Although we cannot put these readings on a piece of tape or anything like that and although many of you probably cannot see this dial very clearly, I am simply going to describe to you the operation of an E-Meter, what an E-Meter is and so forth, because you will be using one.

Now, the reason we use an E-Meter is something that ought to be fixed very securely and never altered afterwards. But it actually gives you a peek at the second universe of the mind. It gives you a peek at this and at the gradient scale between this universe called a mind and the body, at the gradient scale between this universe called the mind and the wall, and this gradient scale called the mind and the spirit. And it tells you where the confusion is when I tell you that we use this as a gradient scale on the second universe. Tells you the concentration here is then upon the second universe. Well, this is the only thing that is really tangled up. We take a person apart so that his mind doesn't leap in front of his observation.

So the only point of stress to free the spirit is the mind, the second universe. It is this one which interposes and makes it impossible to view and become familiar with. You see that?

Male voice: Yeah.

We've got one universe, then, acting as a screen between the spirit and its ability to see, and that is the second universe.

Now, we're not now talking about Dianetics particularly, we're not talking about Dianetics at all. We're simply talking about these four universes and the freeing of a spirit, the creation of a state of Clear and so forth.

Now, we could of course just directly bring this about. With Stop-C-S we can make an individual quite familiar with his body, can't we? And with 8-C we can make him quite familiar with the physical universe. And so both of these, then, are very beneficial. We can make him exteriorize people and get a subjective reality on it himself and, so, make him familiar with this world called the spirit. But you will find that the techniques and activities which I have just mentioned are all limited, very limited.

We tell somebody, be three feet back of his head, 50 percent of the people we run into will be three feet back of their heads just like (snap) that, and then three days later be back in again. See that? We can run 8-C, 8-C, 8-C; the alcoholic gets better; everybody gets better, better, better, better, better on a little gradient scale — we haven't got the time. Your time is crazy, I guess. We can tell an individual to run engrams, run engrams and run engrams, and he finally becomes quite familiar with mental image pictures, but we haven't concentrated directly upon the control of them.

In other words, there are a lot of approaches we could use. And one is familiarity with the fourth universe, which is to say the physical universe. A familiarity with the body — looking inside and outside the body- — we could use that approach. And we have used those two approaches a great deal, and you have a lot of techniques which add up to those two approaches. And they are good. They're better than man ever had, but they're not good enough to make a Clear! Just make up your mind to that right now.

If you, as an auditor, take your clawed fingers and rip asunder the curtain of the second universe, the individual can look and become, in the process, familiar enough with the second universe not to have it kick back at him again.

So our point of attack is the mental image picture and its energy reactions and manifestations. And I have here, right in front of me, an instrument which does this. It performs a direct observation for the auditor of the other fellow's bank. Now, that is quite amazing. It performs a direct observation of the mental image pictures and their interactions, and it doesn't leave the auditor looking off into nowhere.

Now, very few auditors are in a state to look at the nothingness of a bank and continue to believe in it, so they do all sorts of weird things. They'll run a technique — run an engram one pass through. Well, they can't look at it and it's not very real to them anyhow and their own bank is in their road, and so they say, "Well, we'll go off to something else more important."

So it needed a looking machine for an auditor to see somebody else's bank, and this is a looking machine at somebody else's bank. Because as the mental image pictures pop up and become associated with other mental image pictures and, as they separate, the machine tells a story. And the auditor can sit there and he can watch a needle. He can watch a somethingness, and then he is not reduced to confronting a static. And therefore an auditor in poor condition can put a preclear into good condition, because the auditor can still look. The auditor can still look. Follow me?

Audience: Mm-hm.

So we've whipped that part of it.

But the looking machine requires some use and familiarity itself, and you're going to get that familiarity, because in a very short time everybody in this unit, when he's doing auditing, will be handling one of these looking machines. (We're having a little difficulty furnishing one and all with these things, but in a very short time this will have been accomplished.)

Now, in essence, this machine is a fourth universe machine. It is part of the physical universe, and that it can look at the second universe of mental image pictures shouldn't surprise you at all, because it isn't looking at it. It measures the influence of the second universe upon the third and fourth universe. It measures the influence of pictures upon the body and upon the physical universe. Do you see that? And oddly enough, whenever a thetan is confronting pictures, he is confronting them on a linkage to the body or the physical universe. See? He can confront them on this gradient scale. Do you see that?

