Okay. This is the second lecture on November the 19th. And I'm going to give you some of the intricacies of Create — the Create Series in this particu­lar lecture that you might be finding somewhat useful. There's no telling what an auditor finds useful.

Well, this is what? What's the date?

Now, the basis on which you're processing, or in England and the colo­nies, "processing," is the cycle of action or the communication formula or Axiom 10.

Audience: Nineteenth.

The basis of your results depends on how well you reestablish the toler­ance of randomity of. the individual. Plus, how well you rehabilitate his feel­ing of being able to expose his pictures to view because this is again, making an effect, you see?

It's the 19th. How'd it get to be the 19th? The 18th, isn't it?

So, if you give him a chance to get his pictures in order, why, he feels happier. But if he can't control them, he feels unhappier.

Audience: The 19th.

Auditing then has rehabilitation as its basic goal: You'll find out that striking for Clear, you're simply going at the bank, and striking for OT you're going at all four universes: thetan, mind, body, physical universe.

It's the 19th of November? It is, no kidding? That Sunday — Monday line has got me all messed up. And I keep going back and forth across it getting younger and younger. See, because what I do is go across it, you know, and then dematerialize, then rematerialize on this side, you see. I just get a day younger and I keep doing it.

And on the urges-to-survive level you're going at all eight dynamics. That's different than the four universes, although you'll get all hung up unnecessarily because it isn't that important between, "Isn't it true that there's a universe for each one of the dynamics?" Yeah, there's about steen hundred and scrumpty-scrumpt (quote) universes (unquote) but there's only four with which your pc is involved immediately and intimately.

I knew a polar explorer one time who kept running around in circles, he got up to the pole, and he ran around in circles, around in circles, around in circles, around in circles and then the navigator told him the pole was some distance to the south. Anyhow ...

And that is that universe which is hardly a universe at all but a univer­sal source of self and others as a thetan. That universe which is composed totally of postulates, considerations, spaces, energies, matter and time called the mind — its interrelationships and so on. And that, of course, is his own mind and another's mind and others' minds, and so forth. So, it's a class of universe, you see?

Nineteen November, 1st Melbourne ACC.

And then you have the universe of the body which is probably merely a series of condensed minds, mock-ups, and so forth, but it's simply a highly specialized kind of energy mass appearing in the physical universe. That's basically what a body is, it's just specialized significance more or less adapted to the universe in which it appears, or that part of the universe in which it appears.

And I don't know, we didn't have too much time to go into what hap­pened but I don't know whether you got the point or not but the demonstra­tion that was given right after yesterday's lecture, and so on, was simply given to pull up the lecture.

For instance, the bodies of Earth probably wouldn't work on Venus. And certainly the bodies of Earth, as they will eventually discover, won't work

Now one doesn't make too much point out of this, otherwise it appar­ently is a — some sort of a — of a suggestion apparatus and so on. The reason I ran what I ran was to settle the pc down into a minus randomity area and then showed you a minus randomity area, and we found one. And there's nothing more minus randomity than hanging around the morgue looking at a body on a slab.

worth a nickel in space. Any Earth body shoved into space is going to go into a slavery category because the tolerances of motion are far, far, far above anything it can tolerate. They're not going to get off this planet in bodies and be happy about it. They're going to have to push their technology with regard to physical bodies over into the zones and area which more or less mechanize these physical bodies. They're already going in this direction now, they're going to put electrodes in people's minds and operate it — minds: they say brains — and then operate them from some very vast distance with some electri­cal switchboard, so some scientist can think for some — ah, for Christ's sake!

But to prove that it's minus randomity I shook out the fact, if you recall — that he didn't know anything about it. See? I even gave him some little processing on it, you know, and the picture moved around but he still didn't know anything about it. Got the idea? Hm?

Well, anyway, this mechanized combo would hardly be a physical body or an Earth body as you and I think of it. It'll be so beefed up, so covered with equipment, so trussed up; you know belts and shock straps and metal abdo­men protectors and all — you know, you — wow! And some kind of a mechanism which restrains the blood from going into its component parts under heavy acceleration, and, you know, shoot them up with chemicals so they're — oh, man.

Audience: Mm-hm.

And they move from that complication ordinarily over into robot types — things and start doing their traveling at first with television cameras. The Russians have already begun this. And then eventually start sending out in bodies which are individually operated from Earth. You got the idea? With a television camera, so that you sit in a booth and run a body that's way out there someplace and so on with a sensitive control mechanism and so on.

All right, now, you don't mind my mentioning this? Thanks.

Naturally after fellows have run bodies like that for a long time, they start interiorizing into them, then they don't know anything about thetans, anyhow, so you start getting a phenomenon that some scientist way up the track (if we weren't around) and so on, will be very, very startled and feel very wonderful about, and that is the "X formula" that occurs in robots. When you get the controls just exactly right, then robots seem to come to life. And you'll have thetans interiorized into robots and you're off into full space opera with doll bodies. And here we go.

We got a good idea here. Now, the reason I wanted his auditor to take a good look at this and so on, particularly, (and seemed to be chewing on his auditor a little bit) as I — I wasn't at all — I want — I was chewing on all of you. You keep your eye open. Because there is no better method of doing an assessment than the one I did.

And if we weren't around, why, there'd be queues waiting outside the robot factories to pick up a body and the robot mechanics and engineers wouldn't have even counted on them but they know this "X factor" there — has got to be there before the body operates. And so on, and it's all very mysterious.

You runs the process and you sees what turns up, and then you handle

Somebody immediately considers that this is so mysterious, they have to go into mysticism and so on. And you usually feel — see then, space opera get­ting totally mixed up with mysticism. And you get a hierarchy of superreli­gious mind control of one character or another — usually very violent and very vicious, going along with supermechanical controls of one character or another, like ancient Egypt.

the minus randomity area. The minus randomity area is going to have to do with that terminal which has to be run. You understand? Inevitably. See that?

Ancient Egypt, if you care to look it up on the track, was a combination of Earth and space opera all mixed up as one. As the high Pharaoh stands on the side of the pyramid and blesses the multitude, he has to be careful that his cloak doesn't blow aside and reveal his ray gun. Yeah, that's right, you'll run into that considerably. It's a fantastic state of affairs, you know.

So you have ways and means of turning on a stuck picture.

Moses and the crooked snake you know, that turned into a stick that was actually a disintegrator pistol. Well, anyhow ...

All else failed and you didn't seem to be making too much sense out of the case, you could simply up and turn on the stuck picture, and that's it. And don't go monkeying around with it particularly and trying to run it as an engram, that sort of thing, because we could run it as an engram and we could get the stuck off the line and we could erase it and move him on up the line to the next engram or the earlier engram that had to do with a woman awfully dead! Stone, cold dead on the marble. Got it? Hm?

These things get all mishmashed up one way or the other. But they were allslated to go on up the line into this supermechanization and that sort of thing.Well, we're in ahead of the game, well ahead of the game. And as we goup the line, however, you must keep firmly in mind that you are only handling basically, for all practical purposes, four universes. And the crossroadswhere it all goes to pieces is people lose the ability to postulate and start

Instead of handling the associated factors, all under the heading of "female body," we would be handling isolated incidents and lives connected with female bodies, you understand?

running on mechanical actions and reactions, stimulus-response machinery, which is mishmashed on the cycle of action, Axiom 10 and the communica­tion formula and these things get all messed up, and the stimulus-responses of these things go all haywire one way or the other and so on. That's basically all you're handling. You're not handling anything else. So therefore you should know pretty well the anatomy of those things you're handling.

Now in the interest of time, it's much easier to handle the class of terminals needing to be run than the individual pictures on the chain of that class, right?

And of course the anatomy of the thetan is so easy to study and compre­hend that everybody misses it. Nothing could be quite that simple and must then, of course, be totally coated with supercomplications. Otherwise it's unpalatable.

So, to get those things moving, it's much better, much better, in running it, to run a process which moves all such stuck points out because there are some other motionless pictures or minus randomity areas, you see, on this same subject.

In earlier ACCs and lectures, why, I covered fairly heavily the idea that the more aberrated things get, the more complicated they get. And people have an acceptance level of complication. And after a while you get a society that doesn't consider anything true unless it's terribly complicated.

