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Illusion Conclusion
Jerry Stocking
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Illusion Conclusion — Core (16 Tapes)
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Tape 9 – Side A
Tape 9 – Side A
IC_T09A
45:02
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Transcript
205 utterances · click to jump
00:02
S0
You're going for a clean one?
00:06
S1
Yeah. It's easy to clip that way.
00:08
S0
Uh-huh. Exactly.
00:12
S1
I'd forgotten. So it's the first time I remember.
00:14
S0
Really quickly, tell me something you can't make difficult.
00:20
S0
That's what I thought.
00:22
S1
No. I I had forgotten last night, so it was, like,
00:24
S0
this morning.
00:25
S1
Okay. So I had fun. I had
00:28
S0
a Did you get a toenail?
00:30
S1
No. Not from that person. Okay. I got it on the ride over.
00:37
S0
That's a good thing to do too also, by the way, as you're stretching yourself here. If you're in traffic, hop into somebody else's car and chat with them for a little bit while you're I mean, have if you got somebody else driving, hop in and then get back in your own car after a ways, especially on the freeway if nobody's moving at all. And you might wanna pick carefully based on your preference for all sorts of things. I mean, make sure you find somebody who will abuse you if that's what you need. You can tell. Or somebody who will give you a nice sweet kiss if that's what you need. Could you imagine how you'd enter the office if you had picked up a kiss from a stranger while you were sitting in their car on the expressway on the way in rather than just an espresso. Let's have a little traffic thing because there's plenty of traffic in Atlanta. Let's have every Tuesday, you bring something along.
01:40
S0
And if anybody in another car points at you while while you're going slowly enough to do it, you roll down your window and you hand them yours and they hand you theirs Uh-huh. Of whatever it is. And it has to be an item worth less than a $100 and more than 20 and
01:59
S0
find out what you end up with at work.
02:01
S1
That'd fine. That
02:02
S0
would be Would this be fun? I mean, we'd beat hands across America, wouldn't we?
02:10
S0
Pretty easily.
02:15
S0
There are a lot of businesses that aren't being done yet. Here's one for you. You just rent out the the bumper of your car
02:25
S0
to for advertisement on a monthly rate. That's pretty good. Well, I mean, especially in Atlanta, you rent out the bumper of your car on a monthly rate. You know, they pay you $75 a month. What's your car payment? It just reduced it by $75. And what does it cost you? Nothing. Nothing. And they show up to your house and do whatever they want on your bumper on the first of each month.
02:53
S0
People are gonna see this, aren't they? Sure. And you get special points depending on what your commute is. You get more money or less money and based on how good a driver you are. Probably the worst driver you are, the more money you get.
03:13
S0
I mean, shouldn't wouldn't State Farm pay you by the month to advertise on there?
03:22
S0
The problem is that they'd carry it I mean, pretty soon you'd have eight by eight things on the back of your car, and you'd have to have mirrors out to see around it. And
03:33
S0
what else? What'd you notice on your day on?
03:38
S2
Morning, Jerry. Prior to the course
03:45
S2
prior to the course,
03:46
S0
I It's morning.
03:47
S2
I've I've read and heard about your scavenger hunts, and I I thought it was something that I I thought that that was something that I could never possibly do because my husband was doing it, and I was like, oh, you're gonna go up to somebody's house and ask for a potato chip out, please. I could never do that. Anyway,
04:10
S2
when you assigned you assigned us to do that prior to coming here, I wouldn't do it. I said, I'm not going to do it, and I was just totally resistant. And the other night when you gave us the homework assignment, I was so I was excited about it. I don't know why I was excited about it, and I had no reservations about it whatsoever. I didn't even give it a a second thought. And and yesterday, I did it with with Vicky and and a few of the guys, and I had I had a blast. And I just just wanted to tell you that I had a very good time doing it. I had a lot of fun. I enjoyed being with these people yesterday. And
04:51
S2
on the opposite something totally different. As I was waiting for them and I was waiting for them for an hour, I started having these stories in my head about how they could possibly be late because I had to walk two miles to meet them at a gas station. And I'm sitting there and thinking, I just spoke to Vicky a half an hour before we were supposed to meet. She didn't tell me she was late. She was going to be late. So what's going on? Well, when I finally decided that Jerry must have called up Vicky the night before
05:25
S2
to to tell her, don't pick up Linda.
