Thank you.

Well, here we are at the 30th lecture of the 1st Melbourne ACC, Novem­ber 27th. And I haven't got anything else to tell you; nothing else to tell you, except maybe principal incidents on the track.

The fact of the matter is, if I'd made notes on every and all incidents I'd ever uncovered off of pcs, it would probably be a tremendous encyclopedia. The facts of the case are that these notes for this particular track line ... You understand that if you go up to Arcturus or something and start practic­ing Scientology (now, don't frown, you've been in space opera) your track pat-tern for those people would probably be different. You follow this?

But you get a remarkably similar reaction — two people who are here on Earth at this time — and the principal incident chain that they run into — let's say that you will run into as heavily charged areas — are normally the hopped-up, flat-out electronic societies or the superfrontier areas.

Now, superfrontier areas — factually, there have only been one, two, three of these things here on this planet at this time. But there have been several electronic periods associated with this planet. As you sort it out one way or the other you get the various dramas that have occurred here on Earth (which are in written history). And where you find somebody out on the perimeter of a frontier or something of this sort, why, you generally find the greatest amount of randomity. It's the area where — inevitably — the area where the greatest number of overts are possible. And when you have a tre­mendous number of overts possible in any given area, you get a jammed track. And nearly everybody's track jams at about that point.

Now, the discovery of the New World and incidents connected with the New World, incidents connected with exploration and with the various mish­mashes of wars and counter-conquests and conquests — in other words, taking over other countries, losing to other countries; the various ebbs and flows of wars — give us these perimeter characteristics. And you see why that is: that's the create-counter-create.

You have, for instance, the savage wilderness counter-creating against the incoming white man. You have the supercreativeness of (quote, unquote) the "Little Corporal" counter-creating against the remainder of Europe. You have the earlier empire conquests — Charles V back in the sixteenth century — 1500 and on — mess-ups of that period. Because here were large numbers of people being steamrolled, which is a big counter-create. Don't you see? And here were a large number of people trying to steamroll the people who were steamrolling them. Got the idea?

So that in areas of drama you're liable to find data of magnitude on your pc. Now, that doesn't mean he has gone back through and has significant on his case every area of drama there is. See, you might not only find a — you might only find a dozen or so clear back to the first millennia, the first cen­tury A.D., you see. You're going back to the year zero here on Earth; you might only find a dozen really highly charged areas. But boy, they'll be charged! When you find them, they'll really be charged.

The reason for that is, is his effort to create or out-create (counter-create against) some fancied enemy is matched by an effort to counter-create against him, and he generally winds up as a ridge and you get a stacked track. And when these ridges start to come apart, there are all kinds of destroyed pictures of one character or another, and they're all debrised together and very often quite black. And these areas are unmistakable. When you run into one of these areas, the guy will have some sort of an idea of a corpse sitting over in the corner of the room. And he'll talk to you for a little while.

You say, "What are you looking at?" You know, that's time, if you haven't noticed that your tone arm is getting up toward 6.0, and that the needle has been falling off the pin ... And you'll say, "What are you looking at?"

And he'll say, "I don't know, but it appears to be the top of the sarcophagus."

And you say, "Well, that's fine."

Now, you ordinarily would not previously have been interested in the density of the sarcophagus, the density of the picture. You think that a men­tal image picture is just a mental image picture, and they're uniformly dense for the preclear. And in that you are darn wrong. Because when you run into a hot area, those little bits and pieces that are cropping up are solid mass to the pc. Very solid.

And when he looks over in the corner of the room, and there's appar­ently a sarcophagus over in the corner of the room, you had better ascertain its density. See?

You say, "How thick is it?" or, "Is that heavier than it — than your pic­tures ordinarily are?" or some such thing, you know?

"Oh, yes!" You're liable to get something that will practically knock your head off, you know. He'll say, "Oh, yes, well, it's just solid to the naked eye!" You know, sort of "Don't you see it?"

Well, this is different than anything he's had crop up before. And that's just because of the violence of his effort to create against a counter-creation as such, that he has really beefed these facsimiles up. See? He says, "Urumfrah!" And he — when he made a cup and saucer during such a period, he — he made a — a c — cup and a s — s — saucer. "Now go ahead, destroy it! Go on!" Get the idea? There's no halfway measures about this thing, see? So there he sits with a cup and a saucer, you know? S — solid! Now, that's your create-counter-create.

So here on Earth, you could say, roughly, wherever your pc has been scouting around, putting down the red Indian, putting down the barbaric German, putting down the civilized Frenchman, putting down the blue-painted Englishman, this sort of thing — your war periods and tumultuous periods — his engrams are not all involved with war, you understand, because the guy might have been a girl during this period. You see?