So the gradient scale between the thetan and the body and between the thetan and the physical universe is not at any time visible. All this machine does is measure the physical universe aspects of the body in the physical universe. Don't you see?

But these things are influenced every time a thetan looks at a picture — you're getting this closer now? — so that it isn't a direct look. Don't ever think that it is. It isn't a really direct look at anything more than the reaction of a mental image picture upon the body or the reaction of a mental image picture upon the physical universe.

And it assumes that there is a reaction and a linkage between the thetan and the body and the thetan and the physical universe or the thetan and a picture. It assumes this but it never measures it. Do you follow me?

So you're not watching a thetan wiggle. Don't think you are. When that needle wobbles, what's wiggling is a picture against a body or a picture against the physical universe. Therefore, the actual finite currents of the physical universe can then be used to apparently measure these activities of the thetan versus the picture. So you get an apparent measurement of this.

Now, this puts a little tiny piece of energy through the thetan — very, very small. I don't know what it is. The meter you'll be using puts probably, it is said, fifty milliamps, something on that order — fifty microamps.

Now, the meters which you have used before evidently put a much heavier current through, and the grosser the current, why, the less delicacy of detection. So this fairly light current goes through the preclear one way or the other and the mental image pictures influence and counterinfluence, and we read the wiggle of the needle and then we can see something is happening to the thetan, which is quite interesting. But you never observe that directly, don't you see?

Now, your best understanding of a meter would come in this wise: that if you had a little deck of cards here — let's say they're face cards; these are mental image pictures, seen or unseen by the thetan, talked about or not talked about by the thetan. Here's this little deck of picture cards, and every time you moved a picture card which influenced other picture cards, you got a reaction on this needle. Then you would have the idea, if you just got an idea of a stack of picture cards here.

Now, we take one picture card off the top and we find out that nobody has been chewing gum or eating candy while playing cards with it, and it didn't stick to anything. Got the idea?

And it picked off cleanly off the top. And we looked at it and we said, "That's the jack of hearts." And the meter won't say a word about it. It won't say a thing, because that picture is not associated or connected amongst these universes. It's not an associated picture. Therefore, it itself is a null picture and, for your purposes, is just as good a thing to use as anything else. We're not saying don't use anything but connected pictures, you see? I'm merely telling you how the meter acts.

So this jack of hearts here — you ask the fellow, "Have you ever been in love?" You usually get a reaction on something like this, but in this particular case the individual said, "Yes, been in love many times," and the meter doesn't say a thing. You can count on the fact that he's probably picked up a picture of some girl, or she has picked up a picture of some guy, or six or twelve, bunch of these pictures, maybe a whole fan of them, you know, just looked them over and so on. They're not interconnected. The person can observe this part of life directly, so there is no charge on it. Do you get it? And therefore, to make him observe it would be to do something rather weird: make him to look at something he can already look at. So that would be a waste of time.

But we could make him use this picture, which is null, to practice with. So a null picture is quite important as you go into this action of Clear; a null subject is quite important. A no-reaction subject becomes very important, because you can work with it and do drills with it. So a no-reaction on the meter is as important to you as a reaction. Do you understand that? One is just as important as the other, only they're different things. All right.

Now, we reach down into this deck and we find the queen of spades, and we start to pick out the queen of spades as we're handling this little deck that we can see. And the last four pinochle games she had actually been toyed with several times by people who were chewing gum, eating peppermint candy and so forth. And as we try to remove the queen of spades from this pack of cards, four or five other cards start coming with it, and they're a little bit sticky too, so we pull the queen of spades out a little bit further, and five or six other cards start to attach to the four or five first cards, don't you see? And we try to shuffle this deck and everywhere we look we keep running into a stickiness. Well, the card that influences all other cards is the queen of spades. We might not find this out at first, but we could sort it out and we would eventually find that the queen of spades — by inspection of gum on the edges and so forth — we'd find out the queen of spades was the one that was tying the deck up, you see. And therefore we'd better wash off the queen of spades. And then the deck wouldn't be quite so sticky. All right.

