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Illusion Conclusion
Jerry Stocking
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Tape 7 – Side A
Tape 7 – Side A
IC_T07A
44:00
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Transcript
271 utterances · click to jump
00:02
S0
Am I really that stupid? Check it out. Get a little smarter for a moment here instead of just stuck. Look at me. What is the likelihood I'm gonna give you that excuse given how badly you want some excuse for this that I'm gonna give you that pathetic an excuse to make me wrong?
00:22
S1
Slim to none.
00:23
S0
Slim to none. So don't worry about your stinking lunch. Explore your phobia instead.
00:30
S1
There's no phobia.
00:31
S0
You're already upset. You're raring to go. You're looking for trouble. I don't love you any less. You're just breaking my heart, and I appreciate it.
00:41
S0
That's it. Look at me. I don't love you any less. You're just breaking my heart and notice that yours is breaking too. But just experience it and that's all.
00:56
S0
You can't ever shut somebody else out without dying. You can't do it. You can't possibly and I don't care who they are and I don't care what they've done or haven't done. I don't care. You can't.
01:16
S0
I want you all to do this because you do this in your life and you hurt the people you care about the most.
01:26
S0
What? I'm mad at you now for helping out my course by showing them how to get down to where they're stuck? I think not.
01:33
S2
I don't think that either.
01:36
S0
You get it? How many times in your life did you do this when you could have opened up and know something else became more important because you couldn't deal with whatever was going on in here? And you kill them off. So what? There are other people. Well, there aren't other people. There's just you projecting stuff out there. That's all there is. How many people are happier with the lunch they have than the one that they started with? Please raise your hand. Look around. Okay. How many don't know if they're happier or not? Okay.
02:15
S0
And how many are much less happy with what they have than what they started with? Raise your hand. High. Okay. So trade again, please.
02:30
S3
No. Wait a minute. No. No.
02:32
S0
No way. If you don't wanna make the trade, don't make the trade.
02:39
S0
If you have the perfect lunch.
02:42
S4
I don't know. I got it. You have bunch.
02:44
S0
Okay. Raise your hand if you have the wrong lunch.
02:50
S0
That's your lunch that's the wrong lunch, Linda. And
02:57
S0
raise your hand if you don't know whether you have the right lunch or the wrong lunch.
03:03
S0
What if you didn't put anything between yourself and other people?
03:08
S0
Wouldn't that be weird? What if you could instantaneously make whatever you have be precisely what you should have? A little secret happens, a little really weird thing happens, you don't get stuck with it. Mhmm. Now in this case, it's obvious the lunch goes right through you. Right?
03:31
S0
You really don't get stuck with it unless it's meat. And then you really get stuck with it, and it ruins the rest of your life,
03:41
S0
except for this woman that Karen knows who was a vegetarian for how many years?
03:47
S0
Like, twenty five or twenty seven years before it was in vogue. Great. And she just discovered eating meat, and her whole life is completely different.
03:59
S0
Her vitality has jumped up tremendously. Her body is this is a woman who massages somewhere between fifty and sixty people a week.
04:11
S0
Nobody massages between fifty and sixty people a week. She's here in Atlanta. You ought to go see her. 50 to 60 people a week has for at least seven years that we know of and stores none of it in her body. She has one waiting on the table while she finishes with the other when her husband meets her with a glass of juice and she walks into the other and does that one. Nobody does this. Unheard of. And she just discovered she needed meat. When you don't need meat, please don't eat meat. When you do need meat, please do eat meat. But if you let a principle about eating meat determine it, then you don't let this thing determine it.
04:55
S5
Jerry is indicating the body.
04:58
S0
This thing knows whether you should have meat or not, and sometimes you should have meat, and sometimes you shouldn't have meat, and sometimes you shouldn't have meat for twelve years.
05:11
S0
How do you like your lunches? I
05:14
S1
have a lunch.
05:16
S0
K. Trade, please.
05:22
S0
Emily had a favorite blanket. Did you guys have something when you were young? She
05:30
S0
went from having a favorite blanket to having a favorite corner of the blanket.
