IC
Illusion Conclusion
Jerry Stocking
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Illusion Conclusion — Core (16 Tapes)
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Tape 9 – Side B
Tape 9 – Side B
IC_T09B
44:59
69 nuggets
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Transcript
210 utterances · click to jump
00:02
S0
And they aren't aware of their pictures, and their pictures aren't as bad as their conversations.
00:08
S0
And I watch her do this, and they leave the office doing this, and they're happy.
00:13
S0
It's not because of her hair. She does her hair just so.
00:19
S0
She does. And she has a closet full of clothes, big closet full of clothes. But that ain't it. I'm telling you, you put up with stuff. You've got to learn to be a camel. It doesn't matter how small a thing you put on a camel, it won't put up with it. It complains like it's the biggest thing in the world. And what I'm telling you is you're almost always full right at the threshold and you say, I'm I'm big, I'm powerful, I'm strong, I can handle it. What if you didn't have to ever? What could you do then? That's what I'm talking about. What if it was your sensitivity that had you monitor what's going on rather than your huge tires that rolled over it? Because you know you roll over it. What if you didn't roll over it anymore? What if just by being around you, people saw all kinds of things about themselves that they never have seen before, but that have been there all the time. They start shifting all kinds of stuff, but you've to see it first and you've got to be willing to see it in you And then you'll start seeing it in them. That's where we're playing. And then we're talking about moving in more deeply, closer to who you are. And the game of life is very, very simple. You have to go from who you are, which is where you start, all the way out until you can perceive everything as illusion.
02:01
S0
Everything is illusion. You're not hooked or upset by anything. It's it's it's all a deck of guards. It's illusion. And then you've got to work your way back in. The only reason that you left this layer is because you had made it intolerable for yourself.
02:21
S0
The only reason you left this layer is because you made it so horrendous that it was intolerable for yourself. And you go out to a lair and then somebody bumps your car and you're, ah, because you're your car.
02:37
S0
The game is to go all the way out until you perceive everything as illusion, till you perceive your wife as illusion, till you perceive snow machines as illusion, till you perceive dentistry as illusion, your children as illusion, every yourself as illusion, everything is illusion, then you move back in one layer and everything gets real. See the circle diagram again.
03:07
S0
You got to go all the way out and then slowly work your way back in, keeping the fact that it's illusion. And then you get right to there and your illusion and your right perfectly lined up with it and at that point you get to play for the rest of your life. It's impossible to be upset, it's impossible to be traumatized, it's impossible to be influenced negatively from the inside or the outside, you get to play. We're talking about infinite speed because you're already there.
03:41
S0
Out here, you're in transit
03:46
S0
And you've got to go all the way out until you perceive it as illusion. And then the the battle coming back in is really you got twelve to fifteen seconds?
03:57
S0
You got twelve to fifteen seconds whether you're on this ring or this ring.
04:03
S0
So how much more time do you spend at each point on this ring than you do on this ring? Given that you have to trace a much larger distance out here and a much smaller distance in here, that means in here, you're stuck with two or three ideas instead of 4,000,000.
04:24
S0
So how likely is it you're gonna believe these? You have to. The gravity becomes so much greater. It gets much tougher. These can't be illusion. If these were illusion, I'd be dead. Yes. If I go up and knock on their door and ask them for a piece of spaghetti, I'll die. Yes.
04:49
S0
And then he does it, and he moves in. You can't move in just with your head. You gotta move in with your body. And everything's gonna look real when you get in here. I know about metaphysics. I got all, you know, and on the first day of the course, hear you kind of lecturing to people on the breaks, all the stuff you know. But you aren't lecturing like it's way out here. You're lecturing like it's true. You gotta perceive that as illusion, and then you've got to move in.
05:23
S0
When you get in here, you've to let go of your kids.
05:29
S0
It's not that easy.
05:33
S0
When you get in here, you gotta let go of those last tiny little things that are you're holding on for dear life. On the way out, you've gotta develop all kinds of abilities. On the way in, you lose them. All of them.
05:51
S0
I've trained with some of the best people in the world at these sorts of things, neuro linguistic programming and all of this stuff. God, it's fascinating when the abilities disappear. And I can't even do the simplest thing that I've learned, that I used to be a pro at.
