and that made us the smartest people on Earth. Most of the rest of them think they know, and that is the high tide of ignorance. The most ignorant man in the world knows that he knows everything there is to know about everything. When he's that ignorant, why, he's that ignorant.

I'm afraid this was a mutually creative activity. Apparently, you had something to do with it. Now, I'm not going to tell on you. Nor am I going to see that you get full credit, so on, because after that Sam Goldwyn affair, why - neon signs on the moon and all that sort of thing, you know, that didn't set well. Didn't set well. Because, I confidentially tell you, he didn't, you know, not all by himself. He did have a part of it, and so did you.

People used to call it a „divine doubt.“ A divine doubt was necessary to genius. And then I think some cult or another... I've forgotten what cult. Some cult or another said that all you had to do was sit back and somebody else knew everything, only you could never talk to him.

The universe got created, because the dynamic principle of existence in Scientology, is create. And you never seem to know when to stop! You just get going, and there's just no stopping you. You just go on making things and making things and making things. And when you get criticized for it, why, then you pretend you don't even know you're making them and you hide them behind your back and go on making them and making them and making them. And the basic principle of existence is create.

When you can't do anything else to a population, if you totally fail to give them any information, if you totally fail to help them, if you totally fail to cure any of their ills, if you totally fail to take any responsibility in all directions, you can always invent a god in some cult or another. Cynical statement, isn't it?

The cycle of action that was first discovered here - that I discovered, was create-survive-destroy. That's the first described cycle of action: create-survive-destroy. This breaks down further into create, continuous creation and, actually, counter-creation.

And yet it's not cynical; it's actually quite factual. The assignment of total responsibility to another deity than yourself is the most invalidative thing that you can do to you. You recognize it as such, don't you?

Now, counter-creation is what normally people call a destruction. You've got something sitting there, call it a house, somebody drops a bomb on it, and you say it's destroyed. Well, boy, that is the happiest piece of nonsense I ever heard of. That house was destroyed? No, the house was spattered; it was not destroyed. The mortar, bricks, threshold and the ruddy lot just got scattered over the landscape. That was what happened to the house. But it actually could have been reassembled into a house. So obviously the house was still being created even though it was blown all over the landscape.

You could always get a zing out of handing over all the responsibility in the universe to Zock or - or Cronus or Titan or Batten, Barton, Durstine and Osborn. There's always a certain zing involved. You could get a change.

Now, these bits and pieces scattered around actually continue to be created because they continue to exist. And you eventually wind up with a universe of rubble. And everybody has forgotten what he started out to create and is being doggedly persistent in continuing to create it, and you get lots of matter.

This fellow is going along one day and he's - you know, there's no emotion, and he's all sort of dead, and things are, you know, not so good. Life is like a stale glass of beer or the inside of a motorman's glove. And somebody could come along and say, „Repent ye, repent ye,“ or something of the sort, and you could suddenly turn over all the responsibility for everything to somebody else someplace, and there'd be a wheee! The glee of insanity or something -but you'd actually get an emotional zock, an emotional bing, an emotional snick-wh-e-e-w one way or the other. Of course, it went up this way and then z-z-z-r-e-w-w boom. But nevertheless there was - something happened. The individual knew something happened. There was something emotional happened. It was an emotional experience to suddenly throw yourself on your knees in front of the local circuit rider and say, „I got the Word,“ you know?

Well, it's a good idea. It's a good idea if you're in the matter business. But then you come along and you take this debris - you see, the house scattered all over the landscape, you see - and you take that debris and you press it together into new bricks and build another house out of it.

And knowledge has had the reputation of being coldly dispassionate. But to knowledge has been imparted the cold dispassion of a bunch of irresponsible scientists who, finding things out, didn't carry them through to their final end. Just in the dressing room a moment ago, we were talking about Einstein and Fermi. Man, somebody's got a case coming up! See, that's a real case because - didn't follow through a responsibility along the developments. You know? Created something and then let somebody else confront it. Only nobody could confront what they developed, see? Nobody could confront the living fire of atomic fission exploding in a city full of women and children.

Well, this new house, of course, is part of the old house, only it's a continued creation, but there's an alter-isness someplace in the middle of it called destruction, which is counter-creation (a creation against the creation).

And the fellow, of course, who - as I've told you in another congress - dropped the A-bomb on Hiroshima, is in a Texas mental institution right now, totally convinced the Japs are after him. But he went mad. He couldn't confront that much of an overt and, of course, the only extant mental assistance didn't have enough sense to run responsibility on the deed. We could save his bacon rather easily. But when it comes down to that much of an overt, I am one to yawn and say, „Why? Why do anything for the guy?“ You know, that's just too much overt for me to get - exert myself to get anybody to recover from.

So now, you have creations following creations following creations. And after a while everybody loses track, and nobody could possibly not-is the thing, and you continue with a universe. And the solidity of the universe stays there. Now, that's evidently what occurs in a universe.

But in that, I am actually making a mistake because, probably, that is the fellow who is keeping in place a lot of this atomic roaw-rrhar, see? He's got the biggest overt, so therefore he'd have it all mixed up on the fate lines or something, you see? And probably somebody ought to blow it.

The cyclic aspect of matter, apparently, has something to do with - one creates, not as a mmmmmmm, but as a eh! eh! eh! eh! eh! You know? Theme is entered into the creation. There's a - a pulse of creation. There's a create, create, create, create, you see, instead of „cre-e-e-e-eate,“ you know, see?

But I've been in charge of justice and public welfare too often in too many different places - boy, that's a downgraded statement - well, anyhow - not to have a sort of an instinct about this sort of thing, you know? I see somebody walk up with a blast pistol and blow some baby's head off, you know, just for a gag, and for some reason or other, I don't have an immediate impulse to go over and console him. Somehow, I just don't.

And you get things like, oh, the periodic chart and nuclear physics and all kinds of things, you know? All of which are studying what they should know all about.

I know it's something lacking in me. Perhaps it's my training pattern. I have quite a reverse in impulse, you see, and that's to pick up the blast gun and blow his head off slowly. Now, that's a stimulus-response mechanism, of course, but that is the way things have kind of worked. But it's a bum thing - it's a bad thing - the punishment mechanism. If you don't have anything else, however, it's better than nothing. But actually, it worsens the condition, because by punishing him, it puts out of control, and out of his control, the thing he's being punished for, and so tends to confirm it as a continuing crime.

Then somebody comes along and says he's going to blow it all up. What a happy thought, you see? Now, the only way... We're actually the only people in the universe capable of destroying the ruddy thing. All we'd have to do is persuade every life in the whole universe, every thetan in the universe, to just stop creating it in some fashion or another, and it would cease to exist. But unless we did that, it'll go right on, and no - no amount of atom bombs or counter-creations will ever bring about anything but chaos. They're just spreading chaos into the creation.

All punishment tends to confirm crimes in a continuing status. You punish a fellow enough for something and there he goes; he'll do it again. You've lessened his ability to control it. You send a man to jail for stealing a car, then don't wonder that when he gets out of jail, in the next forty-eight hours out of jail, he's liable to go steal a car. He knows what he can't withhold: stealing cars. So he goes and steals a car. Get the idea? He knows his area of no-responsibility, so that's his area of no-responsibility. The punishment pointed it out for him.

Now, this gets dramatized in political philosophies. Communist, for instance, is actually doing a fantastic amount of chaos. He creates chaos out of the chaos, you know, that sort of thing You'll find his whole tactics in a plant or something like that, or trying to bring about a political order - this is not being critical - I mean, this is an actual study of the thing - is devoted to a philosophy of chaos. If you can just make enough trouble and disrupt enough things, then something will fail, and you can put something else in its place. Sort of a gradual disintegration sort of an idea.

Instead of helping him recover his area of responsibility and shoulder - help shoulder the burden of responsibility, why, the people who were in charge of law and order, justice, social-conscience, and all that sort of thing, actually made it impossible for this individual to recover and rehabilitate.

And if you look it over, you'll find out that's how nearly all low-order revolutionary activities have operated, Just bring about enough chaos and destruction and that sort of thing and chip away at the edges enough, and it'll all fall apart somehow.

But there is that point. You see somebody blow somebody's - blow a little baby's head off with a blast pistol, you just don't have the instant impulse to go fix him up. It's just a little bit too much of an overt. Got the idea?

Well, we have no intention of stopping the universe from going on being created, because there wouldn't be anyplace to walk. And it's comfortable to be able to walk, and it's nice to have something to walk in, like a body, you know, and there's space, and so forth.