05:34
S1
Mhmm. Okay.
05:35
S0
And the rest of the blanket got so badly beaten that I repaired the corner and cut it off of that blanket and sewed it onto another blanket. And she couldn't go to sleep without it and she had to have it and she had to whatever. Any of your parents try to have you get rid of something that filled this void for you? Because that's standard operating procedure.
06:01
S0
We we have prime moments in courses from time to time.
06:06
S0
Here's this woman, she's sitting in our house when we used to live up north and she says, how do I get my child to get rid of her pacifier because she's past the age she should have it? And this tall, handsome, blonde chiropractor is sitting in the course and he looks at her with a stern look and he says, who gave it to her? Which to me says it all. It was a cheap solution at one point in time. Now it's become the problem. How many cheap solutions end up as problems? If you do anything, it ends up as a problem. One day, Emily didn't take her blanket into bed with her, and she never needed it again. If she had still had it at 70, I might have had a problem with it.
07:04
S0
How many of you define yourselves by what you eat? How many define yourselves by what you drive? How many define yourselves by where you live or what you do or what you think or any of this. This is all so demeaning. It's amazing you can walk around
07:28
S0
crippling yourselves this thoroughly. You've proved that you can hold on. Now let's find out if you can let go. How many of you define yourselves by being good or by being bad or by being right or by being wrong or by any of that junk? If you get down to tinier pieces like over lunch today with pictures, sounds, feelings, as you notice those, you'll notice those aren't good or bad.
08:00
S0
They're just little things that go on. That's it. You take these labels off of it. So please over lunch today, make sure that you have a great lunch.
08:13
S0
Pick a partner, please. Pick an a and a b. A's, close your eyes. I don't know what you wanna be. And b's, we'll tell you halfway through lunch, and then you switch who has their eyes closed. So
08:31
S0
a's, have your eyes closed halfway through lunch. In other words, do one of the weirdest things possible here, depend upon another human being.
08:44
S0
Keep your eyes closed, and we'll tell you when half of lunch is up. If you can't possibly do this exercise, then don't do this exercise. There may be something to learn from this. If you're going into the bathroom over lunch and it doesn't work to have your partner with you then don't then open your eyes for going to the bathroom. This is not about being stupid.
09:11
S0
It's about learning what you can. But if you're walking out here and you think you're gonna walk into, the Brooklyn Bridge,
09:21
S0
don't open your eyes because the Brooklyn Bridge isn't out here. Got it? So if you need it for the bathroom so that you don't say this crazy guy made me go to bed the bathroom with this weird other person,
09:35
S0
do it for the bathroom but otherwise don't. It'll be somewhere between forty five minutes and an hour no. Somewhere between forty five minutes and eight hours that we take for lunch. There'll be a whistle at halfway through.
09:54
S0
So that would be the halfway point. And
10:01
S0
then you change who's got their eyes closed.
10:05
S0
Have lunch.
10:10
S0
What do notice over lunch?
10:15
S1
I noticed that when my eyes were closed, it felt good to give up that control and I enjoyed it.
10:26
S6
I noticed that my what I thought was happening or what everything looked like with my eyes closed was in reality what what it was. When I was walking, I thought I'd be I was someplace else, and I was right where it's supposed to be. When I sat down, the picnic table, the way I imagined it was totally different than what it looked like. Everything ended it felt when I had my eyes closed, I felt more like more fear. Like, I was expecting to stumble over roots and stuff, and it it felt like I was go really going through a forest. And then when I opened my eyes and said, it was just a an open field.
11:08
S0
In the world of illusion, you always have your eyes closed. I
11:12
S7
noticed Judy Wow.
11:14
S0
Can I say that? I
11:21
S7
noticed when Judy had her eyes closed and she was talking, her eyebrows would still go up. And you could see her eyes rolling.
11:27
S0
And there went the pictures. And
11:31
S7
then myself, I found that I when my eyes were closed, I could I felt more comfortable and conversing and everything.