Now, there'd be two ways of tackling it. One would be Book One: long, clever, adroit engram running, see, and that'd get him out of this. That takes a long time, it takes a lot of clever auditing, it takes a lot of understanding of the situation, it takes a lot of sitting on the pc's head, you know. And it takes a lot more determination on the part of auditors than you'd suspect because they get bored with minus randomity — now get this — they get bored with minus randomity and go off to find something "more interesting."

And you've got a society right now that's busily considering things "true" if they can't understand them. That's the level of complication, is to be so complicated you can't quite understand it and it's marvelous.

Ah, but the only thing wrong with a case is the minus randomity.

Give you an example of that: they feel a great awe toward the nuclear physicist because they "no dig his math." See? And yet he's capable of tre­mendous destruction — they think.

For twenty minutes after the bombing of Tokyo there wasn't anything moved or anybody flickered an eyelash. They'll all tell you they seemed to be suspended in time. Twenty minutes before anybody even wiggled. One flash and then for twenty minutes there was no such time.

Well, that's bah. In the first place his math has practically nothing whatsoever to do with the building of atom bombs — and they're all built by heuristic means — trial and error. They don't even know — they don't even know to a hair what the critical mass is, you see. And they haven't got sev­eral questions in atomic manufacture resolved at all. And as a result, some-day, somebody is going to put in just one millicurie too many, and that will be the end of a very large manufacturing plant someplace.

Actually, it was hours and hours and hours before people started to — to do anything that was comprehensible. Got the idea?

You see, it's — they're about as deserving of worship as — oh, the ancient cult of the navigators of the Polynesian area. And finally the modern naviga­tors dug up all of the ancient cult of the navigators' monkey business, to all practical purposes and it turns out to be a rather crude, if simple, method by which you know each island is on the latitude of certain stars. And if you want to reach that island, why you just sail down until you can see that star through a coconut shell, with no water spilling out of the shell, and of course, that star is on the zenith, so therefore you're on the latitude of the island and you go east and west and you hit it. And it's — practically nothing to that. But that was the ancient cult of the navigators in Polynesia.

So, with a tremendous sudden violence, alter-ising existing creation, we get minus randomity which includes, "don't know anything about it," "never was before." We get the works, you understand?

But, of course, they got more and more complicated, more and more com­plicated, more and more complicated and finally it just got to be witchcraft and they became high priests, and so on.

Plus randomity in that area will eventually ensue if there is a great deal of stuff on that line so an automaticity surrounding some particular object or mock-up is also an assessment.

As of recent times the modern steamer navigator tries to classify himself as a high priest on a bridge. And some poor fellow trying to get some infor­mation out of him and something like that is given nothing but double talk, you know. It's all too complicated and all that sort of thing.

We can ask the person the demonstration was run on, "In doing mock-ups, did you ever have a sudden runoff on the subject of women?" Male voice: A sudden runoff?

Basically, when they started me in in the study of navigation, fairly early in this particular lifetime, I found out it was probably balderdash. If I couldn't understand it and they wouldn't give me the gen, then they were probably hiding ignorance. So I started in and worked it all out from scratch.

Well, just a sudden change, you know, I mean, that two or three women appeared and brrrrrr; two or three women tried to answer a command, some-thing about women or something of the sort and there was a woman, a woman and another woman and another woman and another woman, you know. Gratuitous pictures that seem to flick in all by themselves.

Well, it seemed to be — it would seem to you to be an incredible thing to work out navigation from scratch but actually you already had the idea that it existed, see? It was actually much tougher to work out something like Scientology because you didn't have the idea that it existed. See?

Because when the minus randomity occurs over and over and over and over again it eventually moves up to a point of where one has nothing to do with it whatsoever and simply observes it. See that? And it moves up into a plus randomity. Quite interesting.

All right. Now, let's look over this and we find out that all these universes, except the thetan universe, are composed of considerations — well, postulates, considerations, space, energy, matter, time and the interrelationships thereof That of course would include form. Got it?

The criminal is very interesting. He's had a minus randomity and then another minus randomity and then another one and then another one and then another one, up to a point where his body starts running on automatic, his opinions start running on automatic and he feels pretty well caved-in, and society, in its stupidity, thinks, that by giving him further minus ran­domity, it's going to cure him of something. Yeah, I know, it's going to fix him up with further randomity! That's all.

Now, each one of these universes then is composed of this. The mind is composed of matter, energy, space and time, plus postulates, considerations, forms, interrelationships. That's all! There's nothing else kicking around.

See, he goes out of his own control. He's a spectator of his own life. There's nothing bad really, there's nothing good. It just kind of runs. It's all so automatic. Got the idea? There's the money lying there and a hand reaches out and puts it in a pocket. It's quite amazing.

But the presence of a thetan has been .the fabulous factor because a thetan, you see, could do so many different things. And he was capable of creating all these things and so therefore many wonderful and weird explana­tions have been advanced for the creation of all these things.

Now, Freud — not all people who do this are criminals — but Freud at the end of his twenty-eighth lecture, which I've mentioned before in lectures, says that the detached person, which is what he saw in this, the detached person is something he couldn't do anything about. They are beyond his abil­ity to help. You got the idea?

For instance, you look back into Hindu mythology if you want some weird and wonderful ideas of where the world came from. You look into Indian mythology and you look into Freudian mythology and you get some weird and wonderful ideas, believe me.

Well, what's he talking about? He's talking about somebody who is run­ning on a total automatic. Well, those total automatics are built out of a tre­mendous number of minus randomities on any given subject. Here's this enormous number of minus randomities.

Of course, Freudian mythology mostly applies to the mind of one kind or another, and that's pretty wonderful. Ah, you get libido tokens which criss-cross on the id, you know. And there's no monkey business like that in the mind at all. Talk about an alter-is of a mind.

A fellow was going along just fine, you see, as a woman — boom! "Nah," he says, "I'm coming out of it, it's just something about it" and so forth. Kind of inexplicable because it wasn't being very dangerous, he says, and wasn't doing this and wasn't doing that. Picks up another body and lives a life as a woman, you see, and going along and all of a sudden, why, riding sidesaddle one day or something of the sort, why, the horse decides to shy along the edge of a cliff, goes over the cliff, the woman body falls and then the horse body falls on top of the woman body, you see, tremendous impact! Well, that sort of thing just shouldn't happen to a woman, that's all! So, ah, so on, is ...

There's no censor, and there's no ego, and there's no id, and there's no this, and no that, and you just go down the list of the Freudian parts of the mind and you don't find any of them, except as they might represent a consid­eration. They just are not anatomically present. So, we're not successors to this particular field at all. Although I'll pander to the society slightly and say, "Yap, yap" on the subject and make everybody feel a little bit better but, bunk.

Picks up another female body and maybe, maybe lives three, four, five lifetimes doing all right, you know, doing all right. One day is riding by underneath a tree and there's a summer lightning storm going on and boom! See, total crash. And after that he's real quiet on the subject. Real quiet. It's all quiet. It's quiet for a long time. Picks up a man's body. Decides there's nothing you can do about women. Just as simple as that. Nothing you can do about women.

Specialize on one part of one dynamic and from there on work out every-thing. Oh, yeah great! All you've got to do is expand the second dynamic up to total insanity and you have Freudian analysis. That's a lower harmonic, a lower harmonic on the dynamics.

Of course, anything connected with a woman is something totally uncon­trolled because there's some other-determinism is going to knock the wom­an's body out of control with such savageness and violence that one couldn't possibly stand up against that much force. So therefore it's not possible to control a woman's body. That he knows! Doesn't know anything else about women. That he knows. Doesn't know — ever know that he's been a woman.

Sanely, you have a look at all dynamics, don't you see. But, you super-specialize in one dynamic and you get an insanity. Got the idea? And it's simply a truth, there's some truth involved, there is a second dynamic. But that's just one facet, totally exaggerated — therefore you get an insanity.

Now, we have to go back earlier than this sequence of lives as a woman to get the proper anatomy of the thing because all we've looked at were the motivators.

So, don't be surprised then if a Freudian analyst goes totally backwards on the Auditor's Code — and sure enough he does. If you want to actually examine his methods of procedure, just take the Auditor's Code, one, two, three, four, five and just get the reverse on each one, you got hi — practi­cally got his code of operation.

Well, so we get whole track, space opera, magic societies, anything you can think of, planet builders — doesn't matter what kind of an incident but we can be absolutely sure that there is a prior series having to do with the overt "know it's bad to do it" destruction of female bodies.

Now, I see some of you received that as news. Did you receive that as news? Audience: No. Yes.