And one pathetic piece of track I ran into one time was a very simple, quiet piece of track, and it was totally solid. And this girl receives a letter from her husband, who is a soldier fighting with the troops that finally were overwhumped by Napoleon, and he simply wrote a letter and said, "Well, we've lost the battle and France is gone." So she walked out with the letter in her hand and walked into a river and drowned herself. It was just like that — you see, the create-counter-create — and she was totally out-created and that was it.

Well, on questioning, the river was, you know, right here in the auditing room practically. You know? "See the water?" And the pc kind of can't get it through her head, you know, that you don't see the river. You know? This complete, solid river. Not well seen, you know — kind of mishmashed and crinky and so forth — but nevertheless a river with water, and the letter, you know? It rattles. Solid! Get the idea?

So where you have periods of great conquest or outthrust, or periods of great resistance (which is the same period, you see), you get these doggone ridges and these heavily solid facsimiles and these tremendous insistences upon survival, which brings to these pictures a total persistence. That's where the persistence comes from. Because they say, "You better not create, you better not create," and the fellow says, "The dickens with you," you know, "the devil with you," you know. And he eventually starts counter-creating, and this keeps going back and forth and he's — now he's got some nice, hand-some, devilish ridges.

Now, this is accompanied by the fact that he goes slamming around into other people's heads and picking up wrong bodies and he's — well, picked up one off my own track that was particularly troublesome, was the days of Ch — of — later days of the European resettlement after the fallback of the Empire forces of Charles V. It's total mishmash. See, total mishmash, all coming about through being a protector of a person, with a resultant identity switch. See, protected the person so hard that the identity went flip. And for about a half an hour, which is very unusual for me, I couldn't tell who I was or who they were or what this was all about. You know? It just, "What do you know!" you know? And "Well, no I wasn't." "Yes, I was," so on.

And we run another great big series of facsimiles, don't you see, and then I'd say, "Well now, I'm sure I was," and "No, no. No." I eventually got this thing flipped apart, and after that, well, the whole track in the area just went "bing!" You see, it straightened out; that was it.

Now here's a usual thing: Now, somewhere along the line the fellow lost track of himself and thought he was somebody else and so forth, so the thing submerged. Well, this is a phenomenon of being out-created. See, he's being Pete, Pete, Pete, Pete; Bill, Bill, Bill, Bill. There he is. So you pick him up as Bill. Well, here's all the stuff of Pete. But here's Bill. You see? Who is he?

So you run into these various valence problems. You sometimes need various tricks to do it, but if you're doing just one of these new auditing runs, you see, you want to find out what he did to Bill and what was done to Bill, and gradually it starts to shake apart and you find out who did what to whom, see?

But the Earth areas are not tremendously dramatic, although you'll find some very, very solid stretches in them. They're not tremendously dramatic because enormous and overwhelming forces weren't employed until we get back into the Egyptian period. Now we get into B.C. And you'll find plenty to entertain you back to B.C., and plenty to take apart. But now you start run­ning into trouble, because the Egyptian period is space opera, and this doesn't make any sense at all because everybody knows it's a religious period. And we know that the Egyptians didn't have any ray guns, obviously, and there was nothing going on on Earth except some priests walking around saying "Amen," which the Christians still say.

And the — you get some of the weirdest things, you know? Real heavy phenomena of one kind or another; real heavy, massive things and stuff through such a period. Because it just doesn't make sense to anybody.

Earth at that time was under attack between two forces: The Fourth Invader, Fifth Invader is the easy way to call them. One was a space com­mand, the other was the Martian command. The Martian command at the end of that period was totally wiped out and immobilized by the space command — wiped out of the skies, you might say. Wasn't really flattened totally, although this action took place in outer space — in this solar system's space. Didn't take place until something in the neighborhood of about 1135 to about 1230, something in that period. That was the end. Mars never after-wards got a ship off; never afterwards got anything done; never afterwards was fluid, and was left totally with thought control against Earth.

Meantime, the space command, with total control out in space amongst the asteroids and the moon and the rest of this sort of stuff, had by that time, you see, just almost totally caved in and tamed down. They sort of out-created each other and they're still sitting in a ridge. You got the idea?

But this goes back, for its hottest action, back into the Egyptian period. And there's where you want to look for the basis of this. Don't keep running this late. Let's look at it early. Always look at them at their earliest moment if you can possibly find it.