11:44
S7
I didn't have to create pictures or something quite so hard. I don't know. Just it was more fluid for me. And there were no visual pictures that were created. It was kind of a gray with my eyes closed. And then all of a sudden, was a little pink heart, just a like a little sticker.
12:04
S0
I knew you were gonna get that over lunch.
12:06
S7
With a
12:07
S0
That's a specific attainment level.
12:10
S7
And then it disappeared. So I lost Where
12:12
S0
I come from, we call it the pink heart. Okay.
12:20
S1
Yeah.
12:22
S4
I noticed when I was with Pat and he had his eyes closed that if I was touching him, he was much more comfortable than when I said, okay. I'm gonna let you go now and just follow my voice, and I'll tell you, you know, if there's obstacles or not. He was very uncomfortable with that.
12:40
S0
Uh-huh. Gotta trust a little bit, don't you?
12:46
S0
Little bit. It didn't
12:48
S1
seem that hard to close my eyes, but when I opened them up right beforehand, I think I told her, I felt kinda cheated that I couldn't see out there.
12:59
S0
And if you hear a little more accurately and feel a little more, we're they're shifting what's in your seven plus or minus two. So what's the big difference between God and Santa?
13:15
S0
The presents.
13:20
S0
I made that up over lunch.
13:26
S0
It was an okay lunch otherwise.
13:29
S0
What else? What'd you notice over lunch?
13:33
S2
I think the the thing that was that happened with the two of us was a trust level. It started with the trust walking, and then I felt fear to share, I guess, what was going on in my inner self with my eyes shut. And that really seemed to work for both of us.
13:54
S2
But it was it seemed like it was a a perfect deal. I mean, I
13:59
S0
Tom, what are his patterns? What's he doing?
14:03
S0
Damned if I know. Pay attention. Will you? Watch him. He's showing you.
14:09
S2
It seemed like a perfect deal. I mean, I the whole exchanging of the lunch and whatnot, and it just felt like this was something was supposed to happen and and and worked. And it was it was a very significant event.
14:24
S0
Okay. Anything else?
14:29
S0
Big shift for a little eyes closed, didn't it?
14:33
S1
Well, I had a really good time. I had the best lunch, one that I really like but never would have packed myself because I'm not supposed to eat that stuff, but I really, really liked it. So it was a real gift. I had the best conversations, and it just went by so quickly. Couldn't believe it when the second whistle blew. Already? Yeah. What
14:58
S0
if you had games everywhere all the time that you could just make up on the spot and then you got a game? Let's say you're going to a presentation. And if you go to presentations or courses and stuff, anytime the person uses some particular word that they use occasionally but not terribly often, lean to the side.
15:20
S0
And do that 15 or 20 or 30 or 40 times, however I mean and then lean to the side and find out if they don't say the words soon because they will.
15:32
S0
And you'll find out how stimulus response the person is who's talking to you.
15:38
S0
Billions of games everywhere. There's no limit to it. And you don't have to be blatant and obvious to play them. You sit on the airplane on the way home next to someone and you breathe with them for a little bit and then hold your breath. And they'll hold their breath
16:03
S0
and they'll have no clue how come. And you'll start to get some idea of how much power you have. Don't do it if they have asthma.
16:12
S0
You gotta be a little careful with it. But the dance goes on and on and on. What else? What'd you notice?
16:25
S3
I noticed that I didn't really have to give too much trust. I pretty much had a feeling that, you know, nothing's gonna happen. I don't really have to worry about anything. I'm not gonna And you
16:35
S0
hate trust, don't you? You little rascal.
16:38
S3
I guess I do. I don't know. There's just no it felt
16:42
S0
to idea of the power and trust,
16:46
S0
and watch how the people around you grow when you trust them. And watch when they let you down and don't do it, watch how your heart breaks and the quality of your relationship increases because remember that's how it's measured.
17:06
S0
Read an article many years ago about some guy who was sitting in his apartment, which was just off Central Park, and he figured out that if he sharpened a pencil just so and placed it on a piece of paper just so, the entire universe revolved around it.
17:25
S0
That's you.
