Now, continuing this on Standard Operating Procedure Issue 2, the technique level of V is on the basis that the individual must have a body and so he doesn't dare move off any distance from this body. Or he is so slightly in this body, or so split in his attention to other bodies, that he can't move out of this one.

Those other bodies may be in the past or they may be in the present. And the technique — the technique which involves this is calculated from something I am going to cover, and is a particular manifestation, and we'll call it Creative Processing. Again, we solve V with Creative Processing.

But what we practice on particularly with V, and practice on very, very heavily with V, is creating a body. So the technique for Mr. V is to create the body — create bodies. His obvious trouble is he's got a fixation on a body, so we just fix him up so that he isn't so bad off about it.

All right. Let's move one — backwards another step, to IV. Now, it's very probable that you will see these techniques come out with letters on Standard Operating Procedure Issue 2, just to differentiate the two techniques. So what you'll be calling a V will be an A-B-C-D-E, an "E." And "E" would, of course, stand for easy.

So what you get there on a IV level is again, and still, Ridge Running. And you know, I think the first class didn't even bother to go down to the dock on Ridge Running, much less miss the boat. I don't think they even went vaguely near the dock. I don't think they even heard of the dock! Really, it's true! Because I haven't heard any slightest rumor or comment from any direction that anybody is using Ridge Running. And it's the handiest jim-dandiest little technique you ever ran into. It is — if a person can see black and white.

And the only difference between a IV and V is, is the IV can't get out either, but he can see black and white adequately. And if he can see black and white adequately, he can get out. Now this would classify him very precisely. It's a person who can't get out of his body but can see black and white.

A VI, for instance, is a person who is just very neurotic and can't get out. So don't be surprised to have a psychotic IV on your hands the second they step out; or a psychotic III, or even a psychotic I. You see, with this Standard Operating Procedure it's not gauged according to sanity; it's just gauged with the ease with which one steps out of the corporeal MEST.

So number IV, case IV, is different than case V only in that case IV can see black and white; he can get impressions of black and white. Very often a VI can't. VI says, "What world? What me?"

"Locate time and space."

"What space?"

Of course, a VII doesn't even discuss it. VII just goes and does something peculiar.

All right. So, what's your IV? What's the technique for IV? The first technique that you would really use on a IV that you'd be very serious about, the second that you ran this person down to IV, you'd use Ridge Running — Ridge Running. That is a rather slangy little designation for that technique. A ridge-runner in the States is a Tennessee mountaineer or a shoat — a pig. But the technique Ridge Running is so named because you run flows to break ridges. And if you run enough flows to break enough ridges, the fellow all of a sudden is going to orient himself outside himself. And he'll orient himself in about eight spots outside of himself and wonder where the devil he is; but if you go far enough with it, you'll suddenly locate him, and he'll cohese and congeal into one spot, and it'll be a considerable distance from the body.

Actually, you can take a case that's very, very — apparently very bad off — can't get out, see black and white. Maybe he can barely, barely see gray, and it's just gray both ways, not even black, but it's just kind of a gray — or he can see black. And you use this technique and this person will all of a sudden be out of their body and able, and know that they can control their body from outside in the first twenty minutes of application.

And I don't think the first class even heard that boat whistle; they didn't even call a ticket office. I'm sure this is the case, because I'm looking at a V, (quote) V (unquote), who is really a IV. And Ridge Running is the technique which remedies this.

Ridge Running is a very specific technique. It is arduously and onerously specific; it is done in a certain way. There are tapes and notes here on Ridge Running and I'm not going to cover this technique very broadly. I'm merely going to say this: You start in and make the fellow give himself a command in the field of perception or action. You start preferably with perception; you start preferably with giving himself the command "Listen."

You say, "Now, all right, close your eyes. Now, tell yourself to listen," and he does.

And you say, "As you told yourself to listen, could you perceive, in the head, or in — around anyplace, perhaps a little tiny flow of gray or something? Well, try it again. Tell yourself to listen again."

All right. Now if you know your business here, you're getting the counter-elasticity of flows, and a flow will only run in one direction white, and then it'll go black, and then it has to be run backwards for it to go white again. And it'll run backwards white and then go black, and then you'll have to run it forwards, and it's white, and then goes black. And then you've got to run the opposite, and you're running dichotomies, and that's what happens in running a dichotomy. And you'd better know that because that's a ringtailed snorter.

All right, so you say, "Listen."

And he says, "No, I didn't perceive anything." He said, "I didn't perceive anything."

"Well, what do you feel about listening?"

And the fellow says, "Why, I don't know, I guess I just can't listen."

You say, "Okay. Now, close your eyes. Now, see — look around inside your head as you do this and see if you don't perceive just a little bit of gray somewhere. Now, object to yourself listening; say 'I can't listen.' "

And the fellow will. All of a sudden he'll say, "Uh — well, I don't know quite what it is, this is — this little — little white spot there and it's maybe about a sixteenth of an inch, no more than that. It's about a sixteenth of an inch flow."

And you say .. .

"There," he says, "it's gone now."

That's your flow. Aha! Boy, you're into this case up to the elbows right that moment. And you can chalk that case off, if you know Ridge Running, as a solved case. Right that instant.

But you must realize that you told him the first time to listen, he didn't know what he was looking for. But there was probably a little flow, and that was white. But he didn't see it, so you have to get it to flow white again; you've got to get it to flow backwards on the negative side of the dichotomy, and then he'll see it. And if he doesn't see that again … Let's say you drew a blank the second time, you tell him again, "Now, give yourself the command to listen and look around there and see if you don't see something inside your head."