And these overts permitted motivators to walk in and do horrible things to female bodies. Only now this person, this thetan, has interiorized into female bodies and the very things which a thetan had already decided to do

No, you shouldn't be — you shouldn't think I'm just traveling into the blue here, being critical of something or other. I criticize nineteenth-century men­tal healing and so forth, in exactly the same vein that I would criticize demon exorcism, or earlier, criticize mumbo jumbo and witchcraft and earlier than that, working with the gourds and rattles and the knucklebones. You know? They all had some — some tiny workability of some kind or another — occasionally produce a result.

to female bodies and did do, now happens to female bodies. Only it happens to him, too, and the overt — motivator sequence just adds up to a total clang, crunch. And we've got areas of minus randomity. Got the idea?

As a matter of fact I have a better respect for the ancient shaman and have studied him harder than any other particular level of mental healing or physical healing and so forth. He had to be an athlete, man. He had to be wonderful. He had to be able to do some of the wildest things you ever heard of. I finally — I almost wore my lungs out the way some of you have worn your

Now, the story which goes along with it might go like this: tremendous numbers of overts to female bodies as a thetan, see, not as another body. Interi­orized into female bodies. Female bodies knocked around into areas of minus randomity, see? Into the male line or robot line or something of the sort. Knows there's nothing you can do about female bodies but feels you better destroy them.

lungs out in Indoctrination Course but only this was going out for days and days and days. This is probably a survival of this same period, what you do now in Indoctrination — the shouting.

Big new series of overts against female bodies, interiorizes into them again. Knows now you really can't do anything about your own body. Got the idea? Goes into minus randomity, interiorized, blows out, goes into a male body; now is totally inept or inadequate where women are concerned, feels very, very inadequate as far as women are concerned. And-anytime this par­ticular thetan sneezes in the direction of a woman, he knows it's an overt act. Got the idea? Tremendous ideas of what overt acts are.

Now I've worn my lungs out until I could give a good witch-doctor scream. A real good one. And a good witch-doctor's scream is just plus ran­domity. It's just plus and it leaves an immediate area of minus randomity back of it.

And sort of says, "Well gee, you can't be in a male body," because he's had some overts against those, too, and he can't be a robot, and you can't be a this and you can't be a that and you can't be something else. And you just run into a — fantastic numbers of "can't be's." Don't you see? All because of minus randomity. Eventually the person moves out of the game. See? Person moves out of the game entirely; can't be anything one is.

And what you do is scream into somebody's face, preferably making wild motions and having just thrown a pinch of powder in the fire, you see, to make an explosion, or blow some pepper into his nose, or something else that's quite mystic with a flash of the hands, you see, and scream! And then say exactly what you want to implant, and scream again.

Now, before that happens, you ordinarily, if this person is your pc, why, this person hasn't gone that far to move out to a total, "can't be." You see, because he is being something of the person he is being. So, you haven't caught the final end of the cycle at all, wherever it is or wherever it winds up. And your chances of catching it are quite remote because you have to get into communication with the thetan because it's basically his overts that have got him trapped in the first place. Got the idea?

And even the audience would believe that the scream was not inter­rupted. There weren't two screams, there was one scream, see? But actually there were two screams and there's an area of minus randomity there. And he's so intolerant of these two screams, that he settles into that middle one. See? Right there with the command. You can make a person do practically anything you want him to do.

So this — this story is told by brrrrrrr, randomities, you know, automatic­ities in the bank on a certain subject.

Various versions of this are juju down in South Africa. The juju is car­ried on with a horsetail fly. Those boys — they've forgotten so much more than they once knew, they ought to be ashamed of themselves — the boys that are operating in South Africa now or through Africa.

You tell this girl, you say, "Mock up a man." Brrrrrr, see, bam-bam-bam-bam-bam-bam, bam-bam-bam-bam-bam.

But they take a horsetail fly, this is about the only thing that survives of it, take a horsetail fly — swatter, you know — and fill it full of fleas; and then walk up to somebody, you know, and swish him all over, and swish fleas all over him, you know, and he goes into a total plus randomity. And then you say to him what you want to implant. It has just about that much workabil­ity! They don't even do it right.

And she says, "Yeah, yeah."

If you ever do anything like this, shake fleas all over the guy, you see, and get him into a total franticness on the subject of fleas you know, and then throw DDT powder all over him, which makes a minus randomity, and you utter in that moment that — and the second he's got DDT powder all over him and is feeling very relieved about it again — this would be a very crude way to go about it, you see, it wouldn't be technically correct at all — take your swatter again, and swish more fleas on him!

You don't notice that unless you ask the pc searchingly about the whole thing. Now this would be one of the automaticity questions, "What man did you mock up?"

But it's just plus and minus randomity, that's all. And into the minus randomity, you put something.

"Oh, I don't know, just some man."

Now, of course, this is a much dirtier trick than this which is played on whole track and there are so many dirtier tricks than this, and so many usages of this, that you shouldn't be surprised to find almost anything in a bank or a mind! See, it's just — it's all kinds of hooks and monkey business and so forth.

"Well, what happened as you mocked this man up?"

For instance, you are fairly sure that pictures are used in an implant area. They never show you a picture. There are no pictures used in an implant area. Maybe somebody, sooner or later, has tried to set up pictures in an implant area, and I know there are implant areas that had models they put you into originally. You know, models of spaceships and all kinds of things to implant you and so forth. But as far as pictures or implanting with pictures — no!

"Well, I had a little difficulty with the head."

If you're hit hard enough and consistently enough with an electronic or pressure impulse, you will develop your own pictures.

"Well, what difficulty did you have with the head?"

Go all the way back down the track. And every one of the pictures is a fourth, fifth, sixth, eighth substitution for the picture you originally had. You

You have to push them on and on and on. And it isn't good enough, you know, just to give it a lick and a promise because they actually don't know enough about what they did to tell you without being searchingly asked. Do you understand? Very — a person would be very bright ordinarily but on this one this girl would be very stupid.

convert your own pictures because you think they're hurting you. Now that's quite a dirty trick on the space track.

"Well, looking it over, well I — mocking up — I did have trouble with the body, in the body, had trouble with the body, in the legs, yeah, I had trouble with the arms and the — so forth."

And once in a while you'll get a pc and he'd be running pictures, and running pictures, and you say, "The hell with this. Let's check this out on the meter. You know, there's pictures, pictures, pictures, pictures, pictures."

"Now, well, why?"

You check it out on the meter and you find out that it was a hundred and — one million, two hundred and fifty thousand years ago or something. Or eight thousand years ago or ten thousand or four thousand or two thousand or some figure. And it checks out as an implant area.

"Well, kept getting different heads, different heads, you know and differ­ent arms and it kept walking around. But all right now, I've got it over in the corner and it can't walk out through the walls, so there it is, see."

And he'll be cussing at what these horrible people did to him and all of the pictures he was implanted with, and all the complications that were used in implanting these pictures. And he'll go on and on and on about this. Figure-figure-figure-figure-figure-figure-figure. You know?

Well, that's a sure-fire assessment, see. You needn't go any further than that. That tells you all you want to know.

Well, great, he's figuring on his own pictures. He was simply hit with violence, or plus randomity, to such a degree, that when he tried to fend off pictures he made more pictures. You get the idea?

Now, reversewise, you talk to this pc and you say, "Run this, run that." Oh, you're running some kind of a basic process of one kind or another. Keep check on the pc. What's he looking at? What's he doing and so forth?

And he was pressed down so close to thetan death, wherever that would be, you see, way down! See, destroyed body and all the rest of it you know, just burned up to a frizzle but can't get out of the way of the beam, and — and all of that and resisting it like mad, and doesn't know quite where he is, or what he's doing, and he starts getting pictures and explanations, and all of his explanations get solid.

"Yeah," so he says, "Well, I don't see anything. Nothing but this black­ness here, this total blackness."

And those are basically harmonics on his own pictures. When he starts going through one of these areas, why he's reading his own pictures in the wrong area of time.

Run him awhile longer, "Well, is there anything in the blackness at all?" "Well, nothing — nothing. Nothing but this skull."

Now, in addition to that he's given a lot of yickle-yackle before and after. They make him wait for a long time before he's implanted. Well, believe me, that's minus randomity, too. And then they gun him with any version of a Fac One gun or any other darned thing that anybody could have anything to do with. A constant stream, put him in a — he's in a spaceman's body, he can't get out of his head anyhow, he's all locked in. Strap him down on a couch, something like that and start hitting him with waves of energy, hard enough and forceful enough to crumple the body up so he feels he's being attacked. The next thing you know, his own bank starts going up in smoke and the next thing you know, why, he's got so much plus randomity that he kind of blanks out and he's not sure of any of it and then it's all over. And that's a minus randomity, and very often they would leave him there for days, you see — all minus randomity.