06:08
S0
You got to be on the way out, you gather stuff. You get stuff. You get more stuff. You get more stuff, and you get pretty good stuff. And at a certain point when you can't possibly do anything without your stuff, then you got to turn around and get back in, go back in and start letting go of it.
06:30
S0
And you'll go in, and then you'll jump back out again. And you'll go in, and you'll jump back out again. You'll take little tiny tastes. And then one time, you'll stay a little longer. You'll go, oh my gosh. And you may fire a lot of friends at that point. I mean, you may pink slip everybody around you. That's not that big a surprise. And not for your sake, it's for your sake and their sake that you pink slip them. You're nothing but an irritation to them at that point in time. You're nothing but a problem for them at that point in time. And if you were looking for them as security, you gotta be way out here.
07:13
S0
That's the process, and it's a very simple one. Back to what we talked about on Sunday, I think it was.
07:22
S0
See the process, holes, and stuff diagram in your booklet. Process, stuff, holes. That's the big cycle of life. You start as process, you go through stuff, that's all the accumulation stuff. When you start to move back in, you go into holes, which is losing everything. Women all over this culture are get having this happen to them now. And they're trying to get out and get a job so it doesn't happen to them. They're trying to turn into idiot men. Oh, I hope I don't live to see any more of this.
07:59
S0
And then they're going for the cure.
08:04
S0
Here's the answer.
08:15
S0
When you're on Prozac, that sounds like good music.
08:20
S0
Any idea how many people are on Prozac in this country? Oh my god. Especially women's? Women prescribed by males? How many of you have been on Prozac or tasted this stuff? Geico's. I'm impressed.
08:42
S0
There are an awful lot of people medicating their way out of the perception of enlightenment. You've got to go through the holes. You have to go through the holes and what we really need is we really need some place where you can be held, some place where you can be fed, some place where if you want to go to dinner where other people are eating it, you can, but if you don't want to, you can stay in the cabin and look at the mountains and have dinner delivered by somebody who's more or less invisible and where you can go through the holes where you lose everything because you've got to lose everything. That's part of the game. And you only got to lose everything if you don't want to lose anything at all and that sets up the resistance and you make it back around to process and life is there.
09:33
S0
He's nuts. We're medicating away our spirituality, it dazzles me, because there's no time for it. It's just not really appropriate. I've got things to do.
09:46
S1
And starting on the kids.
09:47
S0
Yeah, and starting on the kids. How many kids are on Ritalin? No. Well, it's easier to give them Ritalin than attention. You got things to do.
10:01
S0
Yuck. Take 10, please.
10:06
S0
How are you? Pick an a, b, and a c, please.
10:10
S1
Okay. Oh, we got a c.
10:14
S0
Go first. I want you to tell the other two a story and in the story I want you to make it up entirely. I want you to not know where you're going. I want the three ingredients that you make sure to intertwine in the story to be honey,
10:33
S0
a broom, and the moon. Don't you dare bring any of those three ingredients in in the first two minutes of your story. Don't bring them in until they show up naturally in the process of varying your pictures, sounds,
10:54
S0
and feelings throughout the story. In other words, make sure you even do the blatant accesses of pictures, sounds and feelings. Please refer to the honey, broom and moon exercise in your booklet.
11:15
S0
As you spend about four minutes creating this story that you tell to them,
11:24
S0
making sure that the moment that they need you to switch your accesses in order to maintain their attention, you do so.
11:34
S0
You've watched me do it now for two and a half days.
11:38
S0
I pick a perfect visual, a perfect auditory and a perfect kinesthetic in the room and if your attention starts to flag, I throw in some of those accesses.
11:51
S0
There's a dance going on and now you get to lead.
11:56
S0
Blatant visual, blatant auditory, blatant kinesthetic as you go for the honey, the broom, and the moon,
12:10
S0
and then switch people. I'll tell you when to switch.
12:16
S0
Don't keep the ingredients in mind.
12:21
S0
They'll show up. Don't practice your story ahead of time. It will show up.
12:30
S0
Go.
12:32
S0
I was walking down the
12:36
S0
What'd you notice?