Well, what about this Egyptian period? Well, it has several contests. The one which registers hardest on the E-Meter is the Brothers of the Snake, 1216 B.C. And that one just falls off the pin. An effort and motion was made throughout the Near East, India and some of Europe, to make a total reli­gious conquest. Now, things were pretty badly knocked apart by the horse-men with the sword, back about 1500 B.C., and this was a tail-end effort to kind of put it back together again. Right after this we get the Trojan Wars, Phoenicia and so forth, to show you about where this sits in time.

But it's an obscured period of history. And the reason it's so obscured and not-ised, is it's so violent. Everybody says it's a totally blank period of history from 1500 to about 1200 B.C. That's a blank period of history. Well, the devil it is! See? It's not blank on somebody's case, but it's sure not-ised.

Now, you'll find some interesting things concerning this. You'll find that some people in Scientology were pulled in on the side of the Brothers of the Snake. Most of the people in Scientology were in the revolutionary camp. And boy, they're chopping each other up something gorgeously. And you've got your create-counter-create, and it's all complete with Lord knows what. But it's an important period and it shows up on almost any case. Well, everybody of course more or less went through the Egyptian, Chaldean, Babylonian ...

Let me be very factual: India — here is the progress of the — of the thet­ans in general — India, earliest times, into the Middle East, Chaldea, into Babylon, into Egypt, Achaea, Greece, Rome, Europe, New World, and then all over the place. That is usually the course of most of the thetans that you'll run across.

But you take some colored fellow and you'll find him beating a slightly different track. And you will find in Africans a fantastic amount of heavy space opera, and so on, going on that is off this beat and which makes the colored African very, very interesting to process. Because he doesn't know why he goes through all these dances, and what's happened to him and all of this sort of thing, and why he feels so barbarous or something. He hasn't any clue about this.

Now, he's as capable of as much civilization as you are. Actually, he got pushed around a lot harder because the environment itself is a ferocious environment — or was for many, many centuries; because of animals and things like that — which had its own dynamite, you see? So he's running a slightly different track, but it's a track which obeys exactly the same rules. And you'll just have to look a little bit harder for it.

One day you'll be processing some chap and you'll find yourself process­ing Chaka or Cetewa or somebody of this character. And man, he'll have overts on him to last him for a long time. See, he was just killing tribes off in all directions, and the military leader who was educated by the Europeans went back and formed up the regiments of Zulu and so forth, and over­whelmed the rest of the race and so on. That's rather late.

You get earlier periods of similar violence. And you find all kinds of civi­lizations. Now similarly, there's some kind of a track here in Australia that begins with a lost continent. And this continent is apparently the source con­tinent of a lot of Asian civilization. And whatever was here is gone, but I would say that you might look into that period with somebody who is appar­ently very fascinated with Australia. Get the idea? Because possibly this goes back to something; they don't quite know where they are. And they're not in Atlanta — because you'll find Atlanta on the track, too, which I'll get to in a minute — but they're back in a contemporary period to Atlanta.

And they called this by several different names; I've heard it called Emu, Lemur, so forth. But we're back now, we're back and behind what any-body knows of as written history. And now we get into a total electronic soci­ety of Atlantis.

The Atlantian (Lemur and so forth) societies at that time were kind of space opera societies. And where they came from and what they did and so forth, I wouldn't be able to tell you too much, except they disappeared off the face of the Earth. But I'd say they came closer to the heading of original inhabitant of this planet than later races but, of course, some of the people on the planet at this time came through that track and are still here.

Whoever didn't come through that track has come from elsewhere. They've come from other planetary groups, and they're from outer space.

Now, an electronic society in the immediate background of Atlantis, and that sort of thing, is a little bit rough to pin, because it gets all mixed up with other electronic societies. And nobody can quite credit that it happened here on Earth because everybody knows that Earth, you know, is — you got a biological line and that's about it, and so on. And all of a sudden, why, you run into real heavy space opera, see? Electronics and every other doggone thing; people blasting walls down with disintegrators and ... And, actually, the Atlantian society in its latest days was a totally lazy, totally nonproduc­tive, totally idle, utterly corrupt, psychotic society. Everything was done for everybody and nobody was any use to anybody else, with the consequent fall-apart of a third dynamic.

We aren't too interested in that one, except as it might show up. Let's start back a little further, where you will find quite a few pcs. And that is the Marcab, or the Big Dipper area of this particular galaxy, which received the immigration from another galaxy into this galaxy, and which set up a society which kept going for a very, very long time — a society which is some-thing on the order of about 208,000 years back on the track.