In a mental image picture wise, of course, the individual who has a picture cross-associated — identified with, if you please — lots of other pictures is like this gummy queen of spades. And you get reaction all over the place here. Every time you strike a totally associated card, why, you get all sorts of weird reactions.

Now, those reactions are, in themselves, different and meaningful. But let us first just break this down into this simple fact that we get a no-reaction, and that's quite important to you, or we get a reaction, which can also be quite important to you, but they are different things; they mean different things. No reaction means not that he doesn't have a picture but that the picture is free; the reaction means the picture is gummed up. All right.

There are three major reactions on this machine as you watch the needle. The first of those is stuck. All of a sudden, the needle is going around and it goes bzzt, bzzt. . . You could kick him in the shins, you could ask questions, you could do almost anything you wanted to do after that point, and the needle just sits right there, totally stuck, totally fixed. It looks fixed. See, it isn't motionless; it looks fixed, see? It isn't just a null reaction, it's fixed. You can sometimes see the machine move into this fixed thing, and if you're very smart, you will remember the exact question you asked that moved it in and not start moving in other things on top of it. Because you've found the queen of spades.

Now, if we get something that is only remotely associated with the queen of spades but still associated with it, we're liable to get another reaction entirely, we're liable to get a surge. It's a discharge of one kind or another, a surcharge, a change of potential — a piece of chewing gum that stretches. But it's action. We say there's charge on it. And if we traced all of these charges down, one after the other, we would eventually find the totally charged piece, which doesn't discharge against anything, against which everything discharges — have you got the idea? — which is the total pole, you might say, which is an only one, which is a single thing without any second thing in action against it and, I'm just hazarding this (I don't know this to be absolutely true but you will find what I'm telling you to be quite workable), you will find the stuck needle. The needle will freeze.

Now, every question you ask on top of a frozen needle brings more things down on top of the frozen needle. Isn't that interesting? Now, remember that we had this jack of hearts, and it was totally free, and we've got a stuck needle. So we say, "Well, the best way to get out of it, obviously, is to get the person talking about the jack of hearts, because the jack of hearts has no chewing gum on it and therefore we can free the person off of this subject of the queen of spades." You see? And we say to the individual, we say, "Well, now, how about the jack of hearts?" And the needle jumps maybe a tiny bit; maybe it isn't quite as stuck as it was before, but it is still stuck. And more important, the jack of hearts has now been added to the stickiness of the queen of spades. Do you get the idea? So the one thing you mustn't do with one of these needles is, when you get a stuck needle, don't get wild, don't change what you're doing, don't run off and start grabbing jacks of hearts and adding them to this mass, or your preclear will wind up as a lump of chewing gum. You see this?

So you notice when the needle froze, and the only thing that means to you — that you got a totally stuck subject. Well, what are you going to do about it? Well, it merely says you shouldn't have done anything about it in the first place. It says you're in trouble. You have hit a nearly totally charged subject. You've hit identifications, the like of which you never heard of. Well, I say you're in trouble, and we're talking about the meter, not how to get out of trouble.

Now, let's say we were running the jack very successfully and all of a sudden, wham, we went straight between the jack and the queen of spades. That second picture . . . Brother, you keep on running the jack because you can run him free, but if you try and go looking for the queen of spades, she'll keep holding the jack. Do you see? The jack can get himself loose, but the queen of spades can't.

So you never — you never Q-and-A with the preclear. He gets a particularly awesome, horrible picture — terrible picture. Oh, you've been having a ball; you've been running the jack, see, you've been running the jack of hearts and you're just getting along fine, getting along fine. And all of a sudden he says, "Oh, my god."

And you say, "What's the matter?" Of course, the needle said what was the matter, too. The needle said bzooom, you know? He didn't probably say anything. You looked at him and he was glassy-eyed. And you say to him, "What's the matter? What you got? What do you have there? What are you looking at?" — anything you want to. "What happened then?" — the usual question.

"Ahhhh!" he said, "There I am, kneeling with my head on a block." "No," he said, "there I am, standing with a headsman's ax in my hands. No, I am kneeling at the block."

Well, admittedly, this is very interesting, and this is just the time, you might think, to study the history of the Dark Ages. But I can assure you that if you pursue this and abandon the jack of hearts, you've had it. That's called Q-and-Aing. The bank changes, so the auditor changes. That's why we say "Q and A." The bank asks the question and the auditor answers it.