And he'll say, "All right, I'll tell myself to listen." All of a sudden he'll say, "Uh — ow. I didn't see anything," he says, "but that hurt." What you did was blow a ridge. What you did was blow a ridge — boom! Oh, is that valuable. Ha! You've got this case!

So you say, "Well, all right …" If you blew the ridge, by the way, the command "Listen" is going to be ready again. Of course, because you drove that flow through. It'll flow now again. You say, "Give yourself again the command 'Listen' and this time look."

And he said, "Yeah," he'll say, "I'll — I see a — just a little tiny streak of white. Yup. I see a little streak of white. And there it goes — there it goes, and it goes over against something black, and then it goes black."

And you say, "Well, what does that black thing it hit against say?"

And the fellow says, "Oh, I'm too bored to listen,' that's what it says."

And you say, "All right. Now get that flow 'I am too bored to listen' and watch it flow back toward the point where you commanded yourself to listen."

He says, "Okay," and he does. And all of a sudden he finds the command point where he is ordering himself to listen has shifted to another place.

And you say, "All right. Tell yourself to listen," and it's gone black again, you see?

And he says — now he says, "It's black."

All right, you say, "Now, tell yourself to listen again," and he does, and he sees it goes gray, gray, gray — maybe even white — gray, gray, gray, gray, dark, dark, black!

And he says, "You know," he says, "it went through about four barriers--ptock, ptock, ptock, ptock."

And you say, "All right, that's fine. What's the last one that it fetched up against? What does that say?"

"Well," he says, "it's just 'Can't listen.'"

So you say, "Well, all right, give yourself that again, 'Can't listen.' "

And he'll see this flow come back again inside his head, he'll see it come back, and again he will advance and change the point — extend the point from which he is commanding himself to listen. It's even further back.

Now, you say, "Tell yourself to listen again."

Now get this peculiarity: that if the line is gray, it still could be run again. But if the line — if he says "Listen" and it turns gray, gray, gray, gray, black; now he says, "Can't listen" and that goes gray, gray, gray, gray, gray, black as a backflow, tell him to listen again and it'll get white. Those gray flows mean that it gets run again, but you don't have to worry about that, but you just notice that in passing. That's one of the manifestations standard on these things. That's why fellows get gray flows. The flow isn't running out; it's only running part of itself out, and on the next back and front, it will run itself out.

All right. Now, you tell him to listen again, and he listens and he sees this flow, and it turns gray, it turns white, it turns gray, it turns black. Well, what's happened? Boy, is it getting long; it's getting longer, longer each time.

And so we get this kind of a pattern showing up inside of his head. It doesn't light up like neon lights; it'd just be those flows that he sees.

Here's — a pressor beam and a tractor is the pattern of the communication line. A communication is taken from the MEST body by a thetan with a compressor and a tractor. These are pressor lines. And so he pushes the order in, and he's pushed the order in on the body and pushed the order in on the body continually until he has built up ridges. He's built up these ridges himself, and on those ridges lands . . . That's an objection to the command, really — it seems like it to him — and he's built it up himself, and it finally says it can't listen. That's the way he stops himself from listening, and so on.

Now, the thetan employs these ridges and these routes because it's a communication line, no matter how poor. No matter how poor a communication line it is, it's at least a communication line to the body.

So a guy looks inside of his head, he's astounded to find out that his first line — well, his first line, let's say, went like that, and the backflow went like that, and the next line went like that — and these lines are disappearing every time they're run, you see? But all of a sudden it went up this way, and then it went down this way, and back this way, and it went over here this way — each time hitting these ridges and stopping — then it has to be flowed again.

So you get a flow, you get a flow, and it goes this way, and then it backflows and goes that way, and then all of a sudden it — you find it backflowing. It flows … The next command to listen goes zing — bang, it knocks that ridge out. Now, that ridge — next time you give him the command, the backflow, it'll flow back this way again, and it'll blow this one back here a ways to a new point to listen.

What you're doing is knocking out his circuits. Now, you want to know about demon circuits, read the first book. I'm not going any further into demon circuits than that. They're very adequately covered in the first book. And those demon circuits are these; these are demon circuits. And what makes the demon is a ridge.

And there are six major ridges in the body, and these make the entities. And facsimiles hang up on the ridges, and the ridges act like they can think. They'll even answer you on the E-Meter — they'll talk to you; they'll do all sorts of things. But actually there are thousands of these little tiny ridges in the head, and they're demon circuits. And each one of them has the power of talking, of seeing, of being, of commanding. And that's why your thetan inside the head is really bound up in a terrible condition. He can't think because every time he starts to think he exudes energy, and whenever he exudes energy he puts these ridges into stimulus-response. And so when he starts to think he becomes a stimulus-response mechanism; therefore, he cannot be a free self-determined organism as long as he is surrounded by everything which is stimulus-response. The environment has a stimulus, he does a response.

He wonders how in the name of God that came about. Well, it came about simply because he wanted it that way. It came about because he wanted it all to be automatic so that he wouldn't have to think about it, so the body would drive automatically, so it'd walk automatically, talk, think, eat — all these things automatically. And this is the system by which you set up an automatic system.

But the thetan isn't so bad off that he needs an automatic system. How do you like that? You'll find this impulse continually recurring in the preclear, that he must set it up automatically. You give him Creative Processing and he sets up a machine and then he says this machine will now run and do what you said to him to run.