05:31
S2
Just to see how Lynn what Linda would do with it. So I said
05:37
S0
I think you've misinterpreted how much I care.
05:46
S0
Okay. You decided that.
05:48
S2
So then I was like, okay. They're not coming. So I was I was gonna go clothes shopping. I was gonna walk across the highway and go clothes shopping, and then Brian taps me on the shoulder and says, we're here. And I told him about the story, and he thought that was the funniest thing that I he said, let me tell you something about Jerry. On Jerry's day off, he doesn't really care. He doesn't he's not he's not interested. He I don't think so. He's not interested in in you that much. So
06:18
S0
You have no idea how much I thought of you yesterday.
06:24
S1
All day.
06:25
S0
And today too.
06:26
S2
Thank you.
06:31
S0
Your name did come up in conversation yesterday. Say? What was it?
06:41
S2
So did yours.
06:45
S0
What did you do? New. And
06:53
S0
as long as they're talking about you, that's the rule. Doesn't matter what they're saying as long as they're talking about you.
07:03
S0
So one of the games congratulations, by the way
07:09
S0
as far as I can tell, the main motivation for being intimidating is being intimidated.
07:20
S0
Because if you're not intimidated, who cares? Hi. Here I am. And your mock stuff that you put on over the front of, hi, Matthew. Hi. Doesn't cut it because it doesn't connect you with them. Whatever you put together, you put together to keep yourself away from people.
07:44
S0
What if it didn't work anymore?
07:49
S0
And what if you didn't need to come up with something else? The way you do your hair is to keep them away. The way you dress is to keep them away. The way you talk is to keep them away. On Friday, we're going to do some specific things that will bring up your affectations
08:10
S0
and accentuate your affectations, those things you've put together to keep them away because we're going to put the pressure on. Fascinating is the affectations start to really blossom because you get to find out what the extrapolation of what you've put together to keep people away looks like really, and you don't want it. Believe me. I've never run into anybody who wants it. You keep it at a point where you can still barely stand yourself and keep them away.
08:51
S0
I don't know. How many of you have had way, way too much sex in the last month? Not only have had too much really good sex. Raise your hand. Look around. You'd have way too much good sex.
09:09
S0
How many of you have had way too much cuddling in the last month?
09:15
S0
Look around.
09:18
S0
Why not?
09:21
S0
The cost of putting together this routine that you got to try and be safe is that it costs you what you really want, of course.
09:35
S0
And it's odd to draw a correlation back to filling your seven plus or minus two with a balance of pictures, sounds and feelings, but the correlation exists. You lopped off some of this in order to narrow down who would dare get anywhere near you and who you would dare get anywhere near?
10:04
S0
That's all your illusion, that thing you built and we're going to knock holes in it all over the place. Remember we played some kinesthetic music or at least music of somebody who's very kinesthetic and we did some visual? Mhmm. I'll do some auditory for you later, but try this on. This is somebody who's not stuck in any of the three.
10:31
S0
This is one that doesn't tell you which one to do. He balances you out in the process of listening. He balances out your visual, auditory and kinesthetic. We had an executive from Arista Records to a course not long ago and I started to play some music from this guy and he said, oh, I know him. The president of the company came in and he had just signed a contract with this guy. And I said, why in the world would you sign a contract with that guy? There's no point. He's a has been. He's worthless. He's not gonna sell a million records. Let's get on with some real people.
11:12
S0
And I said, that's why you're not the president of Arista Records because you don't recognize what you got here.
11:20
S0
How many of you listen to different versions of rock and roll from soft to hard to whatever in between, some of that sort of stuff?
11:29
S0
Most of what you've listened to has been influenced by him
11:37
S0
And my suspicion is that most of you have not even heard of him. His name is Richard Thompson. Have you heard of Richard Thompson? This is where they got it. This is where Led Zeppelin got Led Zeppelin from. This is where these people got got it from.