So, a ridge shows up; it reacts on the meter. We can establish what it is in order to give him some familiarity with it, and we will see it usually before he does. But I can assure you that if we follow this ridge and now do something else to clear it up, we have committed the worst sin in auditing. There's no greater sin, unless it's suddenly getting up and leaving the preclear stuck in something, and just abandoning your hands of the whole thing. All right.

The queen, here, put in an appearance; the needle even froze. And you say, "Well, that obviously has much more charge on it. Now I know what is wrong with the preclear."

Well, please recall what I just told you in an earlier lecture concerning the stupidity of reasons. There isn't anything wrong with the preclear except that he's got four universes mixed up. That's all that's wrong with him. And when you add significance — say, "Well, no wonder he has a neck ache all the time: he's always having his head cut off. I'll clear this up, and then we will go on to something else," boy, have you blundered! Because you turned his attention on a stuck card, and now to get him pried off of that card will require heroism.

So all you'd notice with a meter are these things: You notice when he's run into something hot. You can just ask him as a passing gesture what it is; you can leave it alone. You can notice when something is null so that you can use it and operate with it, and you run the null subjects more or less on this cycle, until they get a reaction and become null again. So the only thing that a surge, a stuck or a theta bop — the three manifestations of the meter — tell you is that it isn't flat. That's all you have to know about it: It isn't flat. And all it tells you to do is run it until it is. And when the thing is again more or less null, and his tone has come back to about where his tone was before he hit this, it is flat as far as you are concerned.

Now, you can go on and on and on and ask more questions, ask him to do this thing many more times, unflatten it and get more reactions on the machine and run into the queen of diamonds, who is also in terrible condition in the bank, but that is not indicated. All you're asked to do is to run something from a null to a null, no reaction to no reaction. You got it?

Now, there is so much specific information to be known about one of these machines, about past lives, about how you plow things out and so forth that we actually could spend the remainder of this ACC just having a ball chasing around on the track, showing different reactions on the E-Meter, replotting the physical blueprint — we could do all sorts of weird and wonderful things. But you don't have to know how to locate a thing in time. You don't have to know how to scout one down. You don't know how to select anything out. You don't have to know any of these reactions. Why? Because today you're avoiding them.

Now, a lot of you know these reactions already, being in this particular unit. But all you have to know to handle an E-Meter and all that's expected of you is null to null: You found one that was null. You then used this subject or object as a mental image picture in certain drills and activities, and you continued to use it until it was again null. When do you stop using it? When the needle stops acting.

When you picked it up it was null but after you ran it for two or three commands, you found out it was getting a charge and it got all sorts of charges. Now, those charges could be one of three — a stick, a surge or a theta bop. And a theta bop is a death or an exteriorization. And the needle just hunts here and goes over and hunts here and goes back over to here and hunts here for a second and hunts here, and it's a very, very interestingly characteristic manifestation. That means death. He is staring death in the teeth, one way or the other, or a violent exteriorization. An exteriorization is slightly different than death, but they're both characterized as theta bops. Most people see them as the same thing. Stuck, surge — drop, just drops — or theta bop.

Now, the rise manifestation is not a charge manifestation. It means freed from charge. And as the individual is freed from charge, his tone goes up, and as his tone goes up your tone arm handle has to be raised higher and higher in order to get the individual back on the scale.

Now, there is an increase, a rise, then, which is different than one of these surges, which is a fall. Now, these meters fall to the right and rise to the left. And rises are generally quite steady — very slow, very steady and not spectacular — and falls are always (snap) as a response to an action or a question. (snap)

This machine will then shorten the length of time required in auditing enormously. It will shorten this enormously, because it doesn't let you go on running some subject after it's null again. It means speed of running, because the moment this thing is back down to null and its tone is regained, you're through with that, and you bridge and go on to the next action.

See this? It was null, you ran it a couple of times and you took any incipient charge there was off of it. But more important, you gave the preclear confidence and familiarity with this thing and showed him he could handle a mental image picture in this peculiar way, this particular way — he could handle a mock-up, something of this sort. And it reacted for a little while, displaying his flinching, his unwillingness to confront the thing. And you ran it back down and he was no longer flinching; he could do it with considerable confidence. At that time, the thing is null again and has reestablished its tone. So it's null to null, and that's mainly what you have to know.