17:28
S0
And then being as smart as he was, it wasn't too long till he realized that perhaps somebody on the other side of Central Park was doing the same thing,
17:37
S0
and then it got a little too complicated for him.
17:45
S0
Time to connect, sweetheart.
17:48
S0
Say what? I get it.
17:57
S0
Before we practice
18:02
S0
a little bit of kinesthetic, Let's do a little bit of visual in an auditory area.
18:24
S0
All visual. I think we
18:26
S1
changed it.
18:27
S0
It's all visual. He's shifting your pictures for you. He's creating pictures for you and shifting your pictures. Try it again.
18:44
S0
It drives you up.
18:48
S0
I'm not saying there's not a kinesthetic element and an auditory element, but his drive is visual.
19:09
S0
He's driving you up. Here's an example of kinesthetic.
19:18
S0
Notice the number of holes versus stuff. Visual is all stuff, no holes virtually.
19:31
S0
Get ready for the voice.
19:48
S0
He's in no hurry.
19:51
S0
He's just sitting there.
20:02
S0
Anybody?
20:04
S0
Got it?
20:17
S0
Your attention seldom gets on your kinesthetic. Very seldom.
20:26
S0
And
20:29
S0
one of the things that we used to do aggressively before we realized that nobody could figure out what we're doing was we would break down people's patterns in the mathematical formulas called strategies of visual auditory kinesthetic by what that person was doing and how they compared them. It started to look like computer loop diagram. And
20:56
S0
one thing we discovered is that the last element in every decision, the last element in every loop, which determines whether you exit the loop or go around again is always kinesthetic. It's always a physical sensation that lets you know whether you're in or out.
21:15
S0
So in other words, it patrols every why. Not every why, every why. Every why in life where it appears that you could go this way or that way, kinesthetic patrols that. Your body patrols that area and determines which one you go on. It's not your auditory that determines which one you go on. Because you can go to the right and think you went to the left, can't you? It's not your auditory that determines it.
21:49
S0
It's your kinesthetic. Your body can't go to the right while going to the left. Your body goes to the right if it goes to the right, and it goes to the left if it goes to the left. Your auditory can go any which way, so can your pictures. You can picture that you're out in the middle of a forest while standing on Broadway. Weird sounds for a forest. These squirrels are really getting mechanized.
22:19
S0
Kinesthetic, feel the difference in the room,
22:24
S0
is a very different beast and it has to do with physical sensations. And what if, let's just pretend for a moment, What if you had a body?
22:35
S0
Wouldn't that be weird?
22:39
S0
What if somebody said, hey. Let's go do this, and instead of just checking out your mind, you checked out your body?
22:47
S0
The answer would become obvious, instantaneously, easily obvious because your body knows if you should go or not. Your body knows if you should eat this or not.
23:01
S0
Your body knows if you should stand next to somebody. Some of you have married somebody that your body can't stand, that your body is allergic to, and it set up an allergy. Some of you are still married to that person.
23:19
S0
Makes it a hard life. And your body yells, get out of here, and you go, hi, sweetie. I'm home.
23:30
S0
So physical sensations, pair up, please.
23:35
S5
Please refer to the evangelist exercise in the book.
23:45
S0
And get right across from the other person, please.
23:50
S0
Bs go first. Bs, I want you to pretend like you're an evangelist on Sunday morning, and I want you to convert sees over to some opinion that you have.
24:06
S0
Okay? I want you really to convert them. Sees, I want you not to allow yourself to be converted, but I want you to tempt them to think you're going to be. Now meanwhile,
24:21
S0
any position are you c?
24:24
S1
I'm b.
24:25
S0
Any position that c takes, a must take.
24:30
S1
Okay.
24:30
S0
So So if she goes like this, you have to do that. Whatever she does, you have to do Okay. While attempting to convince her of your point of view.
24:55
S2
It was difficult to follow her, obviously, when I was talking. But at one point, she stopped moving, and I kept on moving in patterns that were similar to what she had been doing. And it took me really a lot a lot longer than one might expect to realize I was still moving and she was just sitting there.
25:16
S1
I was surprised how much of her conversation I actually heard.