11:57
S0
But what he's got that they don't got for the most part is that he shifts his seven plus or minus two through all of the systems regularly, and thus he applies all that to you. I don't think he's ever sold a million records.
12:14
S0
In his thirty five, forty year career, he may have sold a million if you add them all up, but that's a lot of albums.
12:24
S0
Listen to this.
12:39
S0
So now here,
12:44
S0
you got you, and then you got all these ripples going all the way out.
12:52
S0
See the circle diagram in your booklet. And this is where you live somewhere out here. You live way out here. That's you.
13:04
S0
It takes you you're a satellite. It takes you somewhere between twelve to fifteen seconds to do one circle, to circle around once. In other words, to revolve around yourself.
13:21
S0
Your attention span typically isn't that long. You hold on to something. You you catch something and you hold it just like the little thing we did with you moving your eyes and you locking in to things. So you get just a little bit of that circle. The rest of it you're asleep for And then you get another shot. It's a little it reminds me just a little bit of balancing your tires. This
13:52
S0
is the weighted attention part of it.
13:57
S0
Musically, he's way in here.
14:02
S0
Now we'll play you somebody who's learned from him well, but who's out here. I want you to start paying attention to the depth. You've got a problem in your life that you may not have been aware of. The problem in your life is the difference between difference and depth.
14:26
S0
Ever notice that the world out here is three-dimensional?
14:31
S0
It it is. Isn't it? Height, width, and depth. Yes. Ever notice that the world in here is two dimensional? Yes. Height and width, that's it. There's no depth. There can't be any depth in there. This is basic geometry. In order to have geometry function well, you have to be able to triangulate. See the triangle diagram in your booklet. You have to be able to have two points and find a third and that way you find out how far away this is. That's depth. The ability to triangulate. Your one eye is one point, one eye is the other point and you triangulate. If you have only one eye, you have to add the depth out here with this. You have to pretend depth. If you only had one eye to start with, you wouldn't see any depth out here. If you only had one ear, you wouldn't hear any. You wouldn't know how far away a sound is. You have to triangulate to do that.
15:41
S0
Depth in your head is created by moving vertical levels. And almost everything you've ever done in your life is based on horizontal. So you gotta learn about depth. Here's somebody who not only learned from Richard Thompson but also acknowledges him right up front in the song. But nowhere near his depth, but still congruity. She's moving stuff in and out visual auditory kinesthetic.
16:37
S0
Knows how she touches you. You can't help it.
16:48
S0
Think she's listened to him just a little bit? Mhmm. And yet a much more shallow level of it. What you need to know about everything is how far away it is.
17:00
S0
Does that make any sense? Mhmm. Food. Mhmm. If it's close enough, you can eat it. If it's not close enough, you can't. You need to know how far away it is. Think of if you didn't know how far away it was. You'd be reaching for something that's out of your grasp, that'd be nothing new. And you'd be running into things that you thought were further away. That'd be nothing new also.
17:32
S0
What about a bear?
17:36
S0
You see a bear. Don't you need to know how far away it is?
17:42
S0
I I or you're gonna get eaten because you gotta behave very differently depending on how far away something is. You need to know how far away it is. What had you find out how far away it is, is depth. It's a triangulation.
18:02
S0
You guys get this? Yes. You have to triangulate, but you can't do it in here because it's a flat surface in here. It doesn't have the ability to triangulate. It can't.
18:20
S0
But then what you really need,
18:26
S0
desperately, desperately need, what you can't do without,
18:33
S0
you got two points, right, to triangulate visually. That's it. What they'll tell you in geometry is that the further apart the two points are, the more accurate is your triangulation. But your eyes are quite close together
18:52
S0
and yours in particular.
18:57
S0
Also, ears are quite close together.
19:01
S0
I mean, given the size of the universe.
19:06
S0
Not only that, your ears are farther apart than your eyes which isn't probably an accident because the medium that you're triangulating with is much slower. So it's okay to have them be. But where do you do your really good triangulations? Where do you do your really accurate triangulations?
19:31
S0
That's next, but right before that. And for sure, it's your body. It's your body because you got a point here and a point here. Look at how far apart those are. And not only that, you can do this.