I'll show you how to set the machine up. Machine is always set up on constants. We take the pc here, and we give him a couple of cans, and we ask him to hold those cans in his hand. And we just are interested here in just two controls only, and these two controls are as follows: the tone arm and the sensitivity.

Sensitivity is the button at the bottom, and the tone arm up here. The mistake auditors normally use in their anxiety to get an effect on the preclear — they do something very interesting: they set the sensitivity high and they say, "Boy, we're really wheeling now. The needle is moving all the time. Yeah, it's moving all the time." It moves all the time on psychos, too. Nobody is interested in a needle that moves all the time.

So you test it this way: You put the preclear somewhere into the middle of somewhere, and you take the sensitivity button, and you ask the person to give the cans a sharp squeeze.

[to pc] Do so, would you?

Well, now, that needle didn't move at all to amount to anything when he gave the cans a sharp squeeze, so it means we have too little sensitivity. We want it to jump one-third of a dial when he squeezes the cans. So we bring this up a little higher here, and we get the needle here.

[to pc] Now, give it a squeeze.

Oh, there's no jump on that, so we haven't got enough sensitivity at all, and we will just move this up here.

[to pc] Give them a squeeze.

Ah, we're getting somewhere here. See? We're getting about a fifth of a dial. So that means we have too little sensitivity, so we're going to move up the sensitivity some more.

[to pc] Now, squeeze them.

Well, that's getting more like it. But that isn't really as much sensitivity as I normally use. Here's usually about it.

[to pc] Go ahead. That's it.

Now, we bring this tone arm down here — the tone arm, the higher lever — we simply bring this down here to a point where the needle rides over to the left side of the dial, somewhere about where it is now.

[to pc] Now, squeeze the cans again, would you?

All right. Now, that's dropping about half a dial, but there's nothing wrong with that drop. The needle is kind of free and it's working good.

[to pc] Squeeze them again.

That is just about perfect, right where it is.

Now we, note, do not again touch the sensitivity adjustment. This we leave alone! We only touch now the tone arm, and we have the machine balanced. And every time he drops violently, we bring this tone arm back here, so it'll center somewhere over here on the left side of the dial so it's got room to drop.

Now, you can get drops of four and five dials. And you can actually hold the needle (I don't know the question to ask this particular preclear to give him an eighteen-dial drop; I do but I won't ask him) and you ride down, you can actually ride down the tone arm and hold the needle steady, don't you see? But the tone arm is dropping instead of the needle. You get the idea? What you're watching, there, is a drop.

Now, if you were to ask him for a present time problem, if you do not get a drop rather easily on the machine, you go on to something else. You don't go on and work him on the machine. You understand, there are methods of auditing by which you can just audit the living daylights out of somebody just by reading him on the machine — two-way comm and blow this out of the road and that out of the road and have yourself a ball, and that's just fine. But that's not the kind of auditing we're doing here. All right.

So what's our importance here? We're going to set this machine up and we're going to ask him, "Do you have a present time problem?" Yeah, we got a little action on the machine that time, see?

[to pc] Do you have a present time problem?

Yeah, he has a present time problem. Not a very bad present time problem but he does have a present time problem. Now, we'd discuss this with him and so forth. We won't take it up here, but we would discuss this with him and we would clear it up, null to null. The machine was null before we asked him if he had a PT problem, wasn't it? And if we two-way commed it or ran problems — "Invent a problem worse than . . ." "… a problem of comparable magnitude to it," something on that order, it cleared it, so it came back to null. See, null to null. So, after a while we'd be able to get a zero reaction on the thing and we'd say to him, "Do you have a present time problem?"

Now, don't expect that little reaction would increase. If I started asking him about what this present time problem was right now, I would increase the drop, don't you see? He's withholding the information because he doesn't think I will ask him. There probably is some question I shouldn't ask him, however. Man, there's a man with a clear conscience. Nearly every preclear drops on that.

You can get certain reactions on this machine to just four or five standard questions. One of them, you can put your fingers . . .