12:44
S2
It was tough for me to keep switching my eyes when I and to remember which was which. Not the visual. That's very easy for me, but the auditory and the kinesthetic.
12:56
S0
K. You see what it does to her?
13:01
S0
It has her talk a little bit lower. It moves her voice down. It adds some dimension to her, and it throws her out of business as usual.
13:15
S0
Darn it. Which one do you want? The other one or this one? I'll take this one. Anytime.
13:25
S0
You get it? Mhmm. Thanks.
13:30
S0
Where could you practice this?
13:32
S3
Everywhere. Everywhere.
13:33
S0
Couldn't you? Mhmm. Can you imagine how much of this we've done with the kids?
13:40
S0
Stories throughout the day,
13:44
S0
especially when they were younger, but still, gosh, it was fun. Sitting at the bedside at night, there was this huge black staple.
13:59
S0
And they're going, yeah. And and when it fell, it made this strange sound on some aluminum foil. And they're going, yeah. And they're doing it all over the place. Why would you wanna tell them just to do one? Now you gotta do all of them, and you might lose your train of thought.
14:27
S0
Who wants to ride on your train of thought anyway?
14:32
S0
Nobody wants to ride on your train of thought because the the best they could do is get to where you're going. Eek.
14:41
S3
Yeah. Yeah. I noticed when Tom and I were telling telling stories Move around now while
14:48
S0
you're telling us this.
14:50
S3
Okay.
14:52
S3
I
14:53
S0
noticed How much more interested are you now?
14:55
S3
I noticed while Tom and I were telling stories that it really wasn't that interesting, and I didn't feel it as much as I did with with Judy. With Judy, content didn't seem to matter. The words didn't seem to matter because she the feeling was there.
15:15
S0
And Keep moving them. Keep going in the same one.
15:22
S3
No. The feeling was there. I could feel her exuberance and
15:29
S3
her she switched so so easily.
15:34
S0
She just went auditorily remembered, auditorily created, auditorily remembered, auditorily created. And then you've got to hear what she says next. What comes from that is going to be interesting. She doesn't know what it's going to be and out it's going to come.
15:54
S3
No, it like, well, I forgot it now. But
16:01
S3
when Judy was talking, what she was saying didn't matter because I was feeling it. I was feeling everything that she was trying to
16:12
S0
to portray. Keep moving. Okay. Thanks.
16:19
S0
What else? What'd you notice?
16:23
S4
When I did mine, I was really into my going up to get my pictures, going down to get my sounds, and then over here to get my feeling. And I don't know what I really wasn't concentrating too much on how much they were paying attention to it, so I don't know if it if it made them wanna pay attention or not. Here's a
16:46
S0
funny one. Come on up. Come on up.
16:51
S0
Here's the the new couple guys. Here they are.
16:59
S0
What do you think? That's why it works. That's why it works. Old friend my old friend my
17:13
S0
old friend that I used to work with, John Patrick, when the sales assistant and this broker in our office got married, he said, oh, I like it.
17:23
S0
And I said, you do? And he said, yeah, at least they won't ruin two relationships.
17:35
S0
Neither of them wants to be related to anybody. So where's the damage?
17:41
S0
There is none. He's never gonna know she's there, and she's never gonna know he's there. So they're gonna have to spend their life time to perturb each other enough to convince themselves that the other one's there. Look at. It does work. It may not be ideal, but look what you're working with.
18:06
S0
My brother used to say this when he taught elementary school. He said, I look at the kids, and then the parents come in and I understand. If you cross a chicken and a duck, what do you expect?
18:22
S0
I'm not being critic well Yeah. You are.
18:27
S0
No. What I'm saying is you live in your own little world.
18:30
S1
I know.
18:31
S0
I can And you got no interest in anybody else's own little world unless they happen to get somehow in yours, but that's not easy. Mhmm. And he lives in his own little world. So we have two own little worlds here. Where's the trauma? Nowhere. None. No. Give her a little kiss. Just a little kiss. Don't really do it. No. You don't need to do this. Okay. Just pretend. Just come in like you're going to.
18:59
S0
I'm not supposed to come in. Oh, you can.