Well, the reason we don't is because we can't confront overts that easily and that big. Got the idea? I mean, it's just nonconfront on our parts.

And if you haven't done too many overt acts against it, it's a very comfortable place to be. But if you've committed too many overt acts against this sort of thing, of course, you keep on getting burned, incarcerated, fed to the Spanish Inquisition, tossed into the revolution, ground up in the hamburger machine - you know, that sort of thing. And the responsibility taken of the general area monitors the amount of punishment which that area is able to hand out to you.

So I'm going to talk about your case.

The universe is a perfectly capable place to live in. It's just - it's baffling to some people that they get chewed up in it so much, because of course they can't confront their own overts.

If a fellow can't confront an overt that he has done, it of course has to go on automatic. So he'll do it again! And then doing it again, he can't confront it - doubly can't confront it, you see - so he'll do it again. And now he's done it three times, you see, and he didn't confront any part of it, why, he'll, of course, do it a fourth time.

But the formation of the universe can be demonstrated factually, and it's interesting enough to mention in passing. But it is simply the combined, continuous creation of the first objects created all along the line, which are still being created. They're still being created. In other words, you must have some tiny portion of your attention on creating something somewhere that goes on. Got the idea? It's ...

And there we get the whole mechanism of dramatization, which is delineated in The Original Thesis, Dianetics: The Modern Science of Mental Health, and on up the line.

Now, every time you try to run create or every time you are forced to create, every time you take a workman and chain him to the machine and do an Augustus - FDR Augustus: I think he was one of the early-things. Anyway, he chained everything into the machine and said that everybody must stay on the same job and create the same things from there on out.

Unable to confront an overt, one doesn't take responsibility for it in any way, shape or form, can't even recognize it as an overt; so it goes on an automaticity because he did do it. Then it must be something else that is doing this, and he has set up a false personality which then does things, because he can't confront it, you see? Can't take responsibility for it. Therefore the dramatization can occur again. Therefore, a sickness one gets can happen over and over and over and over. He couldn't confront this sickness in the first place, so he got it. So, having it, couldn't be responsible for it, so got it again. And we get the recurrent nature of illness.

Well, he was just operating with an inadequate knowledge of how things are, because a man can't continue to create the same thing without getting very upset. He's at least got to create it covertly. He's at least got to take his attention off of it someplace or another because if he fixatedly goes on doing nothing but create the same thing, he will eventually wind up with all of the debris. Well, the debris comes about that his creations run into counter-creations, and the resultant debris keeps stacking up. And after a while he doesn't know what to do about the debris, so although he's still creating that thing, he takes his attention off of it and goes on and creates something else that doesn't have a lot of debris, and it's a brave new world as far as he's concerned, you see?

People, by the way, do not have very many illnesses. One given person only has a small package of illnesses, and they're basically the things he couldn't confront. But what couldn't he confront first? He couldn't confront causing the illness, probably, in somebody else. And not being able to confront it in somebody else, then did it to somebody else again, and another overt and another overt and another overt. And he kept seeing this thing happen so, what did he do? He restrained himself by giving himself the illness. And that was his last-ditch withhold to keep himself from doing this thing. That's kind of the way it happened. And there's - be a small package of these things, and a guy goes along in the medical profession, invents 8,762 names per square inch for all of these various illnesses and assigns very Latin-sounding, resounding nonsense to these things, and they all come down to an overt. And that's it.

He can go on. He can - he was a painter, and he painted until he just got so painter debrised that, you know, the bank was just totally stacked with counter-create.

Now, anybody can be a victim. You. You. You. You can be a victim. Now, I have actually done quite a bit for this subject. I, once in a while, will audit somebody or even let myself be audited on some totally reverse process. I had to find out if we had the final run of it and I couldn't, actually, myself, confront putting anybody totally through the agony of being a victim. You know, just audit a person as a victim. Not „What victim can you confront?“ you know, or „Where could you communicate to a victim?“ or anything like this but just „Be a victim,“ you know? Naturally, that would key in practically every extant facsimile, accident, burn, roast, zap and everything else just on the whole track, you see? Just „Be a victim.“ „What kind of a victim could you be?“ you know, something like that.

See, all the critics, the people that sat for portraits and didn't pay their bills, the comment that the - the milkmaid used to make every time she'd walk by, you know, when he was painting a cow. And this nonsense, bits and pieces, so forth, got him stacked up to a point where he was just nothing but solid debris.

I turned an auditor loose on me and I said, „All right, run it, see? We'll see where I wind up.“ And I got a subjective reality on it, and I'm talking right straight out of the horse's manger.

Well, he's not out as far as the arts are concerned. He thinks he'll take a crack at sculpting. So he goes on, takes a crack at sculpting next time and abandons this debris-strewn area, you see?

So what? Just so what? So you got burned to death, so what? So you threw a mock-up into the atomic fire engine, so what? So they sliced you to ribbons and split your fingernails and braided your teeth. So what? Who cares? You could do it. You could have it happen to you because, basically, you could - you were experiencing it, and that's easy. There's just nothing to experiencing something. You can experience anything.

Well, there's an answer to this. There's an answer to this. Obsessive or continuous creation results in debris. And the debris exists and the creation continues to exist, because one never confronts what he creates. One seldom really confronts what he creates.

You have to be pretty tricky to figure it out so that you can experience an acre of pain and pretend you aren't mocking it up. Boy, you have to be pretty sly to do something like that. Of course, as I said before here, it doesn't do any good with a fellow with a broken leg to tell him he caused it himself He doesn't appreciate it at all. But the funny part of it is, is you can experience a broken leg. And it - so it hurts, so what? It's happening to you, so that's all right.

A fellow creates something and expects you to confront it. See? And you create something, you expect somebody else to confront it. It's like somebody taking pictures of his kids, you know?

It's all right if it's just happening to you. What you don't want to have happen, is happen to the other fellow. Now, that's the tough beef, and that's why being a victim doesn't work in processing. Because a pc can just wallow through any number of gorgeously tuned-up facsimiles on aches, pains, agonies and everything else. He can just go through anything. He'll lie there on the couch in Dianetics, and he'll run this, and he'll run that, and he'll, „... and they cut my head off and they did that to me and they did this to me and braided my teeth...“ And he runs this and, of course, he gets better because you're knocking out some of the basic facsimiles, and so on. It's the easy one. That's the easy one.

Now, where - where this - this sort of thing goes on too long... As a matter of fact, the best customer, by the way, for pictures of kids is the kid. Nobody ever realizes that, you know. I'm always handing my kids out pictures of themselves. And they're their most cherished possessions. They're very good customers. It's just - they're trying to confront their own creativeness by looking at pictures of themselves.

Should be obvious to you that it's the easy one because it's the first process that came up for us, wasn't it? Process - the first process that was workable and broadly runnable was being a victim. You know, „What's been done to you?“ All of Book One addresses itself to that, so that obviously must be... Anybody can experience that, because anybody could run that, you see? But confronting doing it, confronting it happening to somebody else, confronting somebody else in agony that you caused, was just a little too much. Hence, we talk about responsibility or cause, people tend to leave us in droves. They won't this time. We've already got the ranks thinned out.

But confrontingness is the panacea of creatingness.

But, you see - you see, we ask these people to experience this, and they can experience it all right. I just - so - I - that's why I went up and down the track, and so forth. And I found out this is a gag, you know? This is just a big gag. This is the easiest thing there is to do. And finally, why, the auditor brought me back up to PT after I'd dug up a bunch of facsimiles I'd forgotten I had on the whole track of a lost identity and all that sort of thing, you know - in PT. Ha-ha! So what? Of course, I thought I had it made one way or the other because I don't have many facsimiles or - if any, for this last life. And I just thought I must be hiding some that I didn't want to experience. No, that wasn't the case at all. The only ones I still had hanging around were the ones I didn't want to see happening to people. Got the idea?

Now, destruction is a limited button. It takes a case that's pretty well off to run anything like destruction, because destruction is not factual. It isn't true that things get destroyed. It's true that they get counter-created against.

Now, you being here and watching it happen there, is tough. But you being here and watching it happening there and know that you did it and you're causing it - the only answer to that is lessen the overt: „He wasn't - he didn't amount to anything anyhow.“ Or „Well, I'm not responsible for what I do. You know, I just do this every once in a while. You know, a fellow is standing there and I just pick out a blast gun and shoot him in the stomach, you know? I mean... Just something I do.“

Now, if you ask a case to run very much create, you'll find the case will make a tremendous gain for a moment or two and then go into a state of collapse. Because you've run into the debris factor You've asked him to consciously create what he's already creating, and by putting his attention on the thing, he has to take the consequences of what he's creating, and he can't do that. It's just like throwing him into the bank head first and then toughening the bank up enormously. This creation factor is because he's not taking responsibility for what he's already creating.