19:47
S0
Your body triangulates beautifully. It takes care of all of that for you because your body knows how far away it is. It won't run into it. It doesn't take you trying to figure out not to run into it. But you spend most of your time trying to figure out how to get it or how not to run into it. I mean, what else do you use your head for? But figuring out how to get it or how not to run into it. Think about it. Almost every bit of thinking you do is a metaphor for how to get it or how not to run into it.
20:25
S0
Does this make sense?
20:27
S0
What if your body was gonna take care of it for you and you didn't need to use your head for that? Oh, it could get up to all sorts of entertainment, couldn't it? Incredible entertainment.
20:40
S0
And then as Judy says, the next triangulation after the body because the body tells the truth to you
20:47
S0
and the eyes don't and the ears don't, the body does. The next triangulation after that,
20:57
S0
she's one point and I'm the other. Now we got an interesting triangulation. Let's look at her. You get it? Now we've got a triangle based on she's one point and I'm the other. But a really weird thing has to happen in order to do this. She and I have to resolve that we're one.
21:21
S0
Is that fun or what? So much fun. I mean it though. There we can triangulate. And then the further apart we get, the more accurate is our triangulation. Stay with it. You're looking at her. Now, all of a sudden, I can get all kinds of data because I'm still getting what she's getting and I'm getting what I'm getting too.
21:49
S0
This is why you have to have relationship. You can't do without it because the triangulation gets so much bigger that you not only can see what's there but you can see what's behind too.
22:02
S0
How much more comfortable? You you get how much more comfortable? Yes. So much more comfortable. And it doesn't matter
22:11
S0
where I go. Does it? Now the connection still sits there. It doesn't matter what I do. The connection still sits there.
22:27
S0
Get it? It doesn't matter. The connection is still made with you being one point and me being the other point. Now watch what happens. I you didn't do that right.
22:40
S1
What do you want me to do, Brian? You want
22:44
S0
you see, as soon as we do this,
22:48
S0
there's no triangulation anymore. Mhmm. We now it's her and me. Before, you weren't looking at her and me. You were looking at us. So we also gave you a present because even when I'm over here, if you're looking at her, you're looking at me too. If we say we're gonna pretend like we're two instead of one, now I've gotta triangulate here world and she's got to triangulate there and make her own little world. What's the likelihood that our worlds are gonna match? Not too great. And then we're gonna start arguing about the worlds we have. Don't you? You do. You argue about the worlds that you have and every once in a while they step on yours and you step on theirs and yet, what if we didn't have to bother with that?
23:39
S0
What if we could just triangulate as one instead? It requires some shifts in here, doesn't it?
23:48
S0
We co op our seven plus or minus two which gives us about 14 plus or minus four.
23:57
S0
Oh, shocks. Then it gets a little harder because the next step is 21.
24:09
S0
Now see, as soon as he stepped that far, she lost it. If he was back here, she wouldn't.
24:19
S0
It's that fast, it's that easy, it's that subtle. Did you watch her lose it? It became a competitive thing for her. You notice it?
24:29
S1
Yeah, he was different out there.
24:30
S0
That was that. That's not acceptable. So that just shows you one edge that she's got to work on.
24:39
S0
He's still a disturbance to her.
24:43
S0
Can you tell? Not as much as he was when he was here. But as soon as he's here, he's getting more of her seven plus or minus two than she wants to give to him. And the upset sets in. He's one of those controlling guys. So I mean, story shows up. Doesn't it?
25:06
S0
Look at her. She's pissed. Can you tell?
25:11
S0
You gotta go down a little more deeply than you normally live.
25:14
S1
I will. I will.
25:15
S0
You take a walk with your 12 year old, he walks a little bit out ahead. How are gonna do?
25:22
S0
More of your attention is going to him than you want to go to him. Mhmm.
25:30
S0
This is the Post it note, hon. It is.
25:36
S0
She's still upset with him.
25:38
S1
He's thinking it'd be nice if
25:40
S3
he's make that. Yeah. And then his wife is too tall
25:42
S0
too. He's really.
25:53
S0
Now does this and pretty soon they're dancing. I
25:59
S2
can move with you if you have to do this.