You say, "Nuts!" Don't let him do that! That's setting up automatic responses! Every time he sets up an automatic response, he says, "I haven't got the horsepower to keep on monitoring this consciously, so I must submerge it into an unconscious sphere, and therefore it'll run after that automatically." And that's very, very nice, and that's very cute, but the funny part of it is, it isn't true.

He has enough horsepower at any time to be conscious of every action. And he must be conscious of everything that is taking place, and he has the power of choosing and deciding and thinking about every conscious action he has. Any time he sets this up in such a way that it'll now all run off automatically, he is setting up something that will wind up in the end a bear trap.

You keep doing things for a person long enough, you will render the person powerless. Whenever the thetan set up a ridge so something could be done automatically, you've got a powerless thetan on that score. Because he said, "It's now going to be done for me; I don't have to do it." And after a while, all of a sudden, what do you know — he can't do it.

If you asked the entities why they're there and that sort of thing, and why the thetan has the entities — well, they serve him; and that's all very nice, and they're a crew and they serve him and they work for him. Yes, that's exactly what it is. It's just a ridge stimulus-response setup. And every facsimile you can think of is plastered on those darn things.

There are billions, billions of facsimiles plastered on these main ridges of the body, and these little tiny, tiny ridges inside the head are actually sort of billiards — like a billiard table. Wherever any communication line goes into the body from outside, it means that the thetan has set up a body and a thinking apparatus which thinks at the behest and demand of others — not himself. He's lost control, then, of his own thoughts, and he can't be powerful under that circumstance.

So, in Ridge Running, what do we do? We just run this ping-pong, bing­bang, back and forth on the command "Listen" just "Listen, listen, listen, listen."

Now, you'll find very funny things happening. You'll find out that he customarily gives himself the command to walk, apparently, from somewhere behind him. That isn't true. He gives himself the command to walk from inside of his head, and it goes around front, and it curves around back and it hits him in the back of the neck and it'll make a hot spot.

That's quite startling to people. You say, "Give yourself the command 'Walk.' All right, give yourself the command Walk' again."

And the person all of a sudden says, "You know, the back of my neck feels hot; there's a spot in the back of my neck that's hot."

And you say, "That's all right."

From the middle of his head he put the command out here, and the command out here went clear around here. Or he's actually just sort of living in front of his eyes, and he puts the command out here and it goes back in and it hits the back end of the body.

Everything that a person ever did or said has an echo sitting in the back ridge on the back of his head. It's in there in a tumultuous condition, so that makes an enormous command ridge. What this person has done to others, he now does to himself, because the ridge goes into activation.

Now, Ridge Running then clears the line. And the first thing you know, you'll find the fellow outside of himself and ordering himself on one thing only:

"Listen." He hasn't dug himself out on other commands yet. He'll tell himself to listen from outside.

And when you get this outside of his head three or four feet, go in now on another command. Usually take an action command. Take the command "Walk" and just carry the command "Walk" through in exactly the same fashion you carried the command "Listen" through.

And if he can see black and white, something very amusing may happen. He may be outside of his body in eight different places for eight different subjects. He isn't outside of his body at all in these eight different places; he's in one of those places, but he's using shunt and relay circuits. He's got ridges out there that are actually miles from him, off which he bounces thought. That's no exaggeration — miles and miles and miles from him.

And you can get him in such a way that he can sit inside of his head and bounce a thought off the ridge miles. away from him, and it apparently comes from miles away and hits him back inside of his head again. Very amusing. It's a wonderful mechanical device that could only have been dreamed up in the insane asylum called MEST universe.

Anyway, take it for "Walk." Then take it for "Talk" and take it for "Nod." But take the word "See" last, because it'll obliterate his perceptic of black and white.

Now that's Ridge Running, and please don't overlook this technique.

Let's go back now to III. III is "Out by Orientation." You make the guy push himself outside of his head, pull himself outside of his head, and putting out tractors, beams, so forth, push himself sideways back and forth. And actually if he can locate himself inside of his head, the best way for him to locate himself is just to see one of his pressors and tractors, and he turns it off and puts it on at will. And he orients himself and all of a sudden he moves right on outside of his head.

Don't overlook the fact that a preclear can do this: put a beam against the inside of his forehead and push. He'd say, "Yeah," he's — all of a sudden sees the beam, all of a sudden he lengthens it, all of a sudden he's looking at the back of his head — orientation, locating in time and space. Now you simply put him through drills of time and space; put him through drills that have to do with time and space. He just locates himself in this fashion, and you can orient somebody out of his head.

Now, Step II is negative — "Negative Exit." You just tell him not to be — "Try not to be a foot back of your head." Very often a case just will do that. They'll try not to be and the harder they try not to be … That's because the thetan being pretty well down in apathy is running in opposites, just like a little kid. You tell this little kid, "Eat your breakfast," he doesn't want any breakfast; you tell him, "Don't eat your breakfast," and he eats his breakfast, and he doesn't realize that he's being ordered around.

All right. You just tell a fellow, "Try not to be back of your head."

Now we come back to I, which is simply "Be a foot back of your head." And we make this comment that "Move a foot back of your head" is not as good as "Be a foot back of your head," because "be" applies to space (which material I will cover) and "move" applies to energy.