You'll have fellows confessing overts to you with great glibidity. You know, they'll say, „Oh, I did this and I did that and I did this and I withheld that and so forth and I did this, that and the other thing and so forth and there's all my overts and - cheers!“ Cheers. Boy, the hardest work is ahead of him. He's got to find one part of this that he can take responsibility for - one tiny part that he can really be responsible for. And then they start to go out.

Now, he can do this fantastic thing: He can go along and create something behind his back and not take responsibility for it. Now, people can create things they're not taking responsibility for. And people are right this moment creating things they're not taking responsibility for.

Some people, apparently, aren't being audited at all; they're just bragging.

The fellow who can be run over by a car is unknowingly creating a situation, morning, noon and night, week after week, whereby he has overts against cars, and he has this situation continuously mocked up, but he has no responsibility for the situation, so he can be run over by a car. You got that?

But anybody can be a victim. That's the lazy thing to be. That's the lazy one to be.

Now, this oddity exists, that people can create things they're not taking responsibility for. You notice some parents. See, they can create kids and not take any responsibility at all. Funny part of it is there's some families in some parts of the world, all they do is go into kid production, you know? They take no responsibility for anything they create. Like the story I heard one time... Well, that's neither here nor there. Oh, the traveler was down in southern part of the United States and he's walking down along the bayou and he sees an alligator eating a child. So he runs up to the nearest house and he says to them, he said, „Say,“ he says, „there's an alligator down there eating a child. Is it your child?“ and so forth. And this old fellow was sitting on the porch steps, and he uncoiled himself and leaned inside the house and he says, „Mammy,“ he said, „I told you something was gettin' those chilluns.“

To be causative and to be able to confront the overts one has performed happening to somebody else which one isn't experiencing - these are the rough ones.

Yes, a person can create and not take any responsibility for the creation. That's what gets most anybody in trouble. Any - and if any trouble is going to be gotten into it's; right from that factor there, you see? The creation is not hooked up with responsibility.

Now, when one has been a suicide, he looks back on that lifetime of having been a suicide as though it's an entirely separate thing, and he's apparently now exterior to that lifetime but it's very difficult to look back and realize that he has killed himself. So he tries to interiorize into that lifetime, don't you see, because it's easy to be a victim and it's hard to be up in present time looking back at that overt. So this is the mechanism of track tie-up and how one slips back into identities he has harmed or wronged. That's how one goes backtrack and gets stuck. And the way out of it is just taking responsibility for - as the senior process - or being able to confront - as the junior process - overts happening over there, done by you. Of course, you start coming out of this whole track stuff like mad. Easy to be stuck on the track. It's a rough deal to be in present time and know everything and everywhere you've been. Because you have to sort of confront back, you know? You have to be willing to be responsible for being that much of a knucklehead. And between you and me, brother, you've been a knucklehead.

So creation can exist almost independent of knowledge, control and responsibility, This is another factor in another zone, It sits over here. Creation can be done in a total state of irresponsibility.

I know you must have had, because I look back at some of the knuckleheadedness that I've pulled off somewhere along the line and I say, „Boy, whew!“ I don't mean to out-create anybody, but...

You never saw a pc admit any responsibility for his service facsimile. You never did. Yet he's creating it all the time.

Not long ago I was looking over a political situation of - right here on Earth - and had to dispassionately sit there and examine all of my decisions with regard to this immediate decision, and exactly where they had wound up and how could anybody be that stupid, you know? How could anybody be so stupid as to make this various series of decisions which wound up in that mess. Nobody... You know? Politics? - this couldn't be politics; it looked more like the type of diplomacy they were using before World War I. And yet, I will say I did have nerve enough to take a look at the decisions that were involved in this little, tiny, two-bit political situation, you know - it all wound up wrong. See? Without saying, „Well, I was sick at the time.“ Without saying, „Well, you see it's like this; not much was known about politics in those days,“ or „The reason why I made these decisions was that my intelligence at that time was very poor and it was basically based on a series of letters from my brother who, of course, I'd found out later, was an idiot.“

Well, this triangle that we've run into of knowledge, control and responsibility handles this obsessive creation.

To be able to dispassionately look at what you've done, without writing out eighteen Encyclopaedia Britannicas of excuses as to how it all happened, requires a singular amount of cooled, cold calculation on your part. It's almost too dispassionate for words. You get all involved, you know. You get all involved with irresponsible, irresponsible, irresponsible, irresponsible. „Well, the reason they went across the river at that point and ran into the musketry fire was: It was foggy that night and we hadn't actually had a very good provost marshal in camp, you see? And he didn't pick up some of the spies that were around, so they got intelligence. And we didn't know anything about the fact they had intelligence of the fact that we were going to cross the river at that point...“ All of this gobbledygook, all of this nonsense, all this stupid justify, justify, justify, they're to blame, they're to blame, they're to blame, they're to blame, they're to blame, I'm the victim, I'm the victim, I'm the victim, I'm the victim. You get the idea? They're to blame - I'm the victim. See? Synonymous statement: They're to blame - I'm the victim. „I didn't know about it. I was perfectly innocent. There I was sitting in my tent and the musketry fired off and killed off all the men. And if I'd known about it beforehand, of course, I...“ Who asked them to camp there?

But when creation itself is engaged upon as a process... Datum here: a process - not to be used, not recommended, not unless you've been real grooved and trained and know all the ramifications of this darn thing, because it's dynamite - „What part of a, oh, mother (any terminal) would you be willing to create?“ And that run all by itself, of course, just turns on the irresponsibility like mad. It doesn't particularly influence the knowledge, control and responsibility triangle.

You just never - you just mustn't shut this off in a pc because it gets less and less and he finally grapples with the situation and he says, „Well, it just occurred to me that when I gave the order it sort of seemed to me like that was a very poor place to pitch a camp. And let me see. Oh, oh yes, oh, oh, oh, yes, yes. I remember the day before that I was very angry with the army. Yes. And I sort of wished I didn't have anything more to do with them. Now, what do you suppose that had to do with my selecting that camping place?“

And the bank just gets bigger and bigger and beefier and beefier and stronger and stronger, because you're not handling the control, all you're doing is turning on creation. And creation is already on an automaticity, and this phenomenon of a bank getting tougher is simply the runaway phenomenon of the automaticity of create which makes this universe.

It's only then that the pc starts to catch up with himself It's only then he starts to catch up with himself. And he says, „I done it.“ But he knows he did it and he was willing to take any consequences of having done it and he could admit causing it, which is the definition of responsibility A person could actually admit causing it. Not causing something fanciful, but actually admit causing what happened. And there's where incidents, and so forth, just break up. There's where lives break up, and so forth. There's where you crack cases.

If you were going to run that at all, it'd have to be on the order, I think, of about one to ten. If you ran it for one minute or ran it for one hour, you'd have to run ten hours of the counter-process.

Now, the individual who just says, „Well, there's my case, and I know I'm responsible for everything. Got it all made.“ Reels off a lot of things in the incident - says, „I was actually the battery commander at the Battle of the Bulge“ or something - you run into somebody up the track somewhere. „I was the person who didn't lay down the barrage and caused all the troops to die and that's it. Well, that incident's clear. Ph-h-o-o-o! Good. Now, let's get on to something more important.“

Now, the counter-process to this is Confront, Alternate Confront. So it should be run. If you're going to run any Create at all, you'd have to run it about ten to one on Confront.

It's about time for you, the auditor, to find out just what he could be responsible for in that battery. You're liable to find the whole confounded incident is fictitious. He's being so irresponsible he isn't even giving you the incident that occurred. And you start delving into this thing and you'll find out it wasn't the Battle of the Bulge at all! He's talking about the first Battle of the Marne. It was even another lifetime. That's how wrong he is. And boy, when you run into the right one, he won't have anything to do with it. Doesn't matter how glib he was before, he just won't have anything to do with the right one.

So if you said, „What part of a mother would you be willing to create?“ and if you said that for ten minutes, well then, certainly for a hundred minutes you'd have to run „What part of a mother would you be willing to confront?“ or „can you confront?“ or „could you confront?” as an alternate question with, „What part of a mother would you rather not confront?“ which gives you the plus-minus confront and takes away the debris and takes the maybes and mysteries out of the line.