25:20
S0
You mean you heard some? Yeah. Okay.
25:23
S1
I found that whenever Myra had moved and I tried to convince her, whatever I
25:27
S0
thought she was doing, like, she started to laugh, and I tried to laugh in what I was trying to convince her to do. So what happens here, you notice the energy in the room? It takes apart some of your junk.
25:41
S0
It takes apart some of your illusion because you've got a whole set of what she should be doing if she's getting converted.
25:51
S2
Uh-huh.
25:52
S0
And you have a whole set of what you should be doing if you're trying to convert her. Don't you? You have specific parameters that you were way, way outside of. What if the dance between the two of you
26:11
S0
what if the dance between the two of you were more important than anything you have to say?
26:20
S5
Then you go like this. Here, Jerry enters into a very tight kinesthetic embrace with a large black woman in the course and speaks to her.
26:32
S0
You go like this. You get them in really close and you say, I hate you.
26:39
S0
I think you are the grossest, fattest, dirtiest pig I've ever met.
26:59
S0
Which speaks louder? Yeah. Always.
27:05
S0
It always speaks louder. If you don't like them, it doesn't matter how many times you say, I like you.
27:14
S0
Right. If the kinesthetic is saying no Mhmm. It doesn't matter.
27:23
S0
Who's good for me?
27:25
S1
No complaints.
27:28
S0
She's a good dancer. It runs the whole yes. It was like being in a world onto itself. I like it.
27:38
S0
How much of the time do you operate like the words mean something? Oh, all the time. So switch roles, please. You're now the evangelist, and you gotta match his patterns.
28:02
S0
What if the connection between you and other human beings is already complete and finished?
28:09
S0
What if there's nothing to do? What if it's underneath there and you fill all of this trash on top so that you have to try and then relate to them? But you aren't trying to relate to them. You're trying to relate to their illusion. You know what happens if you start to relate to their illusion just the littlest, tiniest bit? They change it. They change it all over the place so that you get to jump through hoops. What if underneath that, you're already totally, completely, and utterly related, and there are no problems whatsoever? Was this fun to try and convince them but not care if you convince them? Mhmm.
28:48
S2
Yeah. Yeah.
28:49
S0
What position do you have to be in to argue? How many arguments have you had in the last month? Oh. Just give me an an estimate. 50. 50? Yeah. Wow. I
29:03
S4
mean, other people or myself?
29:08
S3
That's
29:11
S0
We'll go other people here. 10. 10? One. Now is this predictable or what? One? How many arguments did you have in your head with what they said? A whole bunch. Yeah.
29:27
S0
Withhold queen for the day. One. One?
29:32
S7
Five. About seven?
29:37
S0
What?
29:39
S0
You guys don't wanna know.
29:46
S5
Five.
29:50
S0
So if your number is low, you gotta get your number really, really, really high. And if your number is really, really high, you need to get your number really low. And if it's in the middle, you need to get it high and then low and then low and then high.
30:08
S0
So you two have an argument, please.
30:11
S1
All over
30:12
S0
the place
30:12
S3
of that
30:13
S1
last exercise,
30:14
S3
especially when you're leg is up here like that. Well,
30:18
S1
I thought it was really good. It was good exercise. You didn't like doing it? I didn't like doing it. What would you like better?
30:29
S0
She can't have an argument, can she?
30:34
S1
And it's hard for me not to.
30:35
S0
Yep. Yeah.
30:38
S0
Back to bad and good again.
30:42
S0
Let her have it.
30:44
S1
Let her have it? Yeah.
30:48
S0
What what do you mean? You've got a pro behind you.
30:54
S1
You really didn't do a good job following my movement. I thought you could have done a better job. Give me a break. No. It's true.
31:05
S0
Sorry. I'm sorry. Why do you use other words?
31:13
S1
What do you mean?
31:14
S0
You could just use I'm sorry. They say good morning. You say I'm sorry. I
31:20
S1
know a girl who does it.
31:22
S0
That's the old I have this friend who needs therapy. She has a problem.
31:38
S0
Is that how you would sit to argue? How
31:43
S0
would you sit to argue?