So we have then a rundown on this Issue 2. Issue 2 then goes in this fashion: The first thing that happens is that you tell the individual to be a foot back of his head. The next thing you tell this individual to do — he can't be; he says, "I don't know, I — maybe I'm — zob-zob-zob-zob-zob. What are you talking about? Uh — uh — moon, green cheese. I'm — I don't know," and so forth.

And you say, "Well, try not to be a foot back of your head."

And by the way, I still believe the first class doesn't follow Standard Operating Procedure. And the reason why I believe that is because there's two or three guys in the first class that aren't in tiptop condition. It's the most routine thing. You can dream up all sorts of things.

There's eighty thousand hours of investigation back of Standard Operating Procedure Issue 1, and it works. It doesn't break down, and I have never had it break down — just routine use of it. Somebody tells me there are three cases that aren't solved — that's impossible. I mean, that isn't just unlikely — it's impossible, if persons were using Standard Operating Procedure.

So you want to get this thing better than you know a musical scale. And always go through this same rote; always go through the same steps. Start at I, and go to II, go to III, go to IV, and go to V, and go to VI.

And if you get down to VI, and you suddenly find out this person can't remember anything real, something like that, you're still in a very workable case. You can patch this case up, do some interesting things to this case.

If the case can't see black and white, can't remember anything real, they're actually probably neurotic — very neurotic — in spite of what meets the eye.

All right. Let's run this whole thing now backwards. The first thing you do, then, is tell a fellow to be a foot back of his head, be two feet back of his head, be three feet back of his head, whatever you want. Best is three feet: "Be three feet back of your head." The fellow is three feet back of his head, you can tell him, "Okay."

Now, just don't get hysterical and excited and ask him a lot of questions and run around the room, and jump through hoops and open windows at this point and jump out, or do other things which a person way down the line would ordinarily do at this point. He'd say, "Oh, my God, somebody is out of the head. Let's see, I'll have to sound the general alarm and get the fire engines here or do something else unpredictable or remarkable."

No, this doesn't call for that; that just calls for you as an auditor to sit there very calmly — and not with any enforced calm — and just say rather offhandedly, say, "All right, now, move up two feet. Can you be two feet higher than that? Okay, let's be four feet lower than that. All right, let's be three feet over to the side. Let's be three feet over to the other side. Okay. Now, let's see what the temperature of the wall is."

Because you enter Standard Operating Procedure with these postulates: "It's going to happen. It's inevitable that it will happen." This just prevents you from doing wild things or getting worried. "It's going to happen." And the other thing: "It'll happen on this procedure." And you enter it with that postulate. You enter it with a postulate, "I wonder if this works," and you'll depart from the rote. You'll do other strange things.

You just keep him out there then, and by orientation — orienting him, making him do Creative Processing, and changing postulates; do those three things — you'll bring him way up the line!

And if I catch an auditor trying to get this preclear to validate whether or not he's outside by what he perceives and the accuracy of what he perceives, I'll have him shot. I'll have him shot. I'll send up to Mars — I'll tap one of their cables and I'll give them orders that so-and-so is needed immediately because he's causing a lot of trouble. He's mixed up in Dianetics or something. (audience laughter)

Now, let's not ask this preclear to validate or invalidate himself, because you're not even vaguely interested in his perceptions. This preclear has been using a body as a perception meter to orient himself in space and time. He will perceive, eventually. But the fellow who perceives accurately the first moment he comes out is something like being mad at a baby — being mad at a baby — because the baby doesn't immediately get up and write the check to pay for the delivery at birth.

I mean, you're not going to say, "Well, the baby can't be out! He can't be out because he isn't in a full state of knowingness, beingness. He's not completely oriented," so on. "Throw him in the garbage can. The dickens with it — lost case."

Well, it's just as ridiculous as that, really. It's even more ridiculous than that. All right. Now, then we're going to just go put him through the paces, after that.

Now, in the first two seconds of play, you'll learn that he is not back of his head. You say, "Be three feet back of your head."

And he says, "Um-uh-um-uh-um-er-uh . . ." Every once in a while you'll be quite surprised .. .

You'll say, "Are you?"

He'll say, "No, I'm not."

Well, for goodness sakes ascertain this: Is he four feet back? Because he quite often will give you that kind of lineup. They get very childishly exact about things. The fellow will say, "Will one foot do?" Or something of that sort.

You just make sure that he didn't do it. And without changing your tone, demeanor, anything, simply say, "All right. Try not to be." See, that's the first couple of seconds of play. I mean, he isn't back of his head? Okay, he isn't back of his head, that's all.

He'll say, "Well, I don't think I am; I don't know. I might be . . ." and so on and so on and so on.

Why, just give it to him. Just say, "Try not to be."

And in like proceeding, go straight on down through the steps.

And let me tell you this: It should not take you five minutes to ascertain where this individual is on the scale. You do it that rapidly; you don't hurry, you don't loaf. Every time you find out he hasn't done what you asked him to do — he couldn't do what you asked him to do — why, you know where he is. You can tell immediately whether he can see black and white. Can he see black? All right, he sees nothing but black, therefore, he can see black and white.

Just never occurs to auditors somehow, every once in a while just on that basis: that a fellow can see black, he's seeing black and white. He just doesn't happen to be seeing white at the moment, because the easiest thing to vanish under the sun is the white, and the black's there all the time. And Ridge Running will dig the white up, so there's nothing to that. Now, you just run right on down through the line and then there you go.

Now, you take him wherever he is, and you work him with that step until he's outside. Wherever he lands — wherever he lands, whatever he can do — you move him out. He's out — I mean, until he's outside.