Now, a fellow comes oft and he does something like that. He says, „I know nothing... Actually, I know nothing about - about having any acquaintance whatsoever with the manufacturing business. I've never - never had much to do with manufacturing, and so forth. Urn - I know something, however, about United States Steel and their basic Operation, and so forth. Their first president was quite of a guy.“

Now, it is in our power to restimulate any terminal in the bank we want to. The terminal is totally flat, is not giving the pc any trouble whatsoever, he's acting like he's Clear, and then we start clearing him on things he might run into someday.

You say, „Well, what was the president of General Electric? What was the first president of General Electric?“

And just by running Create, we can restimulate and artificially key in any terminal we want to get our hands on in the bank and clean up.

„Well, I don't know that. I don't know that.“

We know this fellow once had epileptics - fits, and he doesn't no long - any longer have epileptic fits, and they dropped out somewhere along the line, you see? Well, we want to get real thorough about it and we determine this, we locate the terminal it dropped out on, and it's flat. Well, all we've got to do is run “What part of that terminal can you create?“ or something of that sort, and it'll bang back into view again, you see? And then we run it - Confront or Responsibility, and we knock it back out. Only this time, of course, it'd go back out with much less tendency to pop up. Got the idea?

„What - what's General Electric all about?“

Scientologist now has in his hands the ability to restimulate at will any engram, facsimile, terminal or anything else. It isn't that those things that are flattened can always be restimulated. That isn't true.

„Oh, I don't know anything about General Electric. General Electric - that's a company isn't it? Yeah, yeah, it's a company. All right. Well, United States Steel, I do seem to know something about. I've read quite a bit about it in this life and their first president was quite a man. He did this and he did that, and so forth, and so on,“ and the needle starts banging on the E-Meter and this preclear is very glib about this whole thing, you know? He tells you all about United States Steel and the first president of United States Steel and - and there it is. You see? And the needle goes back and forth.

The two processes: The weakest one of the two, which is one of the strongest processes there are, is Confront. It's the weakest of the two. The process which is strongest of this is Responsibility. That is the strongest process, run in some version that's an intelligible version.

And you say, „How do you know all this?“

So that you get as a very fine process - a very, very, very fine process for use on anything and everywhere... Don't expect this thing to do tremendous, miraculous things in three seconds, you know? It's no trick process. But just for the long haul, it does a wonderful job in the hands of almost anybody. If you were being audited by a very inexperienced auditor and were audited on this process, you would get someplace regardless of whether he held the E-Meter with his toes or kept yelling at Bill out the window or something of the sort, see? You'd get someplace.

„Oh, a person sh- I just read it, studied it, very interested in the thing.“

And that process would be Alternate Confront: „What can you confront? What would you rather not confront?“ And that, just as a general process, tends to knock off the debris incident to having created. In other words, by getting Confront run, you knock out the debris kicked in by all of this irresponsible or responsible creatingness.

You say, „Well, what about the National Biscuit Company?“

Now, what's this tell you? This tells you that artistic rehabilitation is in your hands. I'm going to write a book on this subject one of these days if I can get a couple of moments to breathe. Necessary to breathe, you know, to write a book. You have to be able to breathe at the same time; I'm developing it as a skill. You can write a book and handle dispatches and audit a case all at the same time, but I found out that the absolute necessity is while you're doing this and you're in a body, that you also breathe. It's a discovery I made.

„Well, what about the National Biscuit Coinpany?“

Of course, I haven't told you what I mean by breathing. Breathing has to do with going out and looking at the weather, you know? Breathing has a lot to do with wondering how fast motorcycles go and other irresponsible things, you know? You take a breather.

„Well, do you know anything about the National Biscuit Company?“

Now, creatingness requires a certain amount of confrontingness, and any artist who has ever been artistic has practically destroyed himself by out-creating himself.

„No, I don't know anything about it. Why should I know anything about the National Biscuit Company?“

You want to know what happened to your ability to write? You want to know what happened to your ability to paint, your ability to sculpt or your ability to mock up as far as that's concerned? You want to know what happened to your ability to dance? Why, one day you're being run on something, you find yourself looking at a grand piano and realize that someplace or another you've been a concert pianist, and you sit down to the local apartment-sized piano in a friend's place and you can't even pick out „Yankee Doodle“ with one finger.

„Well, how about Carnegie? You know anything about Carnegie?“

And you say, „Well, I couldn't have been that person.“ No, I'm afraid you've run into the best guarantee that you were that person.

„Carnegie? Carnegie? Who's he?“ You say, „He's in the steel business. That's who he is. He was one of the early steel magnates.“

In other words, your creatingness has gone beyond your confrontingness. See, you've created further than you've confronted, and created further than you've actually taken responsibility for. Boy, I tell you, the fellow who starts handling responsibility for his „grand pianisingness“ - boy, that's a tough word, you know?

„Oh, he was? Yeah, well, I was talking to you about the United States Steel, you know, and the president of United States Steel was quite a guy and so on,“ he reels you off „and of course their production figures for the year of so-and-so and so-and-so were such-and-such and so-and-so and so-and-so,“ and he on and on and on and on and on, you know?

I remember when I was a concert pianist. Boy, we didn't have any trouble with that. You hand it over to the box office: The reason you play is because the people want to pay money to hear you play Ha, ha.

You say, „Well, were you the first president of United States Steel?“ you know, and the needle falls off the pin, the pc says, „Oh, no. No, no, no. Don't know anything about that.“

You're creating and they're confronting, aren't you, huh? Ha, ha, ha, ha, heh, heh, heh! You're not creating and confronting, see? You're creating; they're doing the confronting.

„Well, how do you know so much about this man?“

You put confronting on automatic while you're creating, and you've had it any day.

„Well, psew-read, you know?“

That doesn't mean that you shouldn't play grand pianos in front of Carnegie Halls or whole track halls or something of the sort, you see? But it does mean that if you're going to create, you've got to learn how to breathe.

What you've discovered is a very peculiar piece of variable, isolated knowledge that has nothing to do with the price of fish at all. It's the tag hanging out. It's the brass ring for the auditor to catch. Got the idea? Misplaced information.

About the dirtiest trick I think I ever had be played on myself as a writer comes very much to view. I used to want to go out and research what I was writing about. Everybody that was connected with me at that time thought this was a horrible thing for me to do.

Now, that can go two ways. The person knows nothing about any corporation every place and will have no conversation or connection with anything resembling United States Steel. That's just a total shutdown, you see? This person is a perfectly well-educated person. He knows everything that has happened. He's - he studied history in high school and college, and he knows everything about history except he doesn't seem to know a ruddy thing about the Renaissance. „What Renaissance? Oh, he means the Reformation.“ „No, the Renaissance.“ „Well, what about the Renaissance? Well, what - the Renaissance. What's the Renaissance?“ „Well, the Renaissance was a period in Italian history in medieval-modern area... It's - it's a period!“ Yeah, but where? Who? What? The pc is just stupid, see? Just doesn't know anything about the Renaissance. Now look, anybody knows about the Renaissance. But this pc doesn't.

Of course, you must realize that when I did this sort of thing, I would turn up three, four, six weeks later with nothing left of my wardrobe but a pair of gumboots and some old corduroy pants, you know? Stubble of beard. I'd gone out and lived the part, you know? I'd be in a remarkably secondhand condition - broken fingernails and all that sort of thing, you know?

That is looking for and finding the unexplainable as a case analysis. The pc will have something wrong with his knowingness on the subject - meaning, something wrong with his responsibility for the subject. And you look for something odd about his knowingness. Either too much, too little, not at all or so forth, but it's just this: something odd about his knowingness on this particular subject. There's just something goofy about his (quote) „knowingness.“

If you're going to write a story about logging, well, you'd better get in and log, man, you better get in and log. You go down and sign up on the logging crew. You know? And you decide you know all about being a sawyer now; you'd better be a feller. Something of that sort. So you'd fell some tall tales.

This boy at the age of five could play a violin. Boy, could he play a violin, you know? At the age of twelve, suddenly went stale, could no longer play a violin. Who was he? Obviously, it's the life he's failing at. There's something wrong there someplace. There's a piece of knowingness - you know something about this case that doesn't tally. Therefore, you have to know cases; you have to keep your ears open about cases; you have to look cases over; you have to inspect them very carefully; and no system that I lay down for you is ever going to totally crack a case - you understand? without you adding your sensibility.

