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.

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.

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?

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.

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.

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.

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?

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.

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

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!

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.

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.

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.

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.

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.

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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, 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?

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?

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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

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.

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 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.

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.

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.

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.

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!

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

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.

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!

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

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

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

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."

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.

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, 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?

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.

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.

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.

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.

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.

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 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.

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.

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.

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?

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

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

Just about drove this fellow out of his mind.

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

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.

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

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.

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?

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?

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, 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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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?

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?

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.

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

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

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

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?

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.

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?

Audience: Uh-huh.

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.

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.

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.

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?

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.

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

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.

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.

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?

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.

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.

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?

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.

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!

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.

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.

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

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?

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.

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

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

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.

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.

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.

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.

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

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

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?

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.

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.

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.

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

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.

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 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.

,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 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?

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?"

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

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.

"Could you confront?"

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

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?

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

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.

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.

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.

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.

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

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.

"What could you confront?" you see?

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

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

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 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.

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?

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.

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?

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?

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.

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

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

Okay?

Audience: Yes.

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.