Then flip back up and use from I down again. Never, never, never be dull enough to start a session without starting with I. Always start with I, Standard Operating Procedure. Don't get it fixed in your mind that you've got a III, or a II, and thereafter treat him like a III or a II.

Now I'm going to give you Creative Processing. I keep wanting to call it "causative processing"; might even be a better name, "causative processing." Of course, all this processing is causative, so we'll call this Creative Processing.

This processing uses Standard Operating Procedure 2. Two is different from 1 on issue just in this degree: You don't run DEDs and DEDEXes, overt acts and motivators on a V. You don't run facsimiles as facsimiles. You don't run locks as locks, so forth. So, therefore, we've departed from that with Issue 2, Standard Operating Procedure. You handle them, you don't run them.

All right. This Creative Processing does not suddenly absolve the auditor from adherence to the Auditor's Code — not even vaguely absolve him. And at all times the auditor is alert to the reactions of the preclear. That goes for any operating procedure. If this preclear says something you just can't quite make out, and you just don't know quite why this preclear is saying it, you find out. Make it your business to find out. In the first place, if you don't try to find out what he's doing or saying, he doesn't think you're interested in him, and his tone will sink.

And the other thing is, is he might be processing the North Pole, or looking at the trains go by eight miles away, and you might not even know about it. You might think he's still sitting there inside of his head and you're still working this and that, and the fellow has jumped out and he's gone here and he's done this and he's doing that and he's just gotten a perception of this and it's a whole chain of past deaths and so on, and the only comment he's made on this is "Hm, that's strange."

Well, then, just don't just keep on pounding him with rote — you say, "What's strange?" Right then. You don't find that out later, you find it out right then — "What's strange?"

"Well I don't know, the smell of this girl's hair." You see? The smell of this girl's hair, that's what's strange.

"Well, what girl?"

"The girl whose hat I am sitting on." And you want to know how in the name of golly he got on a girl's hat. Just don't bother to try to track that up; just accept the fact that he's on this girl's hat and proceed from there. Because a thetan can suddenly leave the head.

You won't know quite when, very often, you triggered it. It's sometimes a shot-from-guns process; he goes boom! And actually you can look for manifestations, and you will notice the manifestations of a thetan really being out of the head, and those manifestations are very precise. He pulls the head back. No matter how slightly, he will pull the head back. And if you see that chin tuck in — oh-oh, he's out.

Now, the fellow can sit there and so forth, so on, say, "Yeah, I guess, I am. Guess . . ." Uh-uh. See? There are other little signs that you will notice. There's a certain difference of coloration takes place. Now, these are really minute observations, and you pick them up actually not by my describing them, but by working preclears. But observe your preclear; learn to observe your preclear.

I add this in at the beginning of this process for this reason: is every time I come up with a new process everybody thinks we've thrown all the old processes away; we've thrown them into ashcans and garbage cans, and they're all sitting out there on trucks ready to be hauled off to the dump. We are in the beautiful circumstance of having assembled a puzzle called human beingness, and in the assembly of that puzzle called human beingness we have recovered unto ourselves an enormous amount of data. That data is valid data.

Let's take sound. Why is it we were processing words out of engrams? Well, it's because a person has no lids on his ears, therefore he can't control sound. Sound can come in on him anytime it wants. Therefore he finds sound very aberrative, because things are aberrative to the individual to the degree that he cannot control them. And he cannot control sound very easily because he doesn't have any way to shut it out. And as a consequence, sound-sound-sound pounding him, pounding him, pounding him continually will make him feel like he is out of control in the presence of sound. Therefore people can order him to do things and he will do them. Therefore the words — words become quite aberrative. So we have picked on, willy-nilly, the most aberrative perceptic there was — sonic — and we were driving this to the limit.

A man can shut his eyes, a man can withdraw his tactile, but he can't get away from sound unless he locks himself in a soundproof room and they're not always handy.

All right. What you find in that first book, you could take any preclear you walk into and you'll find it working. But that first book and Science of Survival — those two books — are actually all the books we have which makes a fairly exhaustive examination of the mechanisms of behavior of man. And those books button up and finish off dynamic psychology, and they're very good — very good. That's fine, it finished a subject and it started ours.

All right. Now, there are manifestations in there. There's types of Lock Scanning. I could tell you that when you lock-scan, always make sure that you get out all the tractors and pressors of other people's and other person's. That's why people hang up on Lock Scanning. That'd be the only new thing I had to add on that whole book. All that technique works; those techniques all work.

We know more about the mind. Evaluation. You can use that Tone Scale. If you don't use that Tone Scale in auditing — if you just don't turn around and use the Tone Scale and the Chart of Attitudes in auditing — you're missing a terrible bet.

Now, as far as assessment is concerned, I'm going to give you an assessment that has to do with creation and destruction. What won't or can't a person create? What won't or can't a person destroy? What does a person insist on creating? What does he insist on destroying? You go down all eight dynamics and you've got his case — and you've got his case!

Now, you do your assessment on your preclear with Creative Processing — do your assessment on the preclear. You don't just sit down and let the whole thing run off and that's the end of that. You do this assessment in a very precise method — a very, very precise manner. There's no reason to have big forms printed up for this.

But every time you do a preclear, you take a piece of paper and pencil, and you mark this down here. You mark down this little graph. It looks like this. Just mark that down for the sake of formality; for heaven's sakes, for the sake of formality.