You have to be awfully slippery, you know, to be able to do this, because it means you've got to acquire professional skill while walking up to the manager and then exhibit it after being hired. Makes for a quick study.

Now, fortunately, your blank spots aren't your PC's. Now, if everything he tells you is the total information or addition or contribution you're going to make to the session - it's just everything he says; he says to run this and he says to run that, and he says to... Oh, skip it! Why waste your time? Why waste your time? What's wrong with him has been borne out time after time. Oh yes, he'll tell you some of the things wrong with him - enough so that he gets a little bit better but he really never hits ...

They didn't like to see me do this. I'd just disappear out of ken. Of course they'd worry about me and all that sort of thing. I'd come back with engine oil all over me, having been a stunt pilot for seven weeks, you know? Write a story about it or something. It worried them, as one could see, but it was a dirty trick. Because I used to have a system of not writing about things I didn't know about. And I think it's a fairly good maxim. I would advise it to almost anybody, particularly science-fiction writers.

You know I was up till five o'clock this morning auditing? Disobeying the Auditor's Code like mad. Cracked a case right down the middle. Got so darn interested I just kept on auditing it. Didn't actually audit very many hours. It was just one of these things, you know? Just this wonderful glibidity set in on this case, and you just never heard so much glibidity in your life. That was the end of that case. Boom! Only that person knows that's the end of that case. By the way, it's never the end of the case unless the PC knows it is.

If they'll just get somebody - some auditor to cooperate with them a little bit and give them a session now and then and so forth, they can go off and have all the space opera they want. They can get firsthand knowledge of the situation. Of course, they might never get back here, but that's beside the point.

But look at this. Here was a piece of knowingness that was hanging out. See, here was somewhere was some knowingness that was misplaced. Either the person knew nothing about this particular subject or the person knew everything about this particular subject, but just couldn't take any responsibility for the subject. Do you see that?

But firsthand knowledge is - is the thing a person should have, because it gives you a chance to confront. Get the idea? And you just never get tired of writing, that's all, you see? You don't get tired of writing. You go out and you do a lot of confronting and get your hands dirty and get in brawls and mixed up one way or the other.

The only way you can say it, is when you want to solve a case, you look - something wrong with the knowingness of the case and explore it with an E-Meter. Something wrong with the knowingness of the case. The person knows too much about something or knows too little, and then follow it out through this and explore it and watch that tone arm.

The next thing you know, why, you just feel fine. You just feel fine as silk, you know? Just „Ah, pooh!“ And you get back in there and do some more creating. I don't care whether you're painting or playing a piano or anything else, you got to be able to breathe, too.

You suddenly start exploring airplane pilots. Airplane pilots - every time you hit airplane pilots it goes on up. And you hit something else and it just cools off. And you hit airplane pilots, you got your tone arm starts registering high, and you can two-way comm on other subjects and cool it off. You're looking at something that has to do with airplane pilots, aren't you?

And if you don't learn how to breathe, you're not going to last long as an artist, let me tell you. And I say the overt act that's played against me is people were arguing at every side, trying to keep me from breathing. They still do. Every now and then, people object to my handling hot machines or something like this.

Now, you'll find there's - if there's also something wrong with the pc's knowingness on the subject of airplane pilots, you've got it made. Either - „Airplane pilots? What an airplane pilot is? Oh, I don't know anything about airplane pilots.“

They say, „Well, Ron, you're valuable.“ Well, I know I'm valuable. Nobody has to kid me about that. I know exactly how valuable I am, how - how small my value is and how large my value is. I don't make a mistake in this particular direction. It's a total estimate of the situation. Otherwise, I wouldn't be here.

„What are the ranks in the RAF?“ See?

They don't have to tell me I'm valuable. In the first place, there's nothing can happen to me. I know. Better people than this planet have tried. See? I mean, there's nothing can happen to me, and actually there's nothing can happen to you. But there's something can happen to your identity and presence. See, and they want to preserve your identity and presence. And they don't think you'd look nice all poured in between the wheels and motor of a racing car, see? Well, your body and identity don't look nice that way, and it's not something that people like to confront. And of course, there's nothing can happen to you beyond the loss of an identity.

„The ranks in the RAF. Well - oh, lieutenant commander, umm - captain, major...“ Yeah, what corn. Not one of these is a rank in the RAF. You got the idea?

And of course, you re so knuckleheaded and have gone down so far on create that you can't mock up another body at this particular moment and you need processing. (This, by the way, I keep picking up here is just a list of my crimes.)

So you have to be on your toes in order to find a pc out.

Now, wherever we have a - an over-create, too much create and too little confront, we've got difficulty in the field of artistry. That's what happened to your pinaner playing, and that is why you as an auditor can take a former pinaner player, you know, like Chopin or so forth, and get him to run Reach and Withdraw on the piano. Next thing you know, he can play the piano.

Now there are two gags that I can tell you that'll assist you enormously. I've also - already told you about the repeating identity. You know, the Red Comet, the Silver Streak mechanism. That's the craziest thing to run into you ever saw. You're going in contest with yourself you know?

Did you ever stop and think of what a mystery that was that that thing happens, you know, that the guy goes out and he feels an automobile, you know? Feels an automobile and he can drive an automobile. Some of you probably don't realize you can do that in Scientology. Fellow's unable to drive a car or paint a picture, something like that, well, you just make him reach and withdraw from the tools of the trade. Make him withdraw from the objects he's trying to handle. Make him reach and withdraw from the areas, familiarize himself with this sort of thing. It's just ordinary contact. Just as simple as that. Hardly any auditing commands to it at all. And the next darn thing you know, you run out of - a lot of his create - obsessive create.

And you'll find out, what the pc sets up as a goal of really wanting to do is something he has already done and if you examine a PC's goals of this lifetime from the time he was a little boy - everything he wanted to do right on up to the present, more or less - somewhere along this line you're going to find the key lifetime he's stuck in and can't confront. Because he's still trying to be what he was, but he doesn't dare be what he was. Now, that's an Assessment by Goals. Find out everything he wanted to be in his whole lifetime and then just sort it out with an E-Meter. And you're going to find him somewhere.

Well, factually, you run out his counter-create. And what do you think an overt act is but a counter-create? Something is being created, so you counter-create against the thing. Well, that's a create, too. And your counter-creates get all mixed up with creates, and you don't know whether you're creating or counter-creating, so one fine day, why, you're stopping yourself from writing a book. Instead of creating a book, you counter-create a book every time you write a book, you know, like James Joyce. Ah, it's an overt act against James Joyce; he's got a right to be unintelligible, just like I have.

Now, another clue is this - another clue, and a very interesting one, is that the last two or three lifetimes are pure dynamite. And if you can resolve a case, totally, and bring it up the road toward OT by staying with the present lifetime, you're avoiding something as an auditor.

Now, Reach and Withdraw then is a specimen of this confront, that's all. And you get a fellow to reach and withdraw from a piano, and he'll recover all of his abilities to play piano. But the funny part of it is, it takes about ten to one.

The lifetime immediately before this lifetime is usually far more important than the current lifetime in the resolution of the case. And if there's something wrong with it, the fellow will feel batty all the time. Something went wrong. It's that last lifetime because that's the one which is withheld on all dynamics. Think of that. That's even withheld on the first dynamic. It's a withhold right straight across the dynamics. You have to increase the pc's knowingness to find out something about this.

Now, if he spent a lifetime playing a piano, at first glimpse, to recover his concert accuracy, you'd have to spend ten lifetimes of confront to recover that thing totally. Fortunately, he didn't spend the whole lifetime doing it. Actually, the number of hours he spent at a piano was relatively minor. And the number of hours he was playing found only a few amongst them where he was really creating. See?

And you'll usually find, if the pc's case doesn't run just drrrrrrrr very easily, that there's something wrong in the last two or three lifetimes - something really wrong; something really goofy. And don't worry about what wild tales you finally sort out. You'll sort out the right tale eventually. But you'll find some interesting wild tales. For instance, the person wasn't born into his present family at all, but picked up the body in a tonsillectomy at the age of seven. And the rest of it is just pure justification. It's an overt act against his own identity. Goofball things like this happen. This is a - this is not a logical universe. It's merely a created one.

So at first, creatingness seems to spread itself all over the place and then it comes down to actually what he is creating. The rest of it he's simply repeating.