31:44
S1
I'd probably face her and get in her face.
31:47
S0
Don't you have a position you argue in?
31:52
S0
What if you changed it?
31:56
S0
Turn to the person next to you and sling a little complaint at them with your hands like this.
32:07
S0
Go.
32:11
S5
Please refer to the arguing exercise in the back of the book.
32:21
S0
Look around the room at the other people. How if
32:27
S0
it's this easy to not do it, you have to admit that you love it. Don't you?
32:35
S1
Yeah.
32:36
S0
That you work like crazy to set it up to make sure that you get it
32:44
S0
at all costs.
32:48
S0
Wait a minute. I'm not quite there yet. Wait a minute. I'm not okay. Now I'm ready. Now it hurts enough.
32:58
S0
I have a suggestion. For the next month, if you're gonna argue, argue on one foot, except you, and you raise one foot. Can you raise one foot? If you're gonna argue for the next month out there in the world, argue standing on one foot. Try it. YouTube.
33:22
S1
I think your attitude stinks.
33:26
S7
Well, if you get your attitude straight, women, you wouldn't have a problem
33:29
S0
with We're not quite done yet. I'm kinda liking these two together.
33:38
S1
This is a woman shit.
33:42
S3
What? Are you dyke or something now?
33:45
S1
I'm a dyke. Is that supposed to upset me?
33:47
S7
Well, god,
33:49
S0
a woman.
33:49
S7
Oh, I know. If I could meet you someplace in between, we might figure out what it's all about.
33:53
S1
Where would you like to meet me?
33:55
S2
Well, I'm not gonna
33:56
S3
I'll I'll never meet you there.
33:58
S1
That's for sure. The woman that I am.
34:10
S0
And yet she's ready to have an argument, isn't she?
34:15
S0
Turn back the age clock a little bit.
34:20
S0
I'd hate to see an argument between the two of you. It would be rebirthing. We'd go back. We'd be a plant past life exploration.
34:32
S0
Given their commitment to immaturity, given the pressure being on, they would go back before birth, and we'd find out who they used to be.
34:42
S0
Do you understand that? Do you care? No, I don't care that you don't care either.
34:50
S0
We can follow that tunnel, can't we? All the way to nowhere.
34:56
S0
And in nowhere, nobody cares. Groups of three, please.
35:00
S5
Refer to the kinesthetic exercise in your booklet.
35:05
S0
Simple exercise. He closes his eyes, and he keeps them closed during the exercise. You touch his knee with one finger, and you say your name. Dick. You touch, and then you let go, and you pull it off, and you say your name. Vicky. Again?
35:28
S3
Dick.
35:31
S0
Vicky. Okay. Now one of the two of you touches him, and he tells you who it is.
35:40
S2
Vicky.
35:41
S0
Yes. One of the two of you.
35:44
S7
Dick.
35:44
S0
Yes. Now Oh. I want you to make them so close together that he has a hard time telling. Right now, it's about as different as if you were touching different knees
35:55
S2
Mhmm.
35:55
S0
Which this kinesthetic guy can handle. Okay? One of the two of you touch him.
36:03
S4
DICKY.
36:04
S0
Yes. What? Now we're gonna have drums on this, and he's got no.
36:16
S0
Come on.
36:24
S0
So you say your name if he gets it wrong. You say yes if he gets it right. Remember he has his eyes closed? I mean, you could do the whole exercise and just touch him and he says whatever he says and nobody learns anything.
36:36
S0
Don't go by the pattern. Go by what you get in your body. If you're paying attention to one parameter, like what angle it is or how hard they're pressing or something like that, you guys vary that. Until he starts to get it wrong, then make them slightly more different until he gets them right. I want you to walk the fine line between determining it kinesthetically and the thoughts wanting to take over. Because at a certain point, the thoughts wanna take over. Yeah. Many, many years ago, we did an exercise in a course
37:15
S0
with cards. And one was a really good hand and the other one was a really lousy hand, and we we played poker this way. One person would look at one hand or look at the other hand, and you had to tell which hand he was looking at. We had a corporate trainer in the room that got him right 50% of the time. She just 50% of the time, that was it. So she couldn't do better than chance. And then she closed her eyes, and she got a 100% right. She was attending to something with her eyes that was throwing her off. I want you to find out what would happen. Wouldn't it be really weird if you trusted yourself?