On the left-hand side at the top we have the word "creation." On the right-hand side at the top we have the word "destruction." Under the word "creation" pointing straight down we have an arrow. Under the word "destruction" pointing straight down we have an arrow. And 100 percent fixation on creation or 100 percent fixation on destruction, either one, we mark "insane." And this middle between "creation" and "destruction" — a well-balanced creation and destruction means and adds up to sanity.

Now, we want to find out where the preclear is sane and where he is insane, and so the way we find this out is very simple — very, very simple. Under "creation" we have — you don't have to write these down, the words "insane" — but under this we have two columns and we simply make a notation, 1, 2, 3, 4 (in a vertical column going down), 5, 6, 7 and 8, and again over here, 1, 2, 3, 4, 5, 6, 7, 8. Now, that's "cannot," "would not." Under "creation" then, we have "cannot" and "would not." And we have the column of dynamics underneath there.

Now, you can allow yourself a lot of paper, but "Creation c" would be "creation cannot" — capital C, small c. "Capital C, small c 1" would mean "cannot create self." "Capital C, small w 1" — "would not create self." Get the subtle difference between the two. The subtle fact is that even if he could, he wouldn't! What's that add up to for you? That adds up to something very, very clean and clear: It means he hates himself. And if he hates himself, ho-ho! he's stuck, because hate is hold. On your energy levels of the Tone Scale, as you'll find in other lectures, hate is hold.

All right. Now, it's just as important to find out where the preclear is sane as it is to find out where he's insane — just as important, just as important. So we make two more columns under "sane" — and these two columns, by the way, could be very interesting. They could add up on "bored" and look right to you, but they wouldn't be right. Your preclear would be a 2.5 all the way down.

So if he's perfectly willing to create himself, and if by test in Creative Processing he can apparently make a stab at it, and if he's perfectly willing to destroy that thing which he created in Creative Processing and so forth, he's sane on the first dynamic. He can create and he can destroy in creative illusion, the first dynamic. So we'll just check that one off.

But we have two columns here: One is "for sure" and the other column is "bored about it." And you watch those "bored about it," because they suddenly turn out to be ringtailed snorters, suddenly — the fellow who's awfully bored about it.

Now, you don't know really; he's perfectly willing to create himself, and he'd be perfectly willing to destroy himself, he's just not interested in it. You go to the next subject then — not interested in it. You'll find some subject where he isn't as vague as this. All of a sudden you'll say, "Well, all right, now you take girls — take girls. Now, would you be willing to create a girl and … ?"

"Oh yes."

And, "Would you be willing to destroy a girl?"

And, "Oh, no! No, no, no, no." There's the entrance to the case. The second you find this — the second you find this entrance to the case, you do something very interesting. You just take a list of all categories of girls of all ages and all the girls he ever knew, and you just write them down ad nauseam. There was Gertrude, there was Emily, there was this one, there was that one, there was this one, there was his mother, and there was his grandmother, and "I had twelve aunts," and so on.

And, "What were their names?"

"Oh, you wouldn't ask me to remember that?"

"Oh, yes. Yes, I would." And just get all of those — boom, boom, boom, boom — and this entire list falls out at that point.

You find something which he is unwilling to create, or you find something he is unwilling to destroy, and that stands up sharply — then you find out everything connected with it that he can think of in terms of objects and energy and spaces and times. You just get a complete category on this subject. This case is going to fall apart in your hands if you do this technique.

Over here is "destroy" — of course, is "cannot" and "would not." They're actually just differences of grade, a subtle difference between the two.

All right. Now, we'll go down over the eight dynamics and you get to eighth dynamic. Now, the eighth dynamic is the supreme being. But remember throughout the world there are many, many supreme beings, really, in people's minds. You will find from individual to individual there are different supreme beings. This would surprise a religionist and would shock him and would be considered blasphemous really, if you suddenly announced this fact.

But an examination of people demonstrates to you completely that this is true. We find out in many cases the supreme being is Father. We find out in many other cases the supreme being is the president. We find out in many other cases the supreme being is a dog. And you say, "A what?"

And the fellow says, "Well, he says, "I never thought about it before, but he sort of sits up there and he — yeah, he's a dog."

You know, you say, "Yeah?" and so on, because you have an infinity. That supreme being, that eight stands for an infinity, you see? But it's what he has been assigning the overall responsibility for the universe to.

"Who created all this?"

"Well, I don't know; nobody did. It just rose from mud, and so forth." And you say, "Well, all right, then, mud is the supreme being."

"No, no, no, you get me wrong, but come to think about it, that's right.

Yeah, mud. And yeah, mud — that's the supreme being. It would be, wouldn't it?

Yeah."

And you say, "Now, well, let's think about this a little bit further. Is mud — be the supreme being and so on?"

"Oh, well," he says, "it's really just chance, chance."

"The supreme being, then, is chance. That's what created the universe."

The fellow says, "Well, come to think about it, that's true. That's true — yeah, that's right! Yeah, that's right! That's why I carry this rabbit's foot and I never go out when the moon comes full, and de-dah, de-dah, de-dah-de — brrrrrrr." There's his life going off in front of you. It's that thing to which he's assigned the full responsibility for this universe. And that's what you want to know there: Who made the universe? is the salient question that goes in there.

Now you ask him this horrible question: "Would you destroy him?" "Me?"

You'll get some wonderful reactions from that one.

You say, "Well, all right, would you?"