19:09
S0
Look out. They're starting to realize the other one exists. You see it? I no. It's awkward. Yeah. She wants to do it. Well, what's it it's not gonna be anything but awkward at this point. But see, if they try and avoid awkward, either of them at this point, they're gonna avoid relationship. Yep. Right now with where they are, if they avoid awkward, they're gonna avoid relationship. What are you avoiding which costs you relationship?
19:45
S0
Theirs happens to be awkward. It's awkward, isn't it? I mean, when you when you start it wasn't see, they don't keep up the awkward, but they don't carry the awkwardness. You see, they get away from it again into their own little world. What if you could stand here and continue to do the awkwardness?
20:10
S0
I mean, really, keep it up. Oh, yeah. You can't walk.
20:16
S0
What's gonna happen is that they're gonna increase their sample rate, and they're gonna be there more. Yes. It's gonna be awkward until it isn't. Mhmm. But if they don't go through the awkward given that they're individually awkward and they just square it as a pair.
20:39
S0
Yes. Keep the awkward. She has a little bit more of it than you have. You need to take more of it on. Pretend like you're just ready to kiss her. Even when you're standing here. There you go.
20:51
S0
See how all of his features start coming out as soon as he does that? And see how her features come out. They start to show up. It's that moment for a kid when the turtle's head starts to come out of the shell. Mhmm. Keep thinking you're gonna kiss her any second. Mhmm. And do you like her? Maybe. Okay.
21:19
S0
You do? That's the awkwardness. You get it? If they avoid this, they got no chance for relationship in this lifetime. Absolutely no chance. And I'm not saying you can't have a boyfriend, and I'm not saying you can't have sex, and I'm not saying you can't have a girlfriend and have sex. I suspect you do and you don't, but forget that. I don't have boyfriend. Okay.
21:51
S0
But they won't experience being connected to somebody. They'll just be two bodies wandering around with heads going different direction. Keep the awkwardness. Pretend like you're in a kisser any second. Keep the gonna kiss her any second. Keep that. How long can you carry? I'm gonna kiss her any second. In the Let Yourself Glow this year, in one of the Let Yourself Glows, we had two people sitting across from each other anticipating the first kiss and moving in, and we found out how long they could hold it expecting the next second that they were in they never did the kiss. Wow. They sat there and they got to the point where they could hold it for minutes at a time of the it's gonna happen any second and their attention spans just stretched out. What if all of life was that? What if you're in the in the grocery store line and you like the looks of whoever's either bagging your groceries or the cashier and you you think you're gonna kiss them in the next second?
22:56
S0
Why would you miss this opportunity?
23:01
S0
I mean, you aren't my type, but why would I still miss the opportunity?
23:09
S0
Why are are you doing it right now with the person sitting next to you? If not, why not?
23:15
S0
Right now, her. Right now, him. Right now, why not?
23:22
S0
Why would you miss this ever with anybody?
23:30
S0
To miss it is to not have your heart break when it could have. You've got to have it break.
23:40
S1
So
23:41
S0
And a fascinating thing will happen,
23:44
S0
and this will it just if you go after this and really go after this, at some point, you'll be standing and you'll be playing this and you'll have played it enough, and the other person who you don't even know will lean over and give you a little kiss on the cheek, and you'll go, oh, geez,
24:02
S0
maybe we really are connected, maybe they really know this all the time, maybe all they were looking for is an opportunity to experience this a little bit. Well, who isn't? All the look at her. Who isn't?
24:24
S0
What if you walked around that soft?
24:28
S0
You think it would hurt? It doesn't. It hurts to walk around not that soft. It hurts constantly. You gotta walk around that soft. Are you guys awkward? Don't sit down. Miserable. That's what you're saying. Stick with it. All
24:50
S0
the time. You guys go to bed before you even know the other person exists. That's dirty. That's ugly. That's awkward. But not this kind of awkward. That's like yuck.
25:06
S0
No. You gotta do just what you can do and what brings it, opens you.
25:15
S0
It's not to get somewhere. None of it's to get anywhere. It has nothing to do with getting anywhere.
25:24
S0
It's that you love everybody. Love is inclusion.