Well, it would be very adventurous, I assure you, to run a skull because it's the wrong end of the create cycle.

And you could do such a trick, such a horrible trick as to go into a fel­low's bedroom when he's asleep, spill a bottle of ether — which had practically no ether in it, you see, on the floor just enough to give a whiff in the room. Leave a cloth lying around his pillow, get a phonograph record, break it — obviously a handmade record — you see? He's asleep when you do this, you don't do anything else, and you walk out.

"What kind of a skull is it? A man's skull? A woman's skull? A baby's skull? What is it? Let's find out some more about this."

The next day arrange with everybody to ask him searchingly how he feels. Get the idea? He woke up, he found that thing on his pillow — he found the ether — he found a broken phonograph record, and he's already doing a figure-figure-figure, but he's figuring into — back into the minus randomity of sleep, and there's nothing there. Nothing happened.

Well, you might run on the process awhile longer, that's busy turning this on, before you found it out, don't you see? But you just keep check on this thing and eventually you have a skull lying in a rusted helmet lying in a very shallow grave, the wind having blown most of the dirt off after the battle, you see, that was fought long ago; here we got a man, that's all you've got.

But, everybody asking him searchingly what happened to him, he tries to pull up some kind of a record, somewhere, to tell him something about it. Got the idea?

And that would be the minus randomity area. See? Actually doesn't require much piloting through as far as you're concerned. It's sort of obvious. Once you get used to this sort of thing it's like reading billboards, you know, you can't help it, you know. There's the billboard.

And then, if somebody confessed to him that he'd been implanted, it wouldn't matter much what they said he'd been implanted with, he would move it erroneously back into that area of track. Because it's a minus ran­domity area — he thinks some randomity was there and it wasn't. So, he's got to put an explanation into it somewhere. Get the idea? So he just moves it all over on the track and he can't figure out what it was, and so forth.

I know — for instance, I know enough about what people think and what they're thinking about and that sort of thing. I can ordinarily look at them and know the class of thing they are thinking about without much closer inspection. Got the idea? It's just the class of thing they are thinking about; know the general reaction to the environment and the general reaction to the people around them and their general reaction to me. You see?

Better understood by — you get some fellow, he's plastered, he's very, very drunk and all of his friends, this was done to a fellow up in Ketchikan, Alaska one time, and all of his friends the next day — oh, he woke up, he was all beat up.

Now, that hasn't anything to do with any mystic interiorization into their skulls. You could strip this down as an observation and compartment it and analyze it as an observation and it wouldn't look odd to you at all because actually it's not "reading their minds" unless reading a mind is established by the various masses and their relationships — spaces and their relationships around the person.

Actually what happened is, they were carrying him out and they fell over a banister and dropped him about four feet, you see. And onto some gravel, and it scratched him up considerably, so they picked him up and took him on home and dumped him in bed.

Now you can, for instance, tell whether or not your pc has an ARC break with you, on a meter, and that's all very fine but it requires a meter.

Well, one of his friends met him the next morning and found out that he didn't remember anything that happened the night before but the last thing he remembered were a couple of girls from one of the local studios walking into the room. It was the last this guy remembered. So, immediately this guy went to a telephone, called up a couple more pals, acquainted them with this fact and one of those walked out casually so as not to seem, you know — from another place down the street and met the fellow, and wouldn't speak to him. And promptly tipped off everybody else that was in this particular circle, and nobody would speak to him. Everybody would see him coming, turn around and walk the opposite direction or pointedly turn aside. See?

Maybe you haven't got your pc in-session, you're having a little bit of difficulty getting your pc back into session, or you haven't tried particularly to get him back into session.

Finally, he came up to this first guy begging, "What did I do last night! What did I do?" You know?

If you put your hand on the pc's arm as you were talking — something about you, or auditing or something of the sort — you can actually feel a consider-able difference of muscular tension. You will feel a certain class of resist­ance in the arm, it doesn't require much perception. It's the same kind of perception to find out if you're being hit over the head with a sledgehammer, once you know what you're looking for, you see.

"You don't remember what you did after those girls came — with all the rest of us there? Hmm!" And walked away.

If you put your arm over the shoulder of somebody as you're walking along and just give them a small pull in your direction, do it very tiny you know, you can tell exactly how they feel about you. Like that, you see? You know if they're upset about you; they go the opposite direction, ordinarily.

Just about drove this fellow out of his mind.

And people who are all ARC broke and upset and have PTPs and are worried about something and all that sort of thing have definite physiological characteristics. Of course this is expressed rather grossly by the expression

What he was trying to do was to patch up something that wasn't there. Got the idea?

on their faces. They look sad or they look happy or something, you know. Well, you tell from that — will just extend your power of observation further.

Similarly, all implants are patch ups of something that wasn't there. If they were just pictures they'd go flickerty-flack. Something else would happen.

Actually a man's shoulders tell you more than his face any day of the week. You can see the amount of rigidity in a shoulder rather easily.

People will ask you curious things about these implant area pictures. Very curious things they will ask you about them.

Palm: the sweatiness of a palm and so forth. This person ordinarily is fairly cool, calm and collected. You start talking to this person about some-thing or other, you'll notice that there's a hand tremor. Shake hands with him, you'll find his palms sweaty. Boy, is he on a withhold. Get the idea?

They say, "How is it" — in fact, I used to wonder about this — "How is it that they all — they had scenes that were contemporary in the between-lives area? How come they had pictures of New York on Mars?" See? Contempo­rary New York. Well, they must have gone down to New York and gotten the pictures — obvious.

There are just innumerable physical characteristics that just have noth­ing whatsoever to do with the mind, as you and I would classify mind. You see? They're physiological.

No, there was no such thing. A person gets substitutions of his own pic­tures whenever he is hit hard! And oddly enough, a thetan will go up and get himself punched in the teeth (thetan teeth) just to forget it — the life. If he hasn't died violently enough, why, he tries to wipe himself out after a while. He knows how it ought to be. Get the idea?

Now, we move up just a little bit further and we become experienced in communication of this sort; we get an immediate and direct impression of the combination of body positions, tensions and attitudes which takes you simply a split instant to read. You say, (snap) there it is. See? You know, you just look at him and say — say, "Well, he's happy about something, he's unhappy about something." Just a gross read of that character, you see. Has a certain adequacy all by itself.

He's going through the dramatization now of getting too much ran­domity so that he won't have any memory of the life at all. You see the com­plications that set up?

Now, as you become more perceptive, you get — with this gross read — you get degree of happiness and degree of unhappiness. And because he seems to be sort of inclined in one direction or another, or resisting in one direction or another, why, we read the general class of direction he is upset about. You got the idea?

But basically, everything that is in a mind is composed of postulates, consideration, matter, energy, space, time and forms, and their interrelation-ships. Nothing else in a mind than those things.

Well, all we know by this time is "degree of unhappiness" or "degree of happiness" of this particular person and some vague idea of about which direction he's being unhappy in. You'll notice people doing this, you see.

Well, he can get so driven down by significances — misplacement of a location in space, see? Space location, see. He's there, and he's there.

Well, we go much further than this. We are moving up into communica­tion with the person. Now, if you've learned to be that observant and if you can confront bodies to that degree or expressions to that degree, don't be very surprised if you find yourself in some fashion or other confronting a some­thingness around the person that you just "Well," you say, "it's just intuition." You know, like I touch this desk, I know it's there by intuition.

Two things have happened to him: give you a well-remembered example of the fellow who was — marches out with Hannibal to crush Rome. Fifty miles outside of Carthage, is run over by a herd of elephants. In World War II is in a tank in the same ravine and is attacked by Germans — exactly on the same place.

By this time you've become aware of the terribly thin, non-light-reflect­ing, stacked up energies around the body. They don't reflect light as you see it, but then you, as a thetan, don't happen to see only by light. You also see by other emanations besides crude, heavy photons. Got the idea?

And that fellow's track went, thunk! He really admired those tanks. Ger­man tanks were good. Terrific tanks. You know, gray tanks, gray elephants. Too great a similarity but in all of his language and his description of the thing, the whole thing was salted down. He just had a collapse of significance which collapsed time.