"Oh, I couldn't! I just couldn't, that's all. It isn't a question of wouldn't; it's just I couldn't do that — I mean, gee!"

By the way, you will have people who will have painted — all through their childhood will have seen God in the terms of Moloch. Moloch, for instance, will have been dug up way back on the track someplace, and every time somebody in Sunday school said, "God," they saw Moloch. They kept keying this facsimile in, keying this facsimile in, you see, because nobody is very definite about God. Nobody gives you a good solid description and, as a result, the little kid when he's trained gets the strangest notions, and you'll find those underlying that regard.

Regardless of what your religionist intends, regardless of what religion is or isn't or anything else, you'll just have to just say, "Well, that's a theoretical thing, it possibly could be a very actual thing, in my category it's this way, it's that way." But people don't look at it the same way, and it's an aberrative fact.

Now, the only reason we have to treat this, and the only reason I have to talk about this subject at all is because you walk down the aisles of an insane asylum, you'll find that three out of five in that insane asylum are saying something about God. God is the symbol. It means that thing to which we assign responsibility; it can also mean that thing by which we avoid responsibility. And you'd better find out what it is in your preclear.

And you just say, "Who made the universe?" or "Who's responsible for the universe?" And he'll never have thought about it before, but the darnedest answers will turn up.

He'll keep saying, "But I'm an atheist, I tell you. I'm an atheist, I'm an atheist, I don't believe in God! I don't believe in God! What do you mean asking me a question like that? I don't believe in God!" Wonderful, some of the reactions you get. I mean, you just — you kind of feel like just getting out of there before something explodes. This fellow doesn't believe in God, obviously.

So do your assessment. We call this an assessment. This is a creation — destruction assessment, and its goal is to find out what the preclear will destroy, what the preclear will create, along all dynamics. And when you find one where he just won't — boom! won't — then you sit down and on a next page, on the back of that page, you make yourself a complete list of everything you can dig up out of his case concerning this subject. You just dig that up.

Now, it's a moot point whether or not you should really make an assessment before you tell somebody to step a foot back of his head — for this reason: It's so much easier to process somebody a couple of feet back of the head. But you're liable to get so excited about this preclear who is doing this, and he looks into your wallet and says you've got three dollars, and he goes around pulling the darnedest tricks, and he pushes the policeman's hat down over his eyes down on the corner, and he comes back, and he says, "I didn't do anything."

You say, "What's that riot down there?"

"Oh, nothing."

And you'll get so interested, in other words, that you're liable to forget to do an assessment. And eighty hours later you are still processing this case and he doesn't seem to be able to get any further than this or over those points. And you say, "I wonder why this could be."

I taught myself a lesson on this not very long ago. I've had the experience one too many times. Every once in a while I'll get careless. I'll spend long periods of time saying, "Well, there's nothing to this case — kabop, kaboom. And all of a sudden — and then once in a while, I will find out that I've missed the boat. I didn't do an assessment — the only way I missed the boat. I just didn't assess the case. I would have found this out in the first few minutes of play. I would have found out exactly what was wrong with this case and I would have processed that.

All right. The second you find that out, you don't try to process it in the preclear. You just get a list of all these things, and you get all this data, and you put that data down.

Now, he's going to change; he's going to change markedly, but what do you know? That data will be the data which primarily interferes with his communication with the body in his lifetime and this environment. And you've got the data — so you've got the data sitting right there, and you use that data.

Now, if you get somebody else's preclear and you know this person's working well, and everything's going fine and so forth, you say, "There's absolutely no reason under the sun — that other auditor is a good auditor, and therefore I'll just take this preclear, and he says he's a II and so on . . ." You do an assessment; you assess the case. Right straight down the line, you assess this case.

And once you've got the case assessed, you've got the data, and this is what you do with the data: You use the cycle of start, change and stop, or creation, growth, decay and destruction — you can draw that little curve in there — you use that cycle, and you go through this cycle placing and creating time and space with the object or the symbol of that thing which you found aberrative in the assessment.

And now, that doesn't mean that you do entirely — entirely creation of it. You do creation of it and learn how to destroy it. You get the preclear to a point where he can run any of these objects which he has discussed to you through the complete cycle of creation, growth, conservation, decay and destruction with full perceptic, because you're right there on the point that's suppressing his perception. He's afraid he will perceive this thing as it is in his environment. That is the thing which he is seeking to avoid; that is the thing — why he has his perceptics turned off.

Now, how do you start this? You find out, on that subject, what he can perceive. Now, you've got him out of his body — you've gone through Standard Operating Procedure — or you've gone down to Level V and he's not out of his body. How do we proceed at any one of these points? You've done these points, now we've found he's a V. You do this immediately on a V; he's still in the head, and you start this process.

Now, you do this by creating an object, or any part of the object, or any symbol of any part or action of the object, on any perceptic the preclear can get, and work with it — work with it — in terms of placing it in time and space, and making it run through the cycle of creation, growth, conservation, decay and destruction.

Now, the reason he can't destroy things is because he thinks he has to have things. You disabuse him of having to have this specific item by showing him he can create them by the dozens, the thousands, the millions — anything that it takes — and you do this very simply: He can't blow up one, make him create two. He can't blow up two, make him create four. If he can't blow up four, make him create eight. If he can't blow up eight, make him create sixteen. If he can't blow up sixteen, make him create thirty-two. And all of a sudden he says, "All right, I've blown all but one up."

And you say, "Blow that one up."