Now, that's a good clue, and that's a good place to go around. You know, just really pin down where the fellow is. „When were you born? When were you born?“

So you could have this sort of thing happen rather rapidly. But if somebody's interested in painting, doesn't seem to be able to paint, well, the thing to do is to go and paw pallets and daub paint and pull reach and withdraw from brushes and canvases and so forth and make him get paint on his nose and so forth, and not let him do a doggone thing creative about it.

The fellow says, very glibly, „Born? Born? Let's see, born? Uh - let's see now - born in 1925 - 1925.“

Now, these therapies - these hobby therapies have a certain workability in this direction, but they lose their target the moment that they ask the fellow to create anything.

You say, „Where were you in 1924?“

You mustn't let the guy create anything. All you want him to do is handle the materials. I don't care what he uses them for, but don't let him create with them, and hobby therapy works.

„Huh?“

You're trying to recover basket weaving: well, just let him handle miles and miles and miles of raffia or something, see? Don't let him do a lousy thing with it, you know, just handle it. The second he looks like he's going to tie up anything that looks like a basket and so forth kick him in the pants. Just let him handle the raffia, you know? „Raffia!“ Next doggone thing you know, he can make beautiful baskets.

Thetans do this, you know? They make things for other people to use. The cobbler's children, you know, never have shoes.

I took a fellow the other day that - he was an instrument maker. He came in, and I wanted to show him how an E-Meter worked so he could do some work on an E-Meter for us. So I just sat him up and ran a - picked an incident off the track, found out it was about three billion years ago and spotted it exactly in time, got the exact time. He - very vague - he didn't know anything about it. Had him run Responsibility on it. Ran Responsibility on it, a few commands. All of a sudden a picture he'd had his whole life of looking out of a window changed, flipped, he got a terrific sensation of getting up from the thing, rushing over, jumping into a car, and shooting up over the top of a hill. And he got tremendous sensation of motion and, of course, just as he got over the top of the hill, that was when the atom bombs hit the city. And he was the guard, and he evidently hadn't sounded off quick enough.

Now, it's pretty hard for a writer to handle enough stuff to make up fur the amount of writing he's doing, because he's writing about the universe. And he's creating in and out and about and this and that and characters and the universe, and so forth, and he actually would have to do a lot more breathing.

I just went into a formal session, you know? Just - you know, „Here's the session, goals for the session, what are you looking at?“ You know? No patty-cake „This is Scientology, yap, yap, yap,“ you know? You know? Followed right down the groove, „Now, what are you looking at? All right, that's fine. Now, what part of that scene could you be responsible for? That's what I'm going to run. Going to run it.“ Ran it as a formal command, and so forth. „Now, let's spot it in time,“ was what I first did. And - „Spot it in time. How many years?“

Similarly, a painter. He's reducing to two dimensions a tremendous amount of three-dimensional, heavy-mass material. So he's apparently dramatizing a „make nothing out of it.“

„Hundred thousand years? Oh, wait. Ha-ha-ha.“ You know, you'd think he'd have that reaction. No, no. Oh, no, no. He said, „I don't have any reality on that. I wouldn't know how long ago it was.“ And I just spotted it on down - no help from the Pc, just totally on the E-Meter. Next time I saw him his eyes were about three times as big. He'd always been walking around kind of this way, you know? Gave him a twenty-minute session to demonstrate to his partner the use of an E-Meter and produced a new man.

And similarly, a writer is „a make nothing out of it.“ Actually, he's doing a create job, but he's taking big, solid, massive things, and he's putting them down to the thinness of thought.

That, by the way, is the mechanism to use on a still picture. And that is the Black Case. The Black Case is a dead duck right now. Just turned out a longer bulletin on it. I just mention it in passing. All you have to do is find out what the Pc is looking at and have him run Responsibility on it, and he turns from a Black Case. He turns on pictures. I can just turn on pictures just like that on people now. That was one of the things that stopped us in 1950. It's very easy.

And the painter is taking these big, massive scenes and that sort of thing and reducing them down to the thinness of canvas, the thinness of a two-dimensional picture. You see? And his creativeness gets mixed up with a not-isness, in his own head. It's perfectly all right to make a smaller duplicate of anything, but he never thinks of doing that. He thinks of creating.

Just remember Responsibility for the scene he's looking at and you get pictures. Because if he says, „No scene.“

I remember when I was a young writer, I used to be able to write anybody's style. I was tremendously pleased to be able to do so. I've been able to do it for generations. Just pick up - just pick up anything, you know, and say fine. You know, write it. I wrote a - a western one time in total - I was never Shakespeare - wrote it in total Shakespearian verse. And neither the editor nor any reader ever noticed it. They merely thought it was a very fine story, and I think it was just a year or so ago that it was filmed - dragged out of the archives and filmed as one of the prominent TV plays. The thing is written in Shakespearian prose; it scans, every single bit of it. I've even pointed it out to two or three people, and they say, „By golly, you're right, you know? Well, why didn't I notice that?“

„Well, could you take responsibility for 'no scene'?“

Well, you escape creating by copying very often.

„Oh, I sure can take responsibility for 'no scene' there.“

A very good craftsman doesn't care who he copies. He just couldn't care less. He'll just duplicate anything. Anything comes into his mind, he'll duplicate it.

„Good. That's your first answer to the auditing command. Here's the next auditing command...“ Here we go, see? Next thing you know the black just goes vague and goes pink, goes white, a little - something else happens zzowoua - and all of a sudden he's looking at a fountain.

It's only some guy that's practically spinning who has to be totally, personally, individually, separately original! He's not long for this world when he has to do that.

„Well,“ he says, „I'm looking at a fountain,“ you know? And run a few more of the same command and you get something else, and so forth, and you'll find him way back, to hell and gone down the track someplace, you know, and he's been stuck in something or other. You're not - don't - don't really run into something bad, just keep running Responsibility, he runs to PT and just kind of skip it. You've got a case that forevermore will have pictures. I mean, that's so easy that we missed it, all of us. What was the matter with you, you didn't give me a hand with that one? Ten years. Anyhow...

It's a big joke on my part now and then to float into an existence an extra work of some writer. Sometime before this century is out, I'm going to float into existence another story by Edgar Allan Poe. Just because it'd be an amusing thing to do. It was one that he missed that he should have written. I happened to think of it, so I'll write it, see? Don't know how it'll get discovered but somehow it'll get discovered somewhere. Probably in the rare manuscript collection at the Library of Congress.

Now, the next gag on assessment of cases - and I call it a gag because - it's a colloquialism - that you should look for is transvestitism as the commonest cause of aberration when a case is really rough to run. And when all you have to do is find a case is very rough to run, you had better, at once, explore for transvestitism.

But who cares about something of this particular character because that's not serious You'll find that I am ordinarily only serious about those things that are relatively important on the dynamics. The rest of the time, I play hooky. That's a fact. I play an awful lot of hooky.

Female voice: What is that?

But when you create, create, create - „Got to create! Box office! Public! They expect it!“ you know? Create, create, create. Never look at anything, you know? After a while you can't write. After a while you just can't do it anymore, you know? After a while you can't paint.

Transvestitism. You see, I use Chaucerian English - which is what we speak, I guess - and you just don't get it. And I use a proper technical term and you don't know what that is. It's transvestitism. Men and women swap their clothes, and you get men running around dressed as women and women running around dressed as men. Got that?

And somebody shows you a pallet and so forth and, holy cats, you might have been Rembrandt. He was a pretty good boy. He's a pretty good boy, Rembrandt. But he isn't painting now. Otherwise, there'd be some Rembrandts lying around. And there aren't. So, you just create, create and don't confront, and after a while you say, „Well, I just can't do it anymore,“ which means you can't take responsibility for it anymore, which means you better not know about it, which means you lose all control of it.

Now, here's what happens. A thetan decides that she's a good woman and makes a lousy man, and 50 percent of the bodies that thetan picks up, on the average, the rough average, are going to be male bodies. And yet this thetan knows she is a good woman. Now, she has the task, somewhere very early in life or even before birth, or something of the sort, of flipping this body, or trying to flip it, or fitting (if she can't) a male body into a female role. Got the idea? And earlier on the track, when there were less medical examinations, it was the easiest thing to do you ever heard of. People would go all through their whole life being a woman, while actually being a man - actually a male body dressed and used as a woman.

And somebody shows you a Rembrandt a couple of generations later, a pallet and a brush and says, „Daddy, paint me a picture.“

Everybody looks at me very stunned and says, „Where's this been?“ Yeah, who you kidding? All right, this fellow decides that being a man fits his basic purposes and his basic personality, and so forth, and yet 50 percent of the time he picks up female bodies. What's he going to do with them? Just collapse at that point, and everything he likes to do and so forth, and be a female for a lifetime?