Now, that period rather ended and ceased and desisted for that particu­lar society somewhere about 10,000 years ago. So you see, that is a long, rough society. Well now, oddly enough, people went out of that society as thet­ans and came back into it again. So you get that society, the Marcab society, punctuated with lives spent in completely unidentified, Lord-knows-where planets. And you get such odd things, you know, as fish people. You know? Well, where did they come from? Who are they? You know?

And this fellow has got heavy ridges in something on the order — well, we found one one night, 65,000 years ago or something of that sort. Somebody had evidently taken a total departure on the line and here was this sea mon­ster sitting there and looking at another sea monster, and finally this one sea monster started to get interesting when he picked up a knife or something and dived at the other sea monster and then started to talk about, "... then he went home to the village." Village?

Well, that's — strictly running as an engram, you wouldn't run it that way today. You just find these various overts and the thing would pull apart, and you'd find some more track someplace else. You're doing this much more rapidly than you were; you get a much wider, broader, longer look.

So therefore, you should realize that there is this tremendously random, vicious society lying immediately ahead of Earth society, which has Earth outdone about ten thousand times. And we have everything it has, almost-almost — and we're inventing the remains that we don't have. And the clue of the identity between these two societies is the other society only got so far with firetrucks. And no matter how modern the whole darn society got, they still kept building those fling-damn firetrucks exactly the same way. And they're the same firetrucks that we have here on the Earth. That one line of action they never advanced.

But as far as their architecture is concerned, you ought to ask people why they all agree that certain architecture is modern. Why is certain archi­tecture modern? Why do you all agree it's modern architecture? Or futuristic, so forth? All of it — comes straight from this area, you see? It's this pattern. So these societies go one way or the other.

For instance — for instance, you find their airplanes are almost the same as our airplanes, except they got much bigger cockpits. A guy will wonder where he is, you know? It's a funny airplane, you know? Tremendous cockpit. Big. Big cockpit! Taxis the same, does everything more or less the same.

But the battles were fought with electronic cannon. And you push over one of these airplanes and start diving on that battleship, and boy, you got counter-created, let me tell you. Great big ridges.

Well now, your effort to destroy, of course, was met with efforts of destruction, and you get a tremendous lot of ridges accumulated around this kind of a society. Well, this society had all kinds of tricks. We were just look­ing into one of those tricks last night. Evidently there for about, oh, 11,000 years or something like that, this society went along almost compulsively being interested in violent and dangerous races of one character or another.

And sooner or later, almost anybody is liable to get mixed up with this racetrack. And you couldn't get out of it and you couldn't get in it, and all they did was keep killing people off, just in windrows. And sooner or later a thetan would find himself at the racetrack as part of it.

There's that particular sequence. You start looking into this society, you'll find out the worst parts of it are totally not-ised. There was their cute methods of justice which were very compelling. There was a temple of justice and the — if the whole case was benignly decided by the justiciary, you see — if the case was benignly decided — then blue lights came on, you see; and very gentle lights. And that was all okay. But if it was dead against you, they simply flooded the joint with raw electricity. There was no sentencing; there was just boom!

And yet their use of electricity was nowhere near the use of electricity on earlier societies. And yet it'll be plenty for your pc to run into when he first starts running into that type or area of the society. Almost anybody that's here went through something like that about that long ago. Something on that order.

Now, we get earlier than that, and we get a frontier society where those planets were first being taken over. And you get the consequent ridges and so forth, but they were taken over with atomic weapons. And you get the con-quest with heavy radioactive weapons of one character or another, and all sorts of weird things going on in that particular society.

Two hundred eight thousand years ago, for instance, we find the exact trains in the Marcab Confederacy that we find on the British railways at this moment; dead-accurate duplicates. That's why the British railways just can-not build a train, really, more modern than the trains they use. They're just stuck with it. That's a train. See, you get the idea? That's it.

Now, we start plowing further back than this and we start into the great empires. By the way, as I said, there are various vagaries on the line, but the chances are somebody has been back through that 208,000-year period. And you should know that it's a very modern period. Your pc will get all confused because the houses he sees out here are the same as the houses he saw there 200,000 years ago, you got the idea?

The automobile that he's driving today is a dead ringer for an automobile he was driving about 35,000 years ago, you got the idea? And these things — this darn civilization keeps locking up on the civilization we've got here.

And the fellow says, "I don't know, I rescued somebody from a — in a fire and I don't know what this is all about. I rescued somebody in a fire and — but I don't remember rescuing anybody in a fire. Well, it must have been about 1895 in New York. No, London. No, must have been 1895 — look at the firetrucks!"