"Well, it doesn't quite blow up again."

"All right, get a — create another one. Okay, now let's take the two of them there, and let's place them in yesterday. Now let's put them in tomorrow. Now let's put them out on the street. Now let's put them on top of a lorry. Now let's put them in Samoa. Now, let's put them on Arcturus.

"That's fine. Now let's turn the picture you have upside down. Now let's add a taboret to the picture. Okay, let's have a horse standing on the taboret. Very well, now take the horse out of the taboret. Take the taboret out. Very good. Blow them up."

"Yeah, I can."

You find he can't throw something away; that's because he can't create something. And if you've gotten it on the first dynamic, and you've got the V, the first thing you start doing with the V is apply assessment. You just start that right off the bat. He can't get out of the body, so you just do this assessment and you apply this Creative Processing to that assessment, and you apply it with gradient scales.

I repeat, you apply it with gradient scales. I repeat, you apply it with gradient scales. And just in case you haven't missed that .. .

Don't mock up — have somebody mock up, "Mock up all your teammates now. Now just kill them all. Oh, you couldn't do that? Well, I don't know what we do next."

What do you do next? Well, you mock up one teammate and you see if you can push him a little bit. Oh, the guy can't even do that. Okay, your next step is to get, "Let's see, what football team do you dislike?"

"Oh, yeah, there was one."

"Well, mock them all up. You got them out there on the playing field and so forth? All right. Have one of them break a shoelace. Oh, you got a shoelace broken? Well, take the shoes off of all of them. Okay. Take the hats off of all of them. Oh, they aren't wearing hats. Well, take their jerseys off."

"Yeah, that would be a good joke; I'll take their jerseys off."

And here we go. And you work from that to where you can actually shoot one. And then you mock up more and more, and you get them up to a point and all of a sudden you've got the guy's teammates and he mows them down, and he said, "Yup, tsk! That's that. They're all dead. I blew up their bodies too." This is very strange; this was not his attitude ten minutes before — not his attitude, because what you're doing is changing attitudes.

And the essence of all processing is. changing attitudes. And the way you change an attitude is to demonstrate to somebody that he has this item toward which he has an aberrated attitude; he now has this item under his control.

And control means ability to handle in space and time, locate space and time for. And that's handling: locating in space and time, locating space and time for.

Now, what do you do with his memory bank? Supposing you've got him mocking up his body. You found out he's terribly upset on the first dynamic and noplace else, and he couldn't possibly create a body, and he just couldn't do that or anything of the sort. Well, have him create something that belongs to the body.

And he can't do that, and he can't do any of these things, and it's just impossible. Well, have him draw something. If he can't see anything, if he has no sight perceptic or something of the sort, he's got some kind of a ghost of a perceptic, so you get the kind of a noise a body makes when it's eating soup. And you'll get the idea, and you creep in on this.

"All right, get the kind of a noise a horse makes if it'd eat soup." "Oh," the fellow finally says, "yeah, I can get that."

"Okay. Now you got a horse eating soup, okay. Now, let's get the horse's bridle."

The fellow says, "You know, that's the first visio I ever had. There's one buckle sitting here in midair."

That's the way it's done, that's the way it's done — Creative Processing. Now, you can go over this and over it and over it.

Now, how do you make him handle the real experiences of his life? These things keep showing up and showing up and showing up — whole track.

Well, I'm going to give you a list of the bric-a-brac which surrounds most of the implants on the whole track, and you make him handle this bric-a-brac. It's just mock-ups of mock-ups, and he just handles this, and he places it here, and he places it there, and he turns it upside down, and that sort of thing. All right.

Now, how do you make him handle a real incident? A real incident is really bothering him. Do you run it out? No, you don't run it out. You can't get to this real incident, but he can get one still picture of Grandma, and you know Grandma is dead. She's been lying there moldering with the worms gnawing upon her for a long time, and he knows he can't survive without Grandma.

Actually, you go back on the track, and after you've run the track, you'll find Grandma beat him practically every morning and every afternoon or something like that. There'll be something there that he didn't quite suspect. And he can say, "Well, all I can get is this photograph of Grandma. I get this little, tiny, still picture of Grandma that's all still back there and I know she died, but I don't know when she died, and I don't know where she died. I haven't got any (mumble), and I know it's very aberrative, and I'm very upset about the whole thing," and so on.

What do you do with this? You take that little, tiny, still picture and you make him hold it an inch further away. Now you make him hold it a couple of inches further away. "Now move it a little tiny bit to the right. Now move it a little tiny bit to the left. Now move it a. little bit up. Now move it a little bit closer. Now a little bit further away. Now turn it upside down. You got that? All right, now let's turn it around and look at the back of it."

And he'll say, "Say, you know, I've got a visio of Grandma. Yeah, there's the old bat." Don't be surprised if his attitude changes that fast.

Now, get this little point: If his attitude doesn't change with remarkable speed, it's because you're not following your assessment! You're processing the wrong horse, or the wrong Grandma, or something of the sort, and his case is pinned down elsewhere by something else!

Creative Processing, in essence, is processing which is leveled to demonstrate to the preclear that he could create his own universe, and that takes the importance off of this one. And when he suddenly conceives this point, he becomes very, very active — extremely active — much more active than any other kind of processing ever could have made him.

And we've got it in the bag with Standard Operating Procedure Issue 2. The refinements on this will probably be just a little bit further out along this same line.

So, you get expert — you get expert now on that.