How do you suppose you see your own bank? It must be by some kind of a — of an emanation that is nonreflective in the physical universe, see. You must be shining something up at a bank and shining it back to get the mechanics of it and reading it back again. Well, that's true. You're into the field of small energies, now. You actually don't have to go much further than that to start seeing somebody's pictures! Because they are masses, energies, spaces, forms. They do exist as such.

So, time depends mainly for its existence on incident. And when one has too little randomity, or too much randomity, one gets time scrambles. So "T" goes bad in the mind. You see why? Too much, too little.

And the reason I'm telling you this is to tell you why they withhold pic­tures and get into such a minus randomity. Because they know other thetans can see pictures. How do you suppose you ever had any fun on the way back track? Except you'd put up a picture, then somebody would say, "Oh, I can out-create that." And you did this and put this picture and that picture, swap pic­tures, you know. You find all kinds of ruddy nonsense about pictures on the far back track. That's when nobody was accustomed to handling anything very heavy and they were — they were handling rather light substances and they were actually operating on what we now call much higher wavelengths and so on.

Now until he can up his confrontingness of too much and too little or rehabilitate his tolerance of plus or minus randomity, he continues to have time difficulty, just as certain as it's going to be June again.

Well, what are you doing? If you're looking at people, the first invalida­tion you're going to get from them or from society is that you're "imagining" their pictures because society knows this can happen. Now, let me give you the Reality Scale as it exists in your everyday experience. An author has a picture or is looking at a scene. Now, that's the genus of it. He speaks concerning what he is looking at and you have the scene invisible. Right?

When you say there's similarities and differences and when an individ­ual has a similarity where there should be a difference or a difference where there should be a similarity in: postulates, considerations, matter, energy, space, time, form and their interrelations; differences where he has similari­ties, similarities where he should have differences; he's (quote) "mentally in trouble." But this only gets there because of intolerance of plus or minus ran­domity.

Audience: Mm-hm.

I remember, used to drive my first wife absolutely mad. She was a very active person — used to drive her completely around the bend that I could sit down without a book and just sit there. She used to absolutely gibber after a while.

The words are invisible as such, they are simply an understanding of the thing. You got it?

She'd say, "What are you doing! Are you resting?"

Audience: Yes.

In other words, there had to be a further significance to this minus ran­domity. Well, she was on a high plus randomity kick, and when the war came along, why, she pretty well went to pieces and that was that.

Now, if those words are written down, they are usually written in black ink, right?

But the point I'm making here is that the — her tolerance of minus ran­domity had been wiped out. Minus randomity was apparently very, very, very bad. It was totally in — unbalanced in this particular direction. But plus ran­domity was not something she liked either, see. This was bad. This was real bad.

Audience: Mm-hm.

I used to take a sailboat out or something of this character, a thirty-five-mile wind, something of that sort, sail it around the bay, something like a 30-, 40-foot ketch, something like that, you know, single-handed. Well, that's a lot of action. Didn't care much for that. Uh-uh. That was too much motion! So, she eventually got of the opinion that I could never make up my mind, you know?

Hm? And a person reading them is struck by the scene, sufficiently to mock up the picture as he would see it. Got it?

Because it was unreal both ways. When the war came along and I was gone for four years, I just ceased to exist and that was about all there was to that. Cessation of existence was very easy to follow with that much unreality. Do you see how this could follow?

Audience: Yeah.

People tend to cancel out that thing which is plus and tend to cancel out that thing which is minus, and it louses up their time every time. Because it's not real to them, it doesn't fit on the track.

So, now, we already have the object, the invisibility, the blackness and the first substitute. Got it? See that? Well, it can just keep going that way. Society dramatizes this one. Most factors of Scientology are not peculiar to Scientology but to the public at large.

Now, the way to get it to fit on the track is increase their tolerance of plus and minus randomity. You got the idea?

Now, we get — we get this one, two, three, four, you see. Well, you get very used to that happening so you're told that about the best way that you would do this is you would get your idea of their picture, and then you look at your picture concerning their picture, and so on, and that you're on a substi­tute for their picture.

If I'd known more about Dianetics or Scientology then, why, that would have been fairly easy to do but that was back when.

Well, the oddity is, that can happen. That can happen. There's nothing wrong with this at all. Now, one of the upsteps that research has taken is to establish the fact that pictures are not exclusive to the person. In other words one — pictures are not exclusive. Any thetan could come along and see them, if he didn't mind emanating a high level of small wavelength energy. You know, sort of in there right up against the back, oh yeah.

Now, wherever we see anybody, (quote) having difficulties (unquote),

And that's why thetans, when they get pictures that are discreditable, are just dramatizing the earliest critics on the track. It's an overt act to present a discreditable picture and that is one of the first overt acts a thetan knew anything about to amount to anything — was presenting discreditable pictures. That was very well agreed upon; that presenting discreditable pic­tures would be met with criticism because it was an overt act to fill up some-body's environment with discreditable pictures.

lapses of judgment, so on, he's probably making a judgment which is valid in one place, in another place. In other words, he's got a misplaced postulate or decision, which is to say consideration. Get the idea?

The reason why the sanitation department, or whoever does it here, removes dead bodies off of the street is because they object to discreditable mock-ups. See? Because a dead body would lie there. Now, they also throw a whole dub on this and they say, "If we didn't move the bodies off the street, why, they would begin to putrefy and smell and this spreads disease." It's totally a rationale, you see, as it goes along the line.

Now, he's made an identification and it all comes down to identification until it goes out to inverted differentiation. In other words, everything identi­fies, identifies, identifies, identifies, until it goes the opposite direction and we get differentiation. So, that this table should identify with this table, because it's this table.

There are many societies, very, very degraded, which don't remove the dead bodies off the street. And the further people go down scale, why, the more and more dead bodies they leave on the streets. I remember when I was a kid in Peking, I — wow! — talk about — talk about assault on my Western viewpoint, you know. I was always stepping over dead bodies, you know. Big battle up north or something of the sort and they ship a bunch of wounded soldiers down on a station platform and nobody provides any hospital facili­ties because they say, "So, what." And the bodies just lie there and they —

Now, a person who is (quote) "disassociating" and no longer able to dif­ferentiate in any way, sees a different table here for this table and differenti­ates this table from itself. Got that?

they just lie there and die and then nobody buries them and then they just get totally putrefied. And the passengers still get on and off the train, step-ping over the dead bodies, you know.

Audience: Uh-huh.

They just leave more and more discreditable pictures lying around, you see? Till they don't care what they show people! Got it?

Well, those are two different — there are two different methods then, of fouling up reality, which are the most blunt methods and one of those methods is: to conceive an identity, or identification where there is none, or shouldn't be one and to conceive a difference where there wouldn't be one.

Audience: Yes.

And there are two other methods: is to make an identification invisible or to put a curtain in front of it, or to make a differentiation invisible or to put a curtain in front of it.

Well, that's right along with "They don't care what they do." If you can get an association between a picture in the bank and a body in motion in the physical universe, you see, they get to a point where they can't restrain them and there's nothing you can do about it, and they're discreditable anyway and so therefore, "doesn't matter what you display," no matter what you do. It doesn't matter whether you keep the mock-up clean, or — or dressed up or put any clothes on it or keep it well, or anything else; just let the whole works go to pot. See? Nobody's objecting anymore to discreditable pictures and people just say, "Ah, well, the hell with it." Got the idea?

And when you've got all that, you've just about got the mind. You've got the mind and its anatomy and its difficulties, and so forth.

Audience: Yeah.

Of course, the mind is apparently composed of pictures because pictures are significant spaces, masses, energies, times, in combined forms with defi­nite relationships. Got it?

Well now, in a minus randomity area the person can't do anything about the discreditable picture. And the less he can do about the discreditable pic­ture, actually the less he can do about pictures.

Therefore, it's apparently pictures but don't keep making the mistake that it's pictures or you're going to get somebody halfway up the line some-day and wonder what on earth has happened. Well, space was always missing from his pictures and it's never returned to his pictures. Somewhere there's a big jam up of location or so many jammed up locations umpfumpffogr — it's all flat. It's just two dimensional, you know, there it is. Never depth.

And he gets convinced after a while that he can't do anything about pic­tures in general so he goes and starts shifting form with the pictures and he can't do anything about himself, got the idea? And his pan-determinism is long since shot. And he's moving into self-determinism exclusive. (Other-determinism means totally out of control) — nothing he can do about anything anyhow, got the idea?