26:05
S0
You wonder why you don't really get along. How fast? All he has to do is change his geographical location by six inches, and that's it.
26:19
S0
It takes over no. It's standard operating procedure. Yeah. And it is bizarre. Yeah. I agree. And it truly is bizarre.
26:31
S0
All he had to do is step up that far once and she's still carrying it and it's not his height. She tells a story about that it's his height, but he's lost it with her. He would have to jump through some hoops to get it back at this point, especially since he made it a menage a trois, which is not particularly her thing. We were doing pretty well at a certain point there.
26:58
S1
We were.
26:59
S0
Yeah. We were. And and then this goofball comes along and ruins it.
27:05
S1
Got in the way.
27:06
S0
Yeah. He's not in my way.
27:08
S1
Well, you come stand here.
27:11
S0
And then you have to start rearranging your world, don't you? Oh, I would I would feel much better if the couch was over there.
27:22
S0
So you move the couch over there and you go, oh, yeah. That's no. The end table's in the wrong place now. Remember about heaven? Yes. Three months without rearranging.
27:36
S0
If you can go
27:38
S1
I'd be well.
27:41
S1
Better stay here forever.
27:44
S0
You can't do that. You don't get to. The rent comes due. Okay. Get it? It is bizarre, but it's also obvious, isn't it? You you noticed that? Yeah. It's it's bizarre that it's standard operating procedures. Yes. But all you gotta do come on up there. Come on up, little one.
28:07
S0
How are they together?
28:11
S0
Don't start you see, he's already going for his terrain. Mhmm. You get it? He's gonna find a spot that's comfortable for him. He thinks he should be a certain closeness to her. He's gonna find you see, he's gonna argue for the ground. Meanwhile, she doesn't care where she's standing. She doesn't. Can you tell that? She doesn't care at all where she's standing, and he's fighting for where he's standing. Now she doesn't even care that he's standing here. Right. And his attention is split in half or maybe even two thirds over on her.
28:47
S0
And she doesn't even know he's there. Where's the triangulation?
28:53
S0
He's gonna get hurt.
28:57
S0
God. You're like a ruler.
29:02
S0
We should put some tape marks on the floor for you. That'd be good. And she says, okay. Ever done a dance class? No. I bet. Drew drew high. Yeah. Three years ago?
29:18
S0
Triangulation not possible. Not
29:23
S0
gonna happen.
29:26
S0
So these two aren't gonna get along well,
29:30
S0
at least not as a pair. Who does? Pick two people who can stand next to each other here and have it work. Pretty simple.
29:43
S0
Okay.
29:47
S0
Get it? Problem. No problem. It's strictly a fit of the patterns. But if you don't know the patterns, you won't be able to tell who can triangulate and who can't. If you aren't triangulating, you're fighting. You're doing one or the other. You get a little more comfortable looking at these two? Mhmm. Yeah. Oh, yes.
30:10
S0
Now you could give you could tell that it was about height or what they're wearing or baloney. Has nothing to do with it. Here they are. Pretty neat, Now strangely enough,
30:28
S0
watch this, start rocking a little bit. Just stay with the rocking thing.
30:43
S0
What happened to the relationship?
30:46
S0
Got close. No. It didn't. It got further away. You guys gotta watch out for illusion here. If you see Discord, you think they're related because at least you saw something. This doesn't work for her. She's willing to play along but she doesn't want to. And they're really now stop.
31:12
S0
And back it comes.
31:15
S0
How quickly can you sabotage a relationship? Fraction of a second. How quickly can you put one together? Fraction of a second.
31:26
S0
Might it be useful to have sufficient attention that you could pay attention to what was going on so that you even learned whether it was working or not? Wouldn't that be weird? So you could tell if you were dying or living
31:44
S0
if it was working or not.