„No, I just don't have anything to do with that, son. Huh, huh. I just never was able to do anything like that.“ That's a fact. He couldn't even do it for his own kid. You know, he couldn't even make a picture of a cat with the two ears, you know?

It's one of the characteristics of the cases that are tougher for you to puzzle out, that you ask them now - this case is a girl, you know - and you say, „All right, have you ever been a man?“ One of the characteristics is to say, „Oh, never. Always been a woman. Never have been a man. Always have been a woman. There isn't a single male body on the track.“ Oh, oh, that's it, auditor. Let's work it out from there, because 50 percent of those bodies were the other sex. Thetan pays his - no money and takes his chances. They don't even put blue and pink on the cribs anymore to figure it out for you. It's all white in the hospital. When you lay your cotton-picking beams on that body, it's tsk!

And if he was stupid enough to do so in kindergarten, a tremendous weariness would settle over him, you know? He'd say, „I don't know what's wrong, but I don't feel well.“

Let's say you're doing just fine. You're doing just fine as a man. And you've had it made, and you've gotten it down. You've got it pretty well figured out. You've got the weapons of the period more or less taped, the trades of the period, and you've found you're pretty good at business administrative actions, and you got it pretty well taped. And you settle down to a nice long haul, and then somehow or other you fall off the bridge or run into a rapier, or something of the sort happens, or the wife slips you a little more ground glass than she usually gave you, and you slip on a banana peel or get caught in the rain, and that's the end of that mock-up, see?

Well, of course, it couldn't be the creativeness of drawing a picture of a cat because he's Rembrandt. You get the idea?

Well, you're all set to be a man, you see? And you pick up a female body. Phfeph! You say, „What am I going to do? Learn to cook!“ Well, just think - any of you men, right there this moment - just think being suddenly and immediately confronted with the idea of having to do all feminine tasks. You know, knitting and churning butter... Being faced with female sports - yak-yak-yak-yak. Now, you'd darn well try to do something about it, wouldn't you? You'd shift gears on a body somehow or another, and you'd try to bend this one around to your own penchants, your own training pattern, because you're in charge after all, the body isn't.

Well, a man doesn't have to be a stellar name. A stellar name presents us an interesting problem all by itself. Any time you grab off a stellar name and really put yourself up in lights and so forth, you've ordinarily had it for a while anyhow.

And you girls, now, just think of it, think of it. All of a sudden you're getting along fine. You know how to cook. You know how to sew. You know how to take care of things. You know how to take care of babies, families. You know how to please men. You've got it all taped, you know? You've got your home economics and other things. You've got women's suffrage. Everything is all squared, see? Everything is all taped and all of a sudden you've got a male body. What are you supposed to do? Learn how to play baseball and shoot with shotguns and get drafted and ... Huh? What about it? It'd be a shock, wouldn't it?

But an individual just gets to a point where he just can't bear the thought of taking any more responsibility for creativeness.

Audience: Yes.

Now, this is all mixed up with overt acts, all mixed up with counter-efforts, all mixed up with this and that. And it's all resolvable in various ways but the simplest and easiest way to resolve it, if the longest, is just to get the person to confront or run any kind of a confront, like „What part“ or „What about a painting“ or „What about a painter could you confront? What about a painter would you rather not confront?“ you know? And eventually the guy will start sorting it out, and he'll go through phases of „Got to paint, can't paint. It's all right to paint. No, it isn't.“ And the moral problems associated in painting... It's - all that's happening is you're rehabilitating his ability to create by running out his obsession on the subject, which in itself has taught him that he runs into total apathy about it.

Well, I'll tell you that in former societies they didn't have medical examinations.

This business of running into the repeating identity is, of course, one of the more amusing phenomena. It's a phenomenon of - that's broke more hearts.

My golly, there was one girl served with Napoleon's Grand Army nearly every campaign straight through. And they consider it startling that she, eventually, was pensioned off - discovered and pensioned off. Well, look, they discovered her. They discovered her. How many were going right straight along in those boots? Pirates: There was Anne Bonny, Mary Read. There have been people in - there have been women, for God's sakes, in the French Foreign Legion. And just as I left Sussex down there, a police contact I have came in and told me rather juicily that they had just arrested a man who had been serving as somebody's wife for eighteen years. And he thought this was peculiar! Because something isn't generally known is no reason it isn't common. It's common. Common as dirt. Particularly earlier societies.

You keep trying to beat your own record, you know? I was mentioning this racetrack. It was about nineteen thousand years ago, twenty thousand, thirty thousand, forty thousand, In the Marcab Confederacy they had a race-track. And you were probably there. And you either have attended its races or had something to do with it, because you find it on most cases.

Guy gets all loused up on the second dynamic. He doesn't quite know whether he's coming or going. But after all, it's just one lifetime. He says, „I can put up with it,“ see? You know, she says, „Well, I can somehow or other get along. But I'm damned if I'm going to learn how to fire shotguns. And I know nothing about close-order drill and I am not going to learn.“ You get her position now? I mean, a thetan is paying out.

There's one 1216 B.C, that shows up on any case - the Brotherhood of the Snake. 1216 B.C. It shows up on any case. Well, evidently, this other one is the same breed of cat. Almost anybody going through Marcab Confederacy sooner or later got mixed up with the racetracks.

Now, you take somebody with a fairly high level of dedication, who has a fairly dedicated outlying purpose - one character or another, and is doing a certain exact job, going along the billennia, and he walks into this thing, he says, „Well, here we go again, see. Here we go again. How we going to bend this one around?“ You do. You do. You'll find your companion-at-arms think you're one of the better looking officers. Once in a while you skid completely and get married to somebody. Boy, how do you figure that one out, you know? Well, you've always got a maid in waiting.

They had turbine-generated cars that went about 275 miles an hour. They ran with a high whine. I notice they've just now invented the motor again. And they had tracks that were booby-trapped with atom bombs, and they had side bypasses. The tracks were mined, and the grandstands were leaded-paned. And the audience - it got to be kind of a „no audience.“ You never could see the audience.

Various peculiar things can occur along this line and, of course, they are the most hidden ones, and they all consist of overts and a person is taking no responsibility for them at all. So, these peculiarities, of course, are the make and break points of cases. I know about three cases right now, in the vicinity of Washington, that aren't running because of just this one fact. They are dedicated to being the opposite sex. But this particular society has totally loaded it on their heads that they've got to be the different one. See, it's against the law now! Evidently the law, whatever that is, has gotten very, very tired of transvestitism. You know, „Women are supposed to be women, you understand? And men are supposed to be men. You understand? And there ain't no thetans.“

And oh, they had loose-sand sections and they had slick-oil asphalt and they had ice sections and loose gravel. Any kind of hazards you could think of. A mountain that you went up to the top of and fell off; you know?

So you look over a case from these angles - and what I've just given you will probably bust up the majority of the rough cases you run into: the famous personality, the transvestite sort of an action. Because, of course, a man being a woman totally hides the maleness, you see? It's a total withhold for whole lifetimes. And vice versa, it's a total withhold of being a woman. You see, a woman is a total withhold and all sorts of peculiar things. Then they come out into the right sex and they carry over some of the withhold, and they get themselves all scrambled up, you see, one way or the other. And you can take cases apart just left and right if you know some of these things. And I want to see you take some of them apart.

And just - there were just more drivers killed. There was more blood pouring on that track, you see, all the time. I mean it was always goofed up. Ten, twelve thousand years, this was the favorite sport of the Marcab Confederacy, apparently.

Well, basically, I've given you quite a little data at this congress. I hope you haven't considered too much of it condemnatory, because it's offered in a very helpful spirit, let me assure you. If you think I have tried to make you guilty of all of your overts, you're absolutely right. But I haven't done that in any effort to discipline you into being good. I want you to be honest.

If I'm restimulating you, okay. It's not done intentionally. You'll run into this sooner or later. You'll wonder... You've probably often wondered what that needle-like pinging was in the back of your neck. Well, you probably wound up on the track some time or another as a driver or something of the sort.

I'm very happy with the way things are going. I myself am - I can hardly keep my hands off pcs, as I've certainly got no business auditing till five o'clock in the morning, when I've got another congress day coming up the next day. I started to ask myself what do I think I am? A human or a doll or something to keep going like this?

Because nearly everybody, when he wanted to go to the devil, went to this track and became some part of its operating personnel, because it was the fastest ticket out in a society which absolutely insisted that you live!