[to person in audience] Would you — would you ask him this question? Would you put your fingers on the back of his neck and ask him if he's ever been kissed there by a girl?

Female voice: Have you ever been kissed there by a girl?

PC: Mm-hm.

Well, the machine is working. Thank you.

Machine is working, but not very actively. See? That tells you whether or not the preclear is acting on the machine. That's a standard question. You got that? Put your fingers on the back of his neck, ask him if he's ever been kissed there by a girl. Ask some girl, "A man ever kiss you there?" If you get a little reaction on that, one way or the other, you know the machine is being operated by the preclear, don't you see? It's not being off the house current or something. Got it?

You must assure yourself that the machine is reading the preclear, otherwise you'll be continually suspicious of it; you won't know anything about it. So that's a standard one.

Another one is has he ever been arrested. You always get a reaction on that, even a tiny one. "You ever been arrested?" See?

Another one is, "Is there some question you're dreading?" Or "Is there a question I must not ask you?" Or "Tell me what question I shouldn't put to you" — that whole class of things. And you quite ordinarily get drops on the thing.

There are other such trick questions that get a reaction on the machine. But if you — you are actually looking for nulls rather than actions. Now, if you can just get yourself adjusted to this, because your goal is Clear. Now, if you had another goal which is entanglement, you would run only on surges, don't you see?

Now, you'll find that the machine operates quite incidentally on the fact that when the preclear moves his hands around . . .

[to pc] Move your hands around.

See, we're getting a little action there. See, he's getting a little action on his hands being moved around.

[to pc] Now, touch the two cans together briefly.

See that machine jump when he touched those two cans together? Well, actually, it just goes right on over to bang — if you held them together any length of time. So he knocks the cans together, you'll get a reaction. If he laughs you will get a reaction. If he sighs deeply you will get a reaction, don't you see? If he can sigh . . . See, you get a reaction there. See that action?

This machine isn't reading very hot.

[to pc] Do that again.

PC: (sighs)

There you are. See that?

Now, a machine actually may act a lot more actively than this, may jump all over the doggone place on a laugh, a cough, a … Sometimes a preclear has some nervous habit or another that every time they start to answer you, they get a convulsive hand squeeze or some darn fool thing of this character and so on.

You have to establish, then, whether or not their hands are motionless, whether or not they are actually running on this, you know, what is going on.

Now, wherever we see a tone scale on a machine or something like that, it is only an approximation, and its use is as follows. Let me give you a good idea: You see where this tone scale arm is now? All right. Regardless of what that's reading — and we ask the fellow this charming question: We say, "Well, how do you feel about going on with the session?" We get a little reaction. And we say, "Well, how do you feel now about keeping something from going away?"

"Oh," he says, "fine." We get a tiny reaction.

We say, "Well, do you think you're making any progress in the session?" We get a reaction, a little reaction. There's something here, something worrying him. You say, "What's worrying you about now?"

"Well, I just was thinking. Just thinking."

"What were you thinking about?"

And he'll say, "Well, I was just thinking about the last drills that we did there on keeping things from going away, you know? I — I don't know whether I'm making any progress or not, you know? I had a picture kept sitting up there of my aunt Matilda . . ." The machine just starts falling off the dials, see? It just starts going off, off, off, off, off, off until this tone scale handle is way down here. In other words, it fell from clear up here to clear down here. The machine was way up here, and the needle centered, and it fell off until, to get the needle centered, you the operator had to turn the doggone arm here, way on down here till it was horizontal over to the left. There's a big charge on Aunt Matilda. Of course, now, after what I've told you, you run Aunt Matilda at once, don't you?

No, you don't Q-and-A, not with this clearing procedure. You run the same process you were running before lunch. You run it in the same way. And how long do you run it before you think he's out of the woods, or the session has more or less cleared up, or he's in good shape? Hm? It's when this tone arm is back up here again, where it was when you started. You got that?

Well, now, here's the behavior pattern this tone arm will follow as it rises: You must know this. You — to center the needle you have to keep moving this arm, of course. And as you ask him to keep things from going away or some such thing or whatever you're doing, why, you find out that he's making a gain, he's making a gain, he's making a gain, he's making a gain; you have to hold the needle higher. And you have to hold this arm higher in order to keep the needle centered. And he's making a gain, and you say, "Boy, we're really winning." Man, you get to watching it there like a cockroach race, you know; watching your winning horse in the Kentucky Derby, you know, and so on. You're watching that thing come up — "We're winning. We're winning."