37:58
S0
If you get them all wrong, that means you're right. Just switch whatever you wanna say.
38:04
S0
So you get you lead them along. First, you calibrate it. You let them know who it is so they can get the touch. Then if he gets them right really quickly, try touching here instead.
38:17
S0
Got it? So train him and then find out how he does. A right answer gets you two points. A wrong answer gets you two points.
38:30
S0
Okay? Go.
38:35
S0
Take your time. It'll take about six or seven minutes each.
38:43
S0
Do you like it better when you get them right?
38:45
S1
Uh-huh. Yes.
38:48
S0
That is gonna make your life almost impossible from here on out, Primarily because you probably learn more if you get them wrong. Because how many right answers are there and how many wrong answers are there? A lot more wrong ones given the way right and wrong happened to work. Now if you're the one doing the touching or one of the ones doing the touching, I want you to use your visual ability and determine which one she's going to say before she says it.
39:24
S0
Let's speed up the game. Let's catch up. Know which one she's gonna say before she says it. Go.
39:37
S0
So Dave goes visual, and she can't he can't get it right. True? That was true. Dave goes visual, and Patrick thinks it's Judy.
39:52
S0
If Dave does Dave's pattern, then it then it's not a problem. But the moment he goes like this, Patrick gets it wrong. Not like this stuff is affecting you all the time everywhere.
40:05
S0
But it wouldn't have a relevance, I wouldn't imagine.
40:09
S1
What'd you notice? It didn't happen in the beginning, but somewhere through when I was doing it, I don't know how to explain what went on, but I knew who was gonna touch me before they touched me. And then once I it's like, oh my god. I can do this, and then I couldn't do it.
40:35
S0
If you think stupid stuff gets stuck, imagine what miracles do.
40:41
S0
They, like, have barbs this long that spring out when they get in there. Don't they?
40:48
S1
In in the last Hey.
40:49
S0
I got it.
40:50
S1
Yeah. And then it was gone. Mhmm.
40:54
S0
Same thing here.
40:55
S2
Yeah. This is true with you, Vicky, but with both of us, we we did find it, then we started thinking about it. And then the thought would start coming in, and then we'd we'd have to let go of that. And then we can then we go back to being pretty accurate again.
41:09
S0
About it ruins everything. It can't help it.
41:15
S0
Your thinking is not to get it right. Your thinking is to provide you entertainment. That's it. That's all it's for. If you can sit there and guess these based on none of your thinking whatsoever, your thinking could be free to be entertained with all seven plus or minus two. You could have fun no matter what you do. No matter what your 12 year old says. But currently, your fun is based on what your 12 year old says, and he knows it.
41:51
S0
So he can press whatever button he wants. And if I call you an asshole, you're in trouble.
41:59
S1
Yeah. You're in trouble.
42:04
S0
And yet, how many of you did your parents say sticks and stones will break my moans, but names will never hurt me? At that moment, you look at them and cuss them out and find out what happens.
42:21
S0
Because my suspicion is they didn't mean it. What
42:26
S0
else did they tell you that they don't mean? In other words, how easy are you to offend?
42:36
S0
Pretty easy from time to time, I suspect, and especially if you're under a little bit of pressure.
42:47
S0
So the way that it works fair fairly simply is that some stimulus occurs out here in the world, and you zip into your head, which is absolutely jam packed with pictures, sounds, and feelings
43:02
S5
Please refer to the picture, sound,
43:04
S0
and feeling diagram. Everything you've ever seen, heard, felt, tasted, smelled,
43:13
S0
all in there. Also, everything he's ever seen, smelled, felt, heard, or tasted is in there too. And everything she ever heard, smelled, and everything Leonardo da Vinci ever saw, heard, smelled, or tasted is in there too.