25:30
S0
That's all it is. It's inclusion.
25:36
S0
If you include them in who you are,
25:42
S0
shocks all of a sudden, the world shifts all over the place, doesn't it?
25:48
S0
But remember, and this is back to what you said when you registered in the course and paid in full, all of a sudden, all this stuff comes up.
25:58
S0
The awkwardness comes up. That's reason enough to get away from each other, isn't it? It was really awkward. It was really I don't Yeah, that means it was working.
26:10
S0
That means it was really working. That means you needed to lean over just a little closer and find out if that increased or decreased the awkwardness.
26:22
S0
And if it increased it, congratulations. And if it decreased it, you have to then know, and watch out because we're talking about splitting things here. You have to then know if it decreased it by replacing it with comfort or if it decreased it by having it disappear.
26:42
S2
What?
26:43
S0
You get it? Mhmm. Because it has to disappear because it isn't really there. And it's there between them making certain that each one of them is in their own little worlds and they'll never be in contact with each other. The disappears, they come closer together naturally, which is where they really are anyway.
27:05
S0
But what when this is an edge. You get it? Yeah. This is an edge like the scavenger hunt. And the laughter shows up or the tears show up or the something shows up cause you're out at the edge. The edge is where your illusion overlaps with reality. That's where you get the emotion and it shows up.
27:28
S0
Currently, the little giggle is the best emotion she can do there. There are plenty of tears in the future if she progresses, and there are no tears in the future if she doesn't. So there are a bunch more layers. You're way out here and you got the right clothes and you're buying the clothes that everybody should have and you got the pierced and you got the everything, but you can't give it to anybody because it's all in here. You've got to go through the stuff you don't want to go through. What then? And this is for everybody,
28:10
S0
because there it sits, right ready for you.
28:15
S0
Got it? How long could you maintain that awkwardness? Remember, goes all the way out. It's still going on. Now, can they perceive it? That I don't know.
28:29
S0
When it gets to the point that they can't perceive the awkwardness anymore, you've got to make the next move.
28:40
S0
The one that you don't know if you're gonna live or die if you make it. You gotta then make the next move. You gotta have that direct your next move which means your perception direct your next move to keep you walking along the edge. If you fall too far into the unknown,
29:00
S0
nothing. If you fall too far into the known,
29:06
S0
constriction, nothing but. So that's when you got to make the next move and that's what should determine how you move.
29:15
S0
It's got to determine so that you stay right at that edge of you don't know if you're going to live or going to die because that is in fact the fact. How many of you guys gonna be alive in ten minutes? We got no clue. But you operate like you're gonna be. We got absolutely no clue.
29:39
S0
The present is a place where you die every single second, every single fraction of a second.
29:49
S0
And part of why you guys aren't interested in enlightenment really other than talking about it is enlightenment is death.
29:58
S0
It's the death of everything you currently perceive yourself to be. You don't want it or you'd be running out and doing five scavenger hunts.
30:08
S0
Do one tomorrow.
30:11
S0
Do several tomorrow and enlist the people in helping you do them. Do them tomorrow.
30:18
S0
Challenge that act you got there.
30:22
S0
Get out to the edge. Do it on your knees.
30:28
S0
Get knee pads if you need to.
30:33
S0
You gotta spend the time on the edge. But in your own little world, you don't. What did they notice when you were sitting here? You had no idea that any of them existed. That's it. He noticed it too. Yeah. Well, no more because they're out here for you. They're really out here for you. You're on a scavenger hunt all the time. I'm not right now, I'm looking for a kiss.
31:07
S0
And you gotta do whatever it is for you. For them, it's awkwardness. For you, it may be the end of shyness.
31:18
S0
You gotta get right up against the shyness.
31:24
S0
For everybody, it's something that stays between you and the edge. Fred used to say, I'm within driving distance to the edge today.
31:36
S0
I loved it. Driving distance doesn't work around here.
31:46
S0
Why wouldn't you romance every single human being in the course? I
31:53
S0
can't imagine why you wouldn't.
31:58
S0
But you really could you ever possibly miss that chance? Oh, I don't think so. Have a seat, please.
32:21
S0
Now laugh.