You better get slippery on locating things in time and space. Because I've seen a thing like this slow up an auditing session for two or three hours, with the auditor not in there pitching and helping out. The auditor all of a sudden moves it back 50,000 years, you see, by spotting the time zone. It wasn't 1890, New York. See? It was 200,000 years ago. Duplicate societies. You'll think very poorly of man's originality when you begin to look some of these things over.

That's why the scientist who is totally keyed in along all of these lines, he keeps saying, "It's all been done before; it's all been done before; it's all been done before." That's his song. Of course, he doesn't know why he sings that song. He's so right — he's so right. Hasn't necessarily been done better, but it's certainly been done.

But it's not true that everything has always been done. You still have a wide swath of originality that's never been pulled off, and you will notice in your pc that his pattern is different than everybody else; well, that's his effort to be original.

Now, if we go back — if we go back of that period, we get into all kinds of other star groups and so on, in other places. We're not now talking about space opera; we're talking about civilizations. We're talking about the existing civiliza­tions which a thetan has gone through. We're not talking about, necessarily, he was in a spaceship during this time, and rocket pistols and so forth ...

Although one dear, dear sweet person, always at the beginning of her session she used to bring in her knitting, and she would sit there and she was so nice, and she was so polite to everybody, we finally — what she — found out what she was hung up in. She was the commander of a space vessel which had been a pirate, and a tougher commander had never existed. After a while it was very funny. While she was running through this period, why, so on, she had a nice steely look in her eye — insist on a little more respect from the auditor.

But as we — as we look over, we find these various planetary civilizations have been just civilizations of one character or another. And where they were either wildly civilized — you know, supercivilized with no government respon­sibility for the people, or something of that sort, or tremendous government responsibility for the people to the point of killing everybody (they thought this was being responsible) and where the areas are very wilderness sort of areas against a very savage environment, we find the greatest number of ridges and the greatest number of holds and stops. See? Because that's the most plus randomity, and those are the easiest things to run into.

But sitting right alongside of that, you find these fantastic minus ran­domities. And the pc is simply stuck there looking at a black patch. And there he is, total minus randomity. Well, he's something like the asteroid guard. He has spent four hundred years in the asteroid belt of some system guarding against asteroids running in. And he's on the ship that does this, and it never does anything, and it never has any adventures, and there's no amusement, and there's nothing whatsoever to do.

Well now, guard against it, because this fellow will put up, as his first guesses, total plus randomity. They kind of tend to stack up on where he is right now. He's already sitting in a mass of some kind or another. The best way to get him out of that mass is "continue to confront — rather not continue to confront." Now that is the long case; the case that is totally fixed in a facsimile — the long case.

Now similarly, that same process is terrifically workable on the case that just goes flick! And this case will drive you half batty.

You say, "Well, did you have an overt act on this?" and the needle goes flick. And you try to get a repetition of the act; you try to get a repetition of the answer; you try to get the needle to drop again on this thing. It's gone! That's a plus randomity; that is, unable to confront for more than a split second. And you'll see cases go downhill to the degree that they are either fixed in or can't stay fixed in, any given picture pattern.

And this person will just go flick! just once, because they can't recapture any part of it again. Everything is a — you know? You can only confront it for a thousandth of a second. And you'll find out that cases that can only con-front something for a thousandth of a second are usually a little rougher to work. But again, "continue to confront" is an operative factor.

Shouldn't worry you that you only get one spin on it and then that's that. Know what you're looking at. You, in trying to clear present time overts, if you get just one spin and then you don't see it again — "Well," you say, "now let's see, what shall I do? What shall I do?"

What you better do is pursue it. Because if you can turn it on the way you ought to be able to turn it on, it'll continue to drop. You haven't asked quite the right question. That's for present time. But as you look on down the line at this sudden drop, with no repetition of the drop whatsoever, you should realize you're just looking at an automaticity. It goes by so quick, it can only drop once and the pc can't recover it. Which, of course, as you well know, is inability to duplicate, inability to confront, so forth.

"What would you be willing to continue to confront?" Boy, that'll cause that case to think for a long, long time. Because there's nothing the case will continue to confront.

Now, obsessively, the individual who is always fixed in the same facsimile, of course, has got to continue to confront on the same facsimile.

Now, if we look over the earlier, earlier periods, we really start running into the hot soup. It starts to get rougher be — as you go further back. There-fore, you should not begin cases early on the track and run them late. You should peel them off the top — an old trick that we call "unburdening." Just as you dig the soil off the top of the mountain to get the rock at the bottom of the mountain, so you unburden a case.