And all of a sudden, for no explainable reason, he falls into a secondary charge of some kind or another and this thing falls right on back down to or below where it was before. You just lost the whole cockeyed works. You lost all that gain back up to former position, just swish.

Well, take heart, take heart. You know what now happens? This goes very rapidly back up to the point you've lost from, but inches on up higher than that, slowly, slowly rising. Now, you keep on doing the process, and you watch that tone arm, and it's going up higher and higher and higher and higher here, and then all of a sudden it goes blooomph. And you say, "Oh, no." Funny part of it is, couple of questions, it'll be back up here again. Or just a few questions, it'll be right back up to where you had it. See?

It more and more rapidly returns to where it lost from and more and more rapidly runs higher. And actually as it goes back again — it might have fallen directly from this arbitrary over here to the right clear on down to the bottom of the machine; it might have just gone swoop. Or it might have, over a period of ten, fifteen questions, gone clear down to the bottom of the machine.

But its response is the reshuffling of these pictures, and getting the gum off of them, and you'll see the pictures move out, actually with the tone arm as well as the dial.

But the way that the thing goes back up again is it creeps, creeps, creeps, creeps and then drops off and then comes back up a little less slowly — up, up, up, up, up — and then drops off a bit and then comes back up here again and then drops off again and then comes all the way up, and you're almost there and you say, "Gah, here we are toward the end of the session. I'm going to make it, I'm going to make it, I'm going to make it, I'm going to . . ." Boom. Ask the question eight, nine, ten more times and it is back up here again.

For that reason you want to quit when you're winning. Don't surprise the preclear to death by saying suddenly, "Now, this is the last question," but quit when you're winning, and you will rapidly get used to this behavior and manifestation of the machine as you'll get rapidly used to that.

The machine tells you to run whatever you're doing only so long as it is producing change. That's what the Auditor's Code says. The machine reacts only so long as you're producing change. When the machine is now null again, you are no longer producing change. When the tone arm has been brought back up to where it was before the session started or higher, you have, of course, freed the preclear of whatever you set out to free him of, basically, and you produced a change, but you've run, again, from null to null. Do you see that?

So the machine tells you when change is being produced, and it does not, then, permit you to waste enormous numbers of hours in senseless grinding — do you see? — that are totally null.

Boy, you see that machine get flat and null on any particular question and that's null — "Mock up that apple and keep it from going away. Did you do that? Thank you." And all of a sudden — this was going by leaps and bounds and death dives and every other doggone thing — and all of a sudden it's getting calmer and calmer and calmer and calmer, and then all of a sudden it'll just go null on it all and you say, "That's fine. Now, how do you feel about that now?"

The fellow says, "I feel all right about that now."

And you say, "Well, all right. Is it all right with you if we go on to something else?"

Get out of that stall. You move from null to null. Three more questions, boom, bang. You're liable to run into a brand-new computation, brand-new association, and the thing falls off the bottom and invalidates you, and that's that. Got the idea?

So when you've got it running null to null, why, when it's null again, knock off of it.

Now, it doesn't say that you have to reestablish the position of the tone arm for every process used. You use one command and that reduced his tone, you've got to use this until his tone is back up here again. You understand that?

This is in the day's run. Got that? This is just in the course of human events.

In the entire day you watch this. But you watch that needle there, and its reactions for when he hits a null.

Apples were null, so you used apples. Amazing, though, that after he's run it a time or two he's got charge on apples. And apples are dying and surging and getting stuck and everything else, but after a few commands, all of a sudden he has no more charge on apples. You've got it made. Get him off of it. Go on to a slightly larger object is the way the rule will read. If you kept on on apples, why, he'd eventually become quite an authority on apples, but he wouldn't be Clear.

Now, do you understand the uses and limitations of this here machine?

Audience: Yes.

All right. We will spend a lot of our time here running on this machine, so it was necessary for me to take this up with you at this time. Exactly when these machines will be in your hands, I do not know, but I shall hurry it up all I can.

Now, I won't say, "Are there any questions?" because there aren't.

Thank you very much.