31:48
S0
I learned this by leading workshops and everything else because I'm watching all the time, but I put this couple, this was August Houston, I put this couple together, he's handsome, he's a doll, he's slick, he's fancy, he's a go getter in business, she's stunning. And if they're three feet apart, it works beautifully. And as soon as they get a little bit closer, it turns into abuse. Three feet apart, fine, a little closer, down the tubes, and they, of course, don't know it, but everybody watching knows it because they feel it. They go, oh, as soon as they're closer together. As soon as it is that far apart, they go, ah. Perfect. And then I bring up somebody else. He's still there. I bring up a different woman, and they're wonderful together. Just incredible together. And he, after about eight seconds of this, starts rocking and she gets livid. And I didn't tell him to start rocking. He's up if it goes well for five, six, seven, eight seconds, he's gonna sabotage the thing and he knows how. Now does he know that he did it? Not a clue. Does she know that it happened? Not a clue. Anybody watching went, there it goes, it's down the tubes. You guys forget what a sensitive instrument you're working with here. You guys are working with a profoundly sensitive interim instrument here. If you had this sensitive an instrument out there in the world, you'd handle it with care. You take care of it. You wouldn't expose it to the elements you expose it to. You wouldn't jar it and beat it and jog on it.
33:41
S0
You wouldn't feed it what you feed it. You wouldn't you wouldn't do it.
33:45
S1
Go to parties.
33:46
S0
You wouldn't bother because it's an important instrument.
33:52
S0
It is. They know, but they don't know that they know. And what we're gonna do here is we're gonna get you deeper so that you start to know. Is this working or not? How I mean, how much time do you spend when it's not working? So much that since you have to say that it's working, but not really, but we're having our troubles, but overall it's okay. You have to give the wrong label to it in order to even stay there.
34:20
S0
You get it? We got our problems but overall it's working. Well, at at the level that I'm talking about here, is it working? No. And sometimes it is. But you don't know when it is and you don't know when it isn't. You gotta have sufficient congruity. You gotta have sufficient movement in your seven plus or minus two. You gotta have some sufficient movement out and in in order to be able to triangulate with somebody.
34:47
S0
Out and in here. Out there, in here, out there, in here. You gotta check it out here and then you gotta put it out there. This is sex. Right there. Yeah. Have some
35:00
S3
When you said their patterns are the same, were you speaking about the eyes, the ears, and that sort?
35:05
S0
The good good? No. A different one. Yeah.
35:09
S1
That's what I was curious about.
35:10
S0
One that we're going to touch on on Saturday afternoon that's tremendously relevant for the people in this course. There's one particular pattern that these two share which made it a layup to put them up here together. And it made it a layup that you wouldn't get along with them.
35:27
S1
We haven't gone over
35:27
S2
it yet.
35:28
S0
Well, you were resting when we went over it. No. Mark was sleeping when we went over it. We'll get to it. But what we're doing so far is the groundwork for what we're getting to. And you don't even need what we're getting to if you've got the groundwork. It's all good stuff.
35:50
S1
Okay. So my question, I guess, is you see this pattern that we haven't gone over Yeah. And you saw that they would make a good couple. Yeah. So ultimately, in our lives, when we become aware of these patterns within ourselves, is that something that we wanna look for in a partner? Or, you know, I'm I'm not really
36:07
S0
It's a really good question.
36:11
S0
You all have a basic underlying philosophical stance which will have you go for someone that it works with or someone that it doesn't or someone that it works with 50% of the time. You need to get under that and then you can make it work with anybody. So for now, you want to start to really learn the patterns and you want to spend time around patterns that you can't get along with no matter what so that you can learn them so that you can run those too. You have to first of all get along with everybody in the world and then you can pick some idiot to try and run some sort of exclusive craziness with which is almost impossible. Okay. It it is. It's almost impossible. Look around. How many couples do you know that have a relationship that you envy and would really want one like that?
37:16
S1
Lots.
37:17
S0
Lots? You aren't making the distinctions because you aren't looking at what's really going on with them. Okay. You're looking at your lack of a partner.
37:30
S0
No. I from the first moment I saw you, I saw you not make distinctions about people. Okay. You need to make much deeper distinctions about people. If you're really looking at the couples, if you're really watching them, if you're really intent upon watching them, you're gonna find out that almost none of them work.
37:51
S1
What do you define? And for
37:53
S0
sure, your parents didn't. Mhmm. Not in all cases, but in most cases. What
38:00
S1
do you define as work?
38:02
S0
Being able to triangulate together.
38:04
S2
Okay.