Well, I hope some of this information and material has proven interesting. Has it?

The Marcab Confederacy's medicine was so excellent that an individual just couldn't die out of it. That was all. They would drag you back and fit an arm on, fit a leg on, fit a nose on, fit an eye in. They could give you artificial voices and artificial vision and artificial digestion and artificial everything else. The next thing you know, there wasn't even an original part left including you, you see?

Audience: Yes!

But there was always a road out, you know. You could... If there was too much peace, and you couldn't go to war and get yourself killed, you could always get involved with something like the racetrack, you see? That was a sure ticket out.

And I hope very much that you can get everything taped out the way you want it' and get life headed in the direction you want it to go, get it under control and firing off just the way you want it. And I know you can.

Well, one of these things of a repeating identity - this happened to me over a course of quite a while: I'd be doing something constructive, and so forth, and I'd go play hooky. Or I'd get tired of that particular body setup. I'd go play hooky, wind up down at the racetrack driving a car, you know? Just hooky, you know? This is a rough thing to do on people because it was awful hard on their equipment.

I'm very happy you came to this congress. For me, this has been one of the most satisfactory congresses we have ever had. That's just from my viewpoint. I hope to some degree it is from yours.

And just go in there and be the Silver Streak, you know? The Silver Streak. You know, so many laps in so many seconds, you know? Track record! Track record. I'd get bored with it and do what I went down there to do anyhow. Work it out in such a way that it really wasn't my fault for knocking myself off, you see? And take one of these cars and wham it into the grandstand or some such place, see, and that'd be the end of that body. And nobody could argue with it, see? Medical science could do nothing after that. Go pick up another body or a doll or something like that and go on about my business and carry out the mission.

But after a while this got rather bad because - come down the track and I'd be the Red Comet, see, driving around. Get to walking in and out of the lobby, and I'd see this picture here of the Silver Streak. And I'd look at this, „Track record so-and-so, so-and-so, so-and-so. Aaah, who's this guy,“ you know?

And so before I used the track for the purpose it was intended, which was knocking off a mock-up, why, I'd get in there and, urrrr-rrooorn! you know, and managed to take a minute off of that time, you see? Manage to take this many laps off as the total endurance record, and.. Oh, they had races there that'd go for two weeks. You'd be driving f6r two weeks. They'd just keep doping you up. Needles hitting you in the back of your neck, you know, giving you new jolts. This is space opera. This is what this planet is in for. I mean, boy. And knock it off, you know?

I remember I got tired one time. Did have one overt act on the track - it was real bad - is I got tired of wondering whether or not there really was an audience back of those leaded panes. Took one of those tracks - cars, turned it at right angles, and threw it through one of the windows. There was an audience there.

So anyhow, a few lifetimes later, why, things would be going along pretty good, and the mock-up would be all patched up, and I'd think I was due for a new issue or something like that, and I'd wind up down at the racetrack. Total nom de plume identity - my own identity totally masked, you know, and go in there as the - the Green Rocket!

And as the Green Rocket, you know, be going errrr-vrooom! you know, that sort of thing. And one day walking through the lobby, „The Red Comet. The Silver Streak. Nyah, who are these bums? Track record so-and-so and so-and-so and leaped six cars. Six cars.“

And the Green Rocket, of course, would get a picture, posthumously: „One of the great drivers of all time who had leaped seven cars and had taken eight minutes off the track record,“ you see?

I think in the course of about twenty-five hundred years there were an awful lot of pictures in there, but I had about sixteen of them.

I'd just keep going back and beating my own record, see? And I finally would just be exhausted, you know? You know, the Green Rocket. The Red Comet. The Silver Streak. You know? The Gold Bomb, you know? Oh! Whoo! How in the name - 'cause, you see, the equipment for eleven-twelve thousand years never changed one iota. Nothing was ever bettered. It was just ability, you see? It'd be pure, raw ability. As a matter of fact, the equipment was getting a little bit worse. And always beating your own record. You get down to a point finally where it isn't possible. You just have to give up. Well, who defeated you?

Ah, the only reason I'm telling you this rather humorous anecdote is just to pound it home to you a little bit that you're basically in competition with you.

You are - have most in common with you. You, in this life, have most in common with you in another life. Unless you keep in fairly clear view... In all of those lives, there was no question in my mind about who I was as long as I was going about my business and not playing hooky. See, I knew who I was, I knew what I was supposed to be doing. I knew what I was... But I'd go play hooky, bury the identity, counterfeit it and take no responsibility for it. and knock off the mock-up, which of course I couldn't take responsibility for.

Naturally, I'd get these doggone identities stacked up, and after a while just couldn't face the idea of driving any more racing cars because those guys were too good! I knew I couldn't be that good.

Now, writers, pianists, all the rest of the artistic world, to some slight degree, are running into their own identity - to some slight degree, whether great or small.

If a man is on the track doing painting, I can assure you that some scrap of his work has survived somewhere. Now, he doesn't have to be the great name. You would be amazed how many people there have been who were great in their times. An awful lot of great right now.

But a writer just gets to a point where he can't compete with himself anymore. You get the idea? When he runs into that sort of thing, he's more or less had it. And a fellow who has just gotten through being a famous writer in the last generation is practically sunk in his next lifetime, He's liable to be taught his own books in his own literature classes. It's horrible! I'm not in that position right now. I just happen to speak from a pc.

But for the last twenty-five hundred years I have been taught my own speeches. I've still got extant pieces of writing up and down the track. There's quite a little bit. Amazingly constant. And I have not necessarily taken an irresponsibility for the thing. I - one of these days, I thought I might get together a little book of extant writings of one character or another. Thought you might find it amusing.

But where you're - where you're in constant competition on creation with yourself why, you've more or less had it, you see?

What you're looking for when you try to solve a case is the points of greatest creativeness which haven't been confronted, because that lifetime will be in total restimulation, with total irresponsibility for it.

The one person you're not willing to be is the person you were. Isn't that funny? The one person you're not willing to be is the person you were.

It's no good even sitting down and asking a pc, „Who would you most be - most unwilling to be?“ because he'll always miss it. It's a total not-is-total not-is. And when you're auditing on it, he's most of the time, „No, I wasn't it. No, I wasn't it. No, I wasn't it.“

Sometimes he picks out a famous identity of one character or another which is an offbeat or a repetitive identity on another civilization millennia. You know, this civilization thing is - repeats itself like a baby's development.

You know, you have these various circumstances. There's been seventeenth-century France time after time after time on the time track, you know? And there's been - there's been a Renaissance time after time after time. There are Greek civilizations time after time after time. You get the idea.

About the only thing there hasn't been enough of according to the American public, has been cowboy civilizations.

But you'll find the point of greatest creativeness of an individual or what he is creating or what he's most, in this lifetime, been involved in creating is most what's wrong with his case as a computation. And you've got to get that confronted. You've got to get him to take some responsibility for it; you've got to get him to confront it. The easiest way to do is just to get him to confront it; the fastest way to do is to get him to take some responsibility for it. The rest of the case will fall out in the soup.

But of course, in order to audit a case at all, you have to establish two-way communication. To establish two-way communication, you've got to get off the overts and withholds.

Similarly, you'll find that most writers when they fail, fail because, Lord knows how long ago, they killed a writer.

And when they've killed a writer and then they afterwards try to write - they're actually not trying to do a life continuum on him - they accidentally started to write and then got that other one restimulated and so failed.

All kinds of crossplays occur in this field of creation, but creation is so much the button, that it's practically everything wrong with a case. And creation without responsibility is the downfall of any case anywhere.

The rehabilitation of artistry is rather easy, and to you would probably pay off greater dividends than any other single activity because you could put every stage and screen star you could lay your hands on, every painter and everybody else in the field o¸ the arts and communication right back into the run. All you'd have to do is get him to take some responsibility for what he's doing, get the overts off on what he's doing and you would have him back there doing a stellar job instead of limping and not being tired when he'd finished with a performance.

It's a broad field of Scientology. It's a field of Scientology which exists of course in our own technology - just rehabilitating cases - but it exists as artistic rehabilitation and would be well worth doing for the sake of dissemination of Scientology, as well as for the arts and culture of our times, if anybody undertook this as a project.

We have the answers to this now. It's been a long time in coming. What I actually should do is write a book about it, something like that, and scatter it around. And you'd find an awful lot would result from it because people are very interested in create, because create is the dynamic principle of existence in Scientology.

Thank you.