That's just a space difficulty, that's all that is. It has no further signifi­cance than that.

And, you therefore have to dig to find a discreditable picture in anybody who is in any kind of decent condition at all! See that? You have to dig for it. They don't say, "Well, here — here's this dead body. Ha-ha. Want a dead body?" No, they're gone dogs when they're doing that. They're long gone. Institu­tional cases come along and tell you, "Dead bodies. Smell me." See? They've gotten to a point of where they can no longer — failed to exhibit the most dis­creditable pictures — so therefore they get only discreditable pictures and exhibit those, and so on. You got it?

And similarly, mass difficulties: it's too heavy for him or too light or the mass is in the wrong place or it's all in the same place or something, you see? There's a mass difficulty.

Well, that all comes about through the declining ability to handle or con­trol areas of randomity. And as a person's minus randomity, ability to handle, accumulates, it's only because he has not been able to handle plus randomity. Too much motion, he goes into too little motion, see.

Then there's energy difficulties. Energy can get loused up one way or the other. And so can time, then, consequently get loused up; it's vaguely a consideration.

He's going on both ends of the cycle. So that you get persons in institu­tions who are (quote) "very agitated, hysterical or frenzied, or catatonic." And then you get people who are manic-depressive: full of motion and then no motion, and then full of motion and then no motion. Now it — almost any-body's behavior can get cyclic. It's the horror of psychiatry that they have not understood the first and foremost fundamental of insanity. All insanity is, is an exaggerated normal condition. That's all it is. A psychiatrist looks at it in reverse and he says, "All people are insane to some degree." Because the insane are simply being a mockery on sanity.

Now, what gets wrong with a thetan? And it isn't what's wrong with a mind, it's what's wrong with a thetan. And to make OT you handle only what's wrong with a thetan and to hell with what's wrong with the mind — you got the idea?

Every once in a while you'll see somebody who is spin-spin, that's had some auditing or something back on the track a little bit. Somebody tried to audit him and couldn't keep him in-session and so forth. And they've been in institutions, auditing didn't put them there. They always tell you auditing put them there. They were in an institution for twenty years and then they got a five-minute session and auditing put them into the institution. You get the idea?

But you diagnose what's wrong with a thetan by finding out what's wrong with his mind. And that can be further diagnosed by finding out what weirdies he's doing with his body and that goes on out to what oddities he conceives and commits in the physical universe.

But they'll be dramatizing Scientology. And you'll look at them, and boy, will you start to feel kind of funny about yourself. You say, "Well, can I be nuts, too?" you know and so on. Well, that's what you're supposed to think. That's what you're supposed to think.

So your first point of observation of this thetan is ordinarily his relation-ship to the physical universe. And then his relationship to his body and its form. See? And then his mind and its form. And finally the thetan.

As — I've had this happen to me a few times, something on this order. I've seen the — I was actually working with one of the major political parties of England, not to undo anything or something of the sort, but just by process­ing one of them, and we were having quite a bit of discussion about saving the Empire. Of course, this wasn't anything to do with me or anything I was doing actively. Yet, my thoughts actually had been centered to some degree on what we were going to do about the Empire, you know; I kept thinking about this, you know, quite interesting. One of the things not to do was plant peanuts in Rhodesia or wherever it was. And a fellow followed me downstairs at the HASI, as I walked out, and he kept talking about, "I had to process him up to a point of where he could save the Empire," you know. He was crazy as hell, this fellow was. Real nuts! He even started to smell bad, you know.

And you're actually looking at a thetan through one, two, three definite vias, each one of which is composed of postulates, considerations, matter, energy, space, time and form and its interrelated significances. See?

And I went away from him, you know. I said, "Let's see. Have I had it?" You know? "Let's see. Now, let me see. My thoughts about saving the Empire. Let's see, is this a manic with me or — or — or have I slipped a button or ..." and so on. Finally I started to laugh like mad. I recognized what had hap­pened is that I'd accidently run into a mockery of the upper band you see. You'll run into this all the time. You'll see somebody very, very low on the Tone Scale dramatizing like mad some high-toned characteristic, only note this — they only dramatize the one. No variation at all. They only dramatize that one characteristic.

Now, that's pretty simple when you take a look at it. But it's all so signif­icant to the person who can't confront the physical universe, the body, the mind and therefore he never sees the thetan at all.

You'll see somebody sometime saying, "I am Clear." Or, "I'm an Operat­ing Thetan." You know? "I'm an Operating Thetan because I can sit above the city and see all that goes on," you know?

So, you have psychology busy looking with something that looks at something, that looks at something but it never gets down to anything that looks!

And you say, "Well, what do you do as an Operating Thetan?"

See, the picture enters through the optic nerves and is reflected on a screen in the back of the mind. And what's looking at it? He just never asked the question. It must be some other system which is looking at it which throws a stimulus-response — this is actually the state of his science right this minute — which throws the stimulus-response mechanisms, which causes one to go nayaaa, see? And that's the whole complication of it.

"Well, I sit above the city and see all that goes on," you know?

And the only trouble is — is to follow that out and analyze it to the nth degree proposes such a complexity that nobody, including a psychologist, could be that complicated. You are looking at what you look at! And if you've got to use optic nerves, all right! And if you've got to put glasses on in front of them, all right! And if you have to turn on flashlights, all right! But that's just another complication each time.

That's what happens to Clear — occasionally people run into people that are spinning like white mice going around a pole, you know, and are strictly fruitcake; cut them and serve them up, you know. These people are about as Clear as the Mississippi in April. And you say, "Boy, if that's what Clear is, why, I don't want to be Clear." Well, that isn't what Clear is. They've gotten ahold of some idea concerning the thing and then they're pushing this one home. And then if you're almost there, you feel terribly invalidated. Well, what else do you suppose they're trying to do! It's a solid criticism, isn't it? Solid criticism.

No matter what you're looking through, it remains that you are simply looking. And it gets awful simple.

Fascinating, see any characteristic high on the Tone Scale fixatedly being dramatized low on the Tone Scale as a criticism of that characteristic. And that's what insanity is. An insanity is so uncomplicated that my opinion of psychiatry long since just went blahh. What's the matter with these ruddy idiots? Well, what's the matter with them? They can't look, they just can't look, that's all. They don't know what they're looking at.

So let's look at this thetan and let's find out what he's having the most difficulty with. Basically, he's having the most difficulty with not actually making and destroying. Nearly all of his plus and minus randomities are in a jam of sufficient magnitude to cause confronting to be creating and destroy­ing. Now, how would we get into that?

You read — sometimes read these psychiatric textbooks and so on that are full of cases. The darned psychiatrists give you the full engram the per-son is dramatizing, you see. Give it to you almost in detail. All except its time and place on the track, you see? And say, "Well, this person obviously has breast fixation. And various fetishes, and so forth, but breast fixation is the main criteria of the thing and therefore is dementia praecox with schizophrenia — phrenic paranoia as side effects." You see? And that the per-son was given — person was given Metrazol shock and so forth and is now —

His plus randomities are all followed by minus randomities. His minus randomities are followed by plus randomities. His minus randomities are his plus randomities, to create is just destroy.

has had a remission, which means that they collapsed, I think. And you'll read this balderdash. But it's very funny to read their case histories and very often find that the nurse or somebody in there, observing the patient, has put down all the words and phrases, all the circumstances, the whole works for a dramatizing psycho. See? Fantastic! Fantastic. They have all the gen.

Take the science of cookery. One makes beautiful cakes in order to get them destroyed at once. Right?

Well, basically what you'd say about a psychotic is that they are totally out of control because of total minus randomity. It isn't that they didn't have nothing better to do so they went nuts but that possibly could be where it kind of started in this lifetime — nothing to do. The sudden feeling like it was all going to be quiet again for a long time, "Oh, no, no, no, no, no," you know, and then the body goes out of control. And they say, "What's this all about?"

Well, that's just a collapsed create — destroy point, isn't it?

Now, it isn't the fact that people never recover from the downward spiral, they do. What we call "cycles on the track" is where somebody just pitches in the whole chain of lives, you know, as a woman, or a space opera cadet or whatever he's dramatizing, you see, and takes this whole chain of lives which lasted thou-sands of years, perhaps, or maybe just as little as hundreds, and has just chucked in the sponge about the whole thing and just said, "To hell with it!" And gone and found another planet that was unrestimulative, and gone and found another profession, and gone and done different things and just said, "Well, that's it, man!" And then gradually recover his familiarity with things.