Now, to try to pull that rock out from underneath the mountain all at one fell swoop, of course, will tend to collapse the whole mountain on the pc. And that's basically because the earlier you go on the track, it isn't the less force you get, it's the more force you get — till you get back to glare fights where glaring would have knocked over the Empire State Building, see? You see it — wham! Well, pc can't — can't create any part of it, he can't confront any part of it. He's lying if he says he can. See?

But he can graduate his ability to confront, as you peel the track off and go backwards, up to a point where he gets so he can do it. See? So therefore you unburden a track; you go from present time back — not in great big swoops! All too happy he will be to say, "Well, let's get to basic-basic." And he'll start diving down the track someplace and "Let's go — let's go — let's go five or six billion years back." Oh, he's had it!

All of a sudden his case won't move, nothing will happen, everything is totally solid, waah, wooh. What do you do? Well, Confront will get him out of it because he'll wander back up to PT. And when he is getting kind of back up to PT again, now let's talk this track back the way it ought to be, not throw him way back there in the soup. Because we really start running into it when we go back from two hundred thousand years ago. And talk about heavy effort — wow!

Now, it just runs actually in cycles: cycles of calm civilizations — with a murder every minute — but that are on planets, into space opera, into calm civilizations, into space opera, into minus randomity, into the plus randomity in the minus randomity. You get the idea?

Audience: Yeah.

But it's no trick at all. You go looking along the track, and you'll find — if you're just looking for space opera, you're going to get in trouble. If you're just looking for nice, reasonable kinds of civilizations, where everybody lives in houses, you know, you're going to get in trouble. Because the fellows used to get bored with one kind of thing and go off into another kind of thing. Get the idea?

So you'll get space opera, followed by a planetary civilization, followed often by a sort of a frontier civilization, followed by space opera. You see? And you start looking over a track, and you'll find out that this fellow was doing perfectly all right as a space navigator one million years ago.

And then you say, "Well good, we've got space navigator totally cleaned up." And we run off into the fact that he's a thought-society man. In other words, he's in a society that didn't have much bodies, the body was all very light, and everybody just played all day, and there was nothing particular ... And he was good and sweet until he met up with these horrible, rough, mean, bad-smelling veterans of space opera, you see? And they corrupted him (and this is the story you'll usually get on something like this).

And this is all jim-dandy. And we run into the Fac One area. And every-body was around with their guns, you know, grinding everybody's minds to pieces — Fac One areas, so on. But we get that all nice and cleaned up, get it patched up. We find out who he was, we find out where he was and so on. And we get his main overts off the line and so on, and then he runs back, and everything was sweet and nice and quiet and so forth. Only he was mak­ing sure it was, because just before that, he'd been a rough-tough--tough bum on a frontier someplace or another — before he became this sweet, innocent little thetan, see, of this period. And then just back of that, you find he was part of a space crew. And you've got the navigator again.

You see, it'll be something on the order of a million years ago we had a navigator, and then we got variations of life, but then got maybe a hundred million years, and then five billion years. These are periods where he has again become a navigator. Get the idea? And that jumps back to a trillion years, you see? He becomes — he outlives these lives and then he goes and repeats them in the cycles.

But every time you clean one up — he's got it all straight and he knows exactly why, but then tsk — you get it back a little further, there he is doing that thing again, you see?

So if any characteristic shows up on a pc, if she shows a peculiar pen-chant for being a temple dancer, and was totally corrupted in the early Greek period by being captured by pirates, and thereafter became a temple dancer, and that is why she became a temple dancer, and that's it — and actually in this life hasn't had enough nerve to become part of a cabaret — you say, "Well, we got that all solved, and there's nothing wrong with this now, and that's it."

And you're running awhile longer on this same guy, you all of a sudden find this other picture. Pc says, "Well, it belongs there because I was a temple dancer — no."

You say, "Well, what does it look like?"

"Well, I don't know. It's different. Here I am doing a nautch dance with a bunch of people with space guns on. Only I'm doing a nautch dance and there are big torches burning and there's a snake over here or something, you know? I don't get it."

Yeah, that's right. They don't get it. They had it all explained how come they've — because they were captured by pirates, this made them into ... You see, it's all beautifully rational. After that there was nothing they could do, because they had been degraded, but to be a nautch girl, you see, and dance in temples.

Only trouble with this is, is two million years ago they were captured by pirates and became a nautch girl and danced in temples. You got the idea? And you could pretty sure believe that another stray picture will show up in that one that they can't quite account for. Well, don't start diving for the total strangeness of the picture, because you'll find that three billion years ago they were a nautch girl. Get the idea? They tend to repeat themselves.