38:06
S0
In other words, the two become one. Right. That's what I mean.
38:11
S1
I know several I know lots of people like that.
38:15
S0
I understand.
38:18
S0
To an Eskimo, lots of people are tall. To Martin Short, lots of people are tall. To Randy Newman, lots of people are tall. But it doesn't mean to me lots of people are tall.
38:32
S0
I'm saying you currently lack the ability to make the distinctions to register what I'm talking about. Stay tuned and you're going to start making the distinctions and you're going to look around, you're going to go, oh my god, he's crazy. Because
38:54
S0
you're going to have looked closer. Then you can also look through that.
38:59
S0
But until you can look through that, you can't help him with his craziness by helping him to perceive it. Remember I said you can't do anything about it. All you can do is see it. You wander around and you don't see it.
39:17
S0
That's what I'm saying to you. I think you've got a rule about judging people, that you shouldn't really judge them too harshly. That's my guess. I want you to judge them up one side and down the other.
39:33
S1
That is how I used to be.
39:35
S0
I want you to do it much more. Much, much, much more until every single ride with me for a second. Don't forget who I am just because I'm saying something you don't like.
39:46
S1
I'm not disagreeing with you or dislike
39:48
S0
You have to get to the point that every single judgment gets pushed out of the way before you ever get to dwell on it. You can't get to non judgment by not judging. That gets you stuck with one or two or three judgments and living on a flat playing field.
40:09
S0
You gotta judge so much and so fast that speeds up the whole mechanism so you don't believe anything you think. Because if you don't believe anything you think, then you can think anything.
40:26
S0
If you start believing something you think, that believing not only gets in your way of it, but it also casts a shadow in a huge area. And then you end up with all kinds of shadows and you end up with all kinds of stuff you don't dare think.
40:41
S0
I say things about people in here that you wouldn't say in public. And you laugh and you love it because you knew that, but you don't say it in public. I can say anything to anybody in public and it won't upset them. I just bring congruity to it rather than blockage, and I bring the opportunity for them to see it and they love it. If you hung around me sometime, you'd have the stories that we have about this. It's unbelievable how you can play out there. I mean, that's a a distance from knocking on the door. For now, knocking on the door and scavenger hunt is phenomenal. But what if you can say anything to anybody and have them grow and prosper and learn from it?
41:28
S0
If you don't know the difference between thanks, guys. Between a huge fire burning up your whole house and a fire in your fireplace, which is what I'm talking about the difference. And it hurts you. And it hurts you so much that you can't stand it, so you said it doesn't hurt.
41:51
S0
And it allows you to go into work where you work. And it allows you to work with the people you work with. And it allows you to do all of this kind of stuff. And it allows them to stay similar to how they are.
42:03
S0
I won't put up with it, not for a moment. I think about you on the day off if it's beneficial to you and to me for me to think about you on the day off. Otherwise, I don't.
42:20
S0
We're talking that kind of economy. If you're upset, you're already stuck thinking about it. Nothing you can do. Look at her. There's this sensitive woman sitting in there, this incredibly sensitive woman sitting in there, and there's this life organized to kill off this sensitive woman living in there. I understand. I got it. I see it all over the place. It brings tears to my eyes because it hurts too much. But let's admit that it hurts. Let's admit that it hurts and then let's go in and go, I'm not gonna do this anymore. I'm still gonna come into work, but what are you doing? And you start to shift your patterns and you won't have to put it up with it up with it anymore because they'll start to shift their patterns. Not by you lecturing them. That's a superficial layer so far out here that it's not going to happen. That's hallmark. It really is. That's no better than hallmark. A therapist that I know is very, very effective,
43:33
S0
She has nothing to say. She deals with all kinds of IBM types. What's the disease? Epstein Barr. One of these made up things. Just my opinion in my field of expertise.
43:53
S0
All she does is visual all the time. And they come into her office like this,
44:00
S0
and she sits there and has a therapy session with them, and they leave like this for a little while. And their whole life just got better. They ought to be going to see her, But it's not what they talked about. It's not that they talked about their childhood. It's not that she prescribed some drug for them. It's not any of this stuff. It's that she happens to be making pictures.