Well, out of a minus randomity they create a plus randomity, and out of a plus randomity they create a minus randomity, and all the real serious things wrong with a case are sitting in the center of the cycle.

Actually, the reason children have toys is to be able to handle life in miniature until they can handle it in fact. And children that are denied toys, and so forth, and so on, are being practically destroyed because they're not being permitted to have life in miniature.

Now, it'll come apart on a Create Process by doing a slip. But we can't always count on the pc living through it. Oh, yes, you said, I had — I've had you running on this, and so forth. Well, you're not an ordinary breed of cat. of pcs. You've stood up to what you were going through. Hasn't killed anybody and it wouldn't! You could go right straight on through to the end running what you're running.

I know an occasion where two little children were not eating well, and so I bought them a little table and a couple of little chairs, very, very tiny, you know. They felt very, very big and superior to those and they ate just fine.

But, I'll give you one now that, on people, you can handle the center of the cycle of action. Which is survive, and you can do an immediate and direct survive process. Immediate, direct, instantaneous, right there on the button.

And in a new cycle, a person sort of fumbles his way through it all, you see, and gradually comes back out on top again somehow and once in a while has a stroke of luck and runs a whole bunch of wins one right after the other, and gets insufferably cocky and gets into control of things he's lost control of, and actually runs out engrams and does every other darned thing. And if you want to wait around a few thousand years, why, you possibly would get another point or so up on the Tone Scale. It's a rather long process. But there's — there in essence is the factor involved.

Now, it's create-survive-destroy. And apparently by running the middle of the cycle, you actually can get some of the serious creates and destroys off, because they're really sitting in the middle of the curve.

Minus randomity succeeds plus randomity, succeeds minus randomity, succeeds plus randomity, until we wonder if Aristotle wasn't right when he said, "There's a pendulum and it swings to extremes and gradually settles into the mean."

Many times, many earlier ACCs, I've taken up the phenomenon of "the jammed cycle of action" in one fashion or another.

Well, unfortunately Aristotle wasn't always right. The pendulum doesn't swing to extremes and then settle to the middle, and so forth, it's liable just as likely to hang at one end! And you've got a situation of minus randomity that just goes on and on and on and on.

And "the jammed cycle of action" goes just simply this: create and destroy get closer and closer and closer together. I've even mentioned it the other day here.

Well, finally it's apparently, survive! And that's why you think you have

Now, being able to tolerate plus randomity leads to a control of the areas which have been abandoned because of plus randomity. Take space opera.

to eat. See, you eat a meal so that you can survive. You think you can starve to death. I don't know how you'd do that. But bodies do. You eat to survive, you know?

Wow, boy! Is that a breeder for minus randomity. Wow! Wow! You know. Fast! Fast. Mad. Too much — too much action. Too much force. Too much depend­ence on machinery. Everything all nerved up and on the qui vive and then you go on a long cruise and you're a year underway doing nothing. You do nothing. They had no stewardesses.

In other words, you center curve it. And you'll hit it right where create and destroy sit together. Also, where plus and minus randomity sit right straight together. They all get bunched up in the middle of the curve because of the dwindling spiral on the cycle of action.

And all of a sudden you land on a planet and you find out in your absence, why, there's been a revolution and you're — you're considered to be part of the — of the persons who are now out, you see, and you get hunted around and gunned up and gunned down and wow and bing and thud and phewwww. So, you take off in your spaceship and you're four years to the nearest star, you know — drive anybody nuts. Completely aside from the point that everything is being done for you, you know. You press a button, arm comes out of the — of this flying saucer's dashboard and puts the cigarette in your mouth, you see, and lights it, you know. You're hungry, and you push a button over here and the tube comes over, you know and fills you up. You feel tired and you open a small door and put in a new battery.

Therefore, to run the bottom of the bank on somebody that is having a rough time or to ease off any terminal you are running at the moment, or any terminal that dives out of sight badly on the pc and so on, all you have to do is center curve it. Run survive.

And don't think for an instant, that you can tolerate much force when all the force is employed, is doing something for you, moving you in space, giving you things.

Now, how do you run survive? It's an old button called Confront. Because what's wrong with a thetan is he cannot face or look at or tolerate. That's his first assumption, that's his consideration. And you improve his tolerance or ability to tolerate by getting him to confront.

And the only other use you make of force is to pick up a blaster and murder and kill and slay with it. Oh, man, that's the most.

Now, this is an old process. You'll notice this is a very old process.

This is what you might call plus — minus randomity and I notice that none of you at this moment get any closer to space opera than science fiction. I will admit, those of you who read science fiction, that you read it a little bit yearningly. But ordinarily you are not now in space opera. And if you like science fiction and we put you on a meter — wham, wham, wham.

And one of the ways to just kick a bank to flinders would be to work it this way. We get a stuck picture — woman on a marble slab. Good example. All right.

But science fiction rather than being looked at as something that keys you in, is at least enough of a substitute to move you back toward a familiar­ity with. Got the idea? You could familiarize yourself back out of a plus or minus randomity proposition. During World War I, they used to take every crashed pilot, put him back in a plane, if he could possibly be held together with baling wire and sticky plaster, and make him fly; preferably within the hour! See, give him his flying back.

Now we get him to create a woman because that's the opposite end of the spiral. "What part of a woman would you be willing to create? What part of a female body would you be willing to create?" Something like this.

And I remember in — one time, after I'd smashed a car up, I couldn't borrow a car. I knew enough to go out and drive a car. It was a pretty bad smashup, I wasn't driving, but consequently I felt shaky for three or four days and I shouldn't have felt shaky.

And you'll find out, boy, all of the randomness that starts stirring up on the bank is horrible to confront! So, after you've got it good and goosed, phooom up the line.

I've been handling enough force lately as a thetan to have been — become rather accustomed one way or the other — I was quite interested because I received my first demonstration of something of this character. I'd just been drilling, doing a little drilling with force, and so on, using force to do this and do that and do something of the sort — monkeying around. And this morning, why, I plugged in an electric razor into 240 volts, you know, and left my finger on the prongs, as they went in. It was a deep socket with a metal contact all around, and I was plugging into something about that deep, you see. So I had my whole hand inside the cone and I got 240 volts, pure and unalloyed. See?

,Then say, "Pc, we're going to be kind. We have just joined the Boy Scouts. They're a Salvation Army Chapter and we're going to be very, very kind, and we're going to take it off of you a bit, before we start in on this thing again."

And I said, "What do you know about that?" And finished plugging in the razor, and so forth, and shaved. I got to thinking about it and I'd said, "Well, ordinarily that would shock me. Well," I said, "well that's interesting, I'll have to tell the class about it." Takes a relatively small amount of drilling or using force or refamiliarizing yourself with force to come up along the line.

And you get an alternate type process. And it works like this. We've been running, "What part of a female body would you be willing to create? Thank you." Got it?

Now, electricians very often go completely buggy on this and they're

All right, now, let's run something that runs like this: "What part of a female body could you confront?" With a dichotomy of, "What part of a female body would you dislike having to confront?" or just "dislike confronting?" "What part of a female body would you dislike confronting?"

always getting shocks but they get into one of two frames of mind. Either the shocks are very harmful to them and they get more and more and more aller­gic to electricity, you see, or they get beefed up more and more and more to electricity till one time an old man — he was a fantastic wreck of an old man and he must have been about seventy-five or something like that: he probably put in the first electric light plant in London — came over to the house, over to Saint Hill to fix up something and I saw him fooling around with the mains plugs in the sun room. And I said, "By the way," I said, "those things are live and there's a short along those heating pipes there someplace."

It's not quite a true dichotomy. But it works.

"Oh," he says, "is there?" he said and picked up a grate, you know, and started slapping heating pipes, and so forth, and he finally — finally took a piece of wire and hooked it into one of the holes, you see, and put his finger against the other one and so forth. And he says, "Yes," he says, "it's on."

And what you've done is run Create until you kicked into view some bank and you started kicking it toward the center and then you ran the cen­ter for a while and you'll find that it'll ease out and his pictures will get good and he comes off of the minus randomity and it starts moving and he gets into automaticities and more minus randomity and he takes all the confusion off it because you're running the mystery off of it by running both sides of the Confront, you know.