In other words, they become familiar with one zone or area of environ­ment, and just — more or less get — their pattern overts get set on that, and then they recover from these overts a little while and then go back into it again, thinking they've recovered and then they find out they haven't. And they come out of it and they go into it. So on one pc, you'll get repetitive types of life.

For instance, it's not unusual to have this combination: soldier-scholar; soldier-scholar; soldier-scholar; soldier-scholar; soldier-scholar. Well, in this wise, we go back one awful long time — forty trillion years, or something like that; we're way back — and now we're starting to run into very heavy hammer-and-pound atomic societies, civilizations, bombings, counterbomb­ings, superimplant civilizations of one kind or another, and all is fine and dramatic, and ...

"Gee," you say, "well, this was kind of like it was later on the track." Well, that's right, that's right. It's just exactly. But it's about ten times as tough. See, it's worse. There's more frozen track there.

Well, actually, these later pieces of frozen track are pinned up on this earlier stuff, but if you went for the earlier stuff you'd mire the pc down in it. You've got to take the burden off the top of it every time, don't you see?

Well, imagine your horror when you go back seventy-six trillion years and find out that the track is circular; and find out that the first seventy-six trillion years, as you will very often discover on the line, were magic. And you're now into, almost totally, a magic period. When you go back beyond what we know rather familiarly — space opera and all that sort of thing — we find a total unfamiliarity. It's totally different than anything you've got today. And that's the magic periods of the track.

And these magic periods of the track would take a thetan and make him make the power: see, hang up a thetan, degrade him in some fashion, you know, trap him and so forth, and use that as electricity. That's about — about as far as they get toward electricity. Get the idea?

Find all sorts of things. You find levitation. You find the pc swinging along, riding on a goose which has a wingspread of sixty feet. You find armies fighting together with reverse time tracks in such a fashion that Army One can't really find Army Two because Army Two is in day after tomorrow, and about the time they get bored with trying to find them, the Army Two gets into exactly one hour ahead of them, you see, stops time and waits for them. Boy, you talk about mishmash, that's it!

Now you find all sorts of incomprehensible pictures, such as a fellow sit­ting at a desk and he's evidently maybe a mayor of some quiet town — straight out of Mother Goose, you know, and — something of that sort — and he's sitting at his desk. And all of a sudden a messenger comes in and puts a small symbol in front of him — bing! Instantly he exteriorizes out of his head, goes out of the window and goes to the council chamber where the local black society is meeting. He can't restrain himself from getting there. They have decided to drum up a charge, as far as he's concerned. They totally degrade him and send him down seven worlds.

Boy, by the time you have sorted a pc through a few of these, he feels he's had it. But the only thing you're looking for are the things giving the pc trouble. And you'll find out that the pc is not stuck on the whole line; he's stuck repetitively in certain areas. And the next time he gets stuck in the area, it derives its power from the last time he was stuck with the same kind of a create — counter-create, so you get a similar ridge.

You keep taking these ridges and pictures, and sizing it up and straight­ening it out with Confront, and plotting it together for him, and finding out who he was and where he went, and next thing you know — zoop! The next incident back of that that's like it was four trillion years earlier.

Now, there's an awful lot of living in a double track of seventy-six trillion years, the first seventy-six trillion of which was totally magic. That's an awful lot of living. It's no wonder people say, "I've never lived before!"

You'll find that your estimate of what can happen to a pc or how much he can be improved keeps climbing. And your reality on what improvement is will keep climbing if you just pursue the course of continuing to unburden the thing. Because the guy gets better and better.

And you say, "Well, he's doing fine now." You're going for OT, which means a totally clear whole track, see? You say, "He's doing fine. Boy, he's right in there pitching. We got him over the total degradation of this and that and we straightened him all out and so forth. Boy, he's in there pitching, you know? He's flying. I'm real proud of that pc." And next time — a month or two later you decide to give him another series of sessions, something like this, and wow! He — if you're doing your job well, he winds up at the end of that series of session that much better! See?

And he'll begin to take these things apart much more easily, much more easily — in spite of the fact that they're much tougher. You understand?

There's only one thing you should know, and that is: when a change of identity takes place, a terrible degradation occurs. A thetan has to be degraded to nothing in order to become something else. So when you take somebody out of a machine, you can expect degradation to occur very thor­oughly, immediately afterwards. Perhaps hours of just nyahhhh.