32:29
S0
And more.
32:40
S0
We're entering a world where everything works. The world where everything works is one where you experience content free emotions.
32:53
S0
No content to them. You can laugh or you can cry or you can have any emotion anytime,
33:03
S0
not dependent on the circumstances. That makes you a stimulus. What if you don't need the excuse? If you don't need the excuse, you can have any emotion, any time, and it washes through what you're holding on to. It does.
33:25
S0
And in order to do that, something really magical has to happen.
33:31
S0
There are these pretend things in your back called oscillators and those have to open and spin out all sorts of energy. They can't help it.
33:44
S0
And all your junk washes away. How often do you clean the tub?
33:53
S0
That depends on how often you use it, doesn't it? How often do you clean your head and your body inside? It depends on how often you use them, wouldn't it? Well, how often do you use your head? I don't mean like your parents told you you didn't use your head. Often. Don't you? Yeah. How often do you wanna clean it?
34:14
S5
All the time.
34:15
S0
That's what the emotions do. That's why you gotta put yourself in that situation that pushes you. That's why you gotta and I don't want you to become dependent on the situations. For now, I wanna make sure you get into some of those situations and then you'll be able to experience the terror of the scavenger hunt and the success of the scavenger hunt without ever doing it. Otherwise, you end up having to climb Mount Everest to know that you exist.
34:46
S0
You gotta take all of this stuff all the way out and find out where it lives out there. How many of you have flirted enough in the last month?
34:58
S0
All over the place.
35:01
S0
This afternoon, we're gonna dive into language.
35:05
S0
Not because I find language to be of any particular interest,
35:11
S0
but because I find language to be people's constant trauma, the creator of trauma. A man named Fernando Flores, he was in the Allende government in Chile when the whole thing broke down and he was put in prison, kind of taught himself this stuff and then came over here and taught all us Yankees about this. So we're gonna start with Fernando's model a little bit and then it may not even look like Fernando's model. It may, but it's my own version of the game. We're gonna dance around with language. This language will not take you up from here, but it will bring you up from down here. It won't play you above the line to a wonderful life, but it'll stop you from beating yourself up down below.
36:06
S0
So we're gonna get into language this afternoon. There's a little entry to language.
36:14
S0
Everybody say that you'll do the assignment over lunch. Everybody, no matter what it is. Okay?
36:20
S1
Okay. Fine.
36:21
S0
No matter what it is. Yes. No matter what it is. If you can't trust me to have your own best interest at heart at this point, we got a problem because I do have your own best interest. I'm not gonna ask you to run out and pull your pants down in the restaurant and and go up and ask for somebody's sugar.
36:50
S0
Although I hope that if I did, you would. And And you know that might be easier for example. That's true.
36:59
S0
Point well taken. So at lunch you've got four phrases.
37:11
S0
Don't use anything but these four phrases no matter what or some combination of the four phrases, but make sure they're complete. Don't grab one word from one and one word from another. Okay? Four phrases. That's it. Michael? Michael. If you want to, you can put a question mark at the end of it. That's that's real. This is very complicated.
37:43
S0
I need help.
37:48
S0
Hasta la vista.
37:53
S0
Those are your four phrases. You order lunch out at a restaurant using those four phrases. You talk to the people at your table. You hopefully meet people you've never met before.
38:08
S0
I have a stunning little piece of information for you here. There are people you will talk to out there who will not notice that you're only using these four phrases. I promise you
38:24
S6
You're right.
38:25
S0
That most of them will not notice that you're using only these four phrases.
38:30
S1
That's sad.
38:32
S0
They won't, particularly if they have a tendency to be really visual or internal auditory or kinesthetic. They can't tell. They don't know what you're saying anyway. So I want you to make sure that you order exactly what you want and get exactly what you've ordered. And if you need to talk to the manager, figure out who he is. Those four and not another word starting now. So you gotta figure out who you're going out with here, how you're going, what you're doing. Go out to a restaurant. You have to get help from these people somehow using only these four phrases. If you're dependent on language, you're hiding behind language. I want you to have experience the connection with other human beings without language in the way. Got it? Yep. Anybody have any problem with it? Nope. Don't say don't