Now shocking yourself just to find out if you could take it would proba­bly have to be accompanied with using it. Got the idea? You'd have to have a two-way flow on this line one way or the other. The wrong way to do about it, I think, would go and get yourself familiarized with a whole series of electric shocks. I don't think that would work too well. Well it also might work out that you become so familiar with electricity putting around, you might after a while think it didn't refer to you, you know, and not feel it. If electric shock therapy ever was going to do anything for anybody, it would be up in the range of two or three thousand shocks. And they seldom give this many. But it's not necessarily the most horrible thing that ever happened to anybody.

"Could you confront?"

But as a person goes down scale, it's amazing that he'll run into a 12-volt battery and get a short on a 12-volt battery and scream like he's been electrocuted with 100,000 volts! And it's rather a cruel thing to shock the insane because they are peculiarly susceptible to it. They think it's fantasti­cally horrible. It hurts! And I had a psychiatrist tell me it didn't hurt them because he'd put it on his own skull, couple of times, and it had just tickled.

"Would you dislike confronting?" you know, is the reach — withdraw, plus — minus proposition.

And I says, "Well, don't they get upset?"

And after he's got that nice and straight and he's got a woman all straightened out and it's all okay and it's just wonderful and so forth, you go back and run Create. Got the idea?

"Oh, yes, they go into convulsions and things like that," he says, "but I don't see why they should."

Now, this is really putting somebody through the chopper. You feed him to the lions, then drag him back out of the lion's throat, put him all together

Well, the reason they go into convulsions and all that sort of thing is because they're peculiarly allergic to the electrical shock. Get the idea? Just has more magnitude.

again, straighten him all out, pat him on the head, straighten him all up, let him get rid of all the junk that's blown into view, confront everything that you've got chewed into sight, you know? Plus and minus confront on it, change all of his considerations with regard to it. Feels fine, feels wonderful and go right straight back to Create.

So, we get into this thing called tolerance. And this goes back to old Expanded GITA. Old 8-8008. Scarcity and abundance in all things, the rem­edy of scarcity and abundance in all things. Well, truth of the matter is, experience is not very prevalent. And one gets unaccustomed to having a fab­ulous amount of experience and as I've said in lectures before about the small town and what would be randomity in a small town, what would be randomity in a big town. If you haven't had too many experiences lately, then all of a sudden you're hit with a lightning bolt, you see, it's all out of propor­tion. It's magnitude of change.

Now, if you keep doing that and if you run general enough terminals on any one of these four universes, you've got a guy emerging toward OT whether he would or no. And the plus–minus randomity factor does not get so great that it tears his body to pieces which is the main thing you have to worry about in running an OT process.

Well, the minus randomity that you run into is in proportion to how much change you believe has occurred. See that? Therefore, it is the matter of change in the consideration of a pc or tolerance of change in the consider­ation of a pc. Of course, it's just the consideration of the pc that makes plus or minus randomity.

Thetan all of a sudden gets awful strong all of a sudden, you know, knocks the top of the head off. Always pick up the top of the head and put it back on because it's impolite to leave him uncapped.

And you're going to say, "Well, if an atom bomb landed in this room at this moment, we would all agree on plus randomity." Well, I would too, because it is a nice room and the HASI needs it. But I don't know that it

Now, this is now what you should do with the terminals you're running Create on. Just take a look at this subjectively and so on, and see how it all smoothes out and how pleasant it all gets all of a sudden and how the bank rehabilitates, how everything is very nice. And how many dozens and dozens of aberrations the fellow had, he checks off, counts up and so forth.

would do very much to us particularly. I really don't. Because I've already noticed that Scientologists are not reacting to radiation sickness and other things, to the same degree as people. It's already different, clinically different.

Basically, the only reason it's working is because you ran Create on it.

Now consideration of violence, consideration of motion, consideration of rate of change, all of these things add into it. The only reason I'm talking to you at length about this is don't you, particularly on a brand-new-into-Scientology pc, go make up your mind about what he should feel concerning this! You understand?

You can start in, if you want to, with the Confront and this is the way you would handle a case gently. You would run this exact process on some terminal that is not too tough. Got it? Not too tough a terminal. Do a little bit of a superficial assessment of some kind or another and pick something that's not too tough, you know. Pick the biggest drop but don't ask him for sixty-four dollar questions and stuck pictures, you get the idea, you know? Just take something and run him on it.

Audience: Yes.

"What could you confront?" you see?

He says — he says, "Ha. I got this stuck picture here. I got this stuck picture here of a pen."

"What part of a (blank) could you confront?"

And you say, "Good. That's fine. Is anybody holding the pen?" or some-thing of that sort.

Followed by, "What part of a (blank) would you dislike confronting?"

"No. It's just a picture of a pen. Ha-ha."

Now, that's a smoothy. That will bring him up and give him confidence and straighten him up and it won't louse up or jam up the bank and it won't have any automaticities going particularly and that's pure candy. That'll run good.

And you start running it and all of a sudden it loosens up somehow and blows, and you find out that he dropped it! And that's why he has a stuck picture of it. About that time you'd better make up your mind — something about the case, don't you see? His tolerance of change, you see, is very slight.

And do several terminals this way on a very rough case before you tackle Create. But then get Create rehabilitated by going through the center point, not the destroy, just forget destroy. Destroy's no good as a button, it doesn't mean anything.

And when you get obsessively stuck pictures on very, very insignificant objects and things of this character, you'd better make up your mind that you better treat this case nice and smooth and easy. You know, go light on this case, you know? Just like the psychiatrist ought to go light on the roaring psy­cho. Says, "Well, 12 volts couldn't hurt anybody, 100 volts couldn't hurt anybody." And he applies them to somebody's skull and they scream like tortured ban­shees, you know, and dislocate their spines and do all kinds of wild things and he knows it shouldn't happen. Well, it does happen! We have to observe the fact that it happens. And similarly you've got to observe the thing, you see?

But hit that Confront, which is tolerance of lookingness, or tolerance of facing, which is the center of the curve run against the first of the curve and you'll take the edge off the end of the curve. And you can fish him back up out of it on this route. Got it?

Now, what a person — some person in space opera, if you were auditing him, would consider minus randomity would probably also be very startling to you. Person has only been tearing around the — the town, sightseeing, and roaring up and down, and for eighteen hours a day and just having a ball, and so forth. And then says to you suddenly, "Well, there's nothing doing. I haven't been doing anything."

Confront is run in conjunction with, then, Create. And if you run Con-front on a dichotomy, you'll see things really start whizzing on the same ter­minal that you thought was kind of flat on Create.

Well, that would be — that's not within our immediate judgment, you see. So, what is plus or minus randomity to you will never be what's plus or randomus — minus randomity to a pc who is newly in Scientology or some-thing like that or has never been audited before, you got it? Never, never will be.

And we don't even care when you run this. Once again it's a question of: if you start a process, flatten it! Got the idea?

So, it's the pc's reaction to the picture, the pc's reaction to the motion which adjudicates, then, what you do about it or how gently or easily you handle it, and how much attention you pay to what is going on. And all that is definitely in the field of judgment.

If you got a process unflat and you shift off onto these other things, you actually are fitting the same rationale along, and sooner or later you're going to have to flatten everything you started, you understand?

I point it out to you that you will never have a rule by which, "If pc has stuck picture, always then, so and so." Get the idea? "If he has automaticity, always then, so and so."

And you could start quite a few things if you're going to flatten them all. Got that? Just make sure you flatten them all.

No, the automaticity, the stuck picture and so forth might be so fantastic in degree of it, might be so great, that you have to make an adjudication to the case that it's a CCH case, and you sure better not go into anything else, got it?

Now, you can interplay processes rather than beat one to death. See? You can actually interplay terminals rather than beat one to death. But you have

Audience: Mm-hm.

to remember what you've been doing and to complete what you have done, or started!

Well, it's just his tolerances are different than your tolerances and that's all. Okay?

Okay?

Audience: Yes, Ron.

Audience: Yes.

Thank you.

Well now, you've got this new little weapon in your paws to use on your pc and some of the pcs are not getting much of anyplace because they're sit­ting solidly, you know, on a minus randomity and some of them are getting much too far, too quick and some of them are getting into an awful confusion. I want you to have the experience now of seeing this Confront dichotomy that I just gave you, ease the thing right out.

Now, if you want to run it swiftly, run "Think of a part" and don't let the pc talk. He gets in your road — the pc always gets in his own road. Got it?

Audience: Yes.

You bet. Thank you.

Audience: Thank you.