You find all sorts of things of this character, but it has these — this char­acteristic: that when he shifts a valence, ceases to become himself and becomes a machine (that is the most serious one), that's why he becomes a machine — because he feels too degraded as himself to continue to exist, so he dives into a machine or something, you see, and is the machine. Now, as the machine, the pc was apparently doing all right. But you get them started in doing, themselves; they really rack around. They'll think they are stark, star­ing mad for a while, because they never felt that degraded. But they are becoming themselves. And you can expect many hours of degradation to run off immediately after you have gotten the point of the track, you see, trapped exactly what's wrong with the pc and then separated him out of it; there's a little degradation will come off and he'll go up higher. But there are some mighty steep, deep levels of degradation that can be pulled off a case.

You could say, offhand, that with every shift of identity there is a degra­dation. The person is degraded and then shifts identity. Well, this can become very, very harsh, particularly in an electronic society.

I want to give you one more datum about all this. As you run back on this track, you're totally victimized by implantation. People plant and implant and back and forth, and they implant and bing-bang, and swoop­zoop, and thud-thud, and all of a sudden you're running the pc and the pc is nothing — doing nothing but running an implant track. And it has nothing to do with actuality at all, and it's got false figures in it, and that sort of thing.

In spite of the fact this is all dub-in, it has more or less some truth in it. He's nevertheless stuck in an implant area. And you're not running thirty trillion years ago. Your pc is stuck, let us say, right there, exactly three thou-sand years ago! You got the idea? The actual time of the stick is terribly important, and that is the principal thing that separates out — as far as search on an E-Meter is concerned — that's the principal thing that separates out implants from the real McCoy.

But there's a process that separates out an implant. Because there's one thing that was never done in an implant, and that was to convince the pre-clear that he was trying to make others guilty of overt acts. Because if it had been in an implant, it would have blown.

Let's look at that. That's not in the implant. The total subject of the implant is to make the pc guilty of overt acts. Got the idea?

Audience: Yeah.

But not to make the pc guilty of making other people guilty of overt acts. That via is missing.

So therefore, piloting your way through, finding out from the person who he's trying to make guilty of overt acts, separates out the implants almost instantly. And that is a trick that takes out the implant, because: "Who am I trying to make guilty? Well, the people who implanted me — trying to make guilty — people implanting me — people I implanted ... Ah, yeah. Well, some-thing funny happening with all these pictures!"

Yeah, you bet there is something funny happening with all these pic­tures, because in an implant sequence that's no part of it. He's holding on to the implant to make the people who implanted him guilty. But it is — does not constitute part of a script of any implant. Got the idea? So you can just sepa­rate out implants like that.

It's quite important. Because the reason we couldn't get auditors before to run whole track is because implants kept getting in the road, and dub-in of one character or another, and everybody said it wasn't true and it wouldn't add up. Furthermore, they tried to go too early and then come up to present time. You must go back gently and carefully. Don't leave this life till you got it a little bit straight and know what he is, and then get the life just before this and kind of straighten that out, and then you eventually will find you're probably missing a piece there someplace and it'll spring into view. Get it talked out and straightened out.

But then you start getting on the whole backtrack, and you'll think the pc is at forty trillion years ago, he's sitting at three thousand years ago. Why? He's in an implant, the implant has got him locked in, and convinces him this far back, and the implant seems to chatter at him that it's that many years ago, you see?

So he's sitting here and you are trying to audit him there, and nothing happens. So you use this thing of "Who are you trying to make guilty there?" and it blows the implant out, because that is not in the implant.

Well, withal, it's been a very interesting track — it's been a very interest­ing track one way or the other. And, basically, you'll find magic scattered up into more recent times; in fact Jan ran a pc with a big magic sequence in 1875 — black magic in England.

But, you'll find these things repeating themselves one way or the other. But, actually, you don't find very much space opera as such until about seventy-six trillion years ago. There's actually a double track involved with all this. It kind of goes in some circular time, and the reason the earlier track gets too obscured or something of the sort is because it's been implanted, cross-implanted, up-implanted and down-implanted to a point where nobody could make any sense out of it.

And you don't get back to it until you can get well cleared in that direc­tion. So always be careful to find out where your pc, in time, is. Find outmwhere [what] he is doing. Find where the heavy ridges are. Clean up an inci­dent enough so there are no heavy ridges left around. Get the thing solved by "who he's trying to make guilty of overts," and then run Confront to — Alternate Confront to get these things straightened up. And next thing you know, the guy is all ready to take the plunge at it again. These things clean up faster and faster. After a while, he even finds out who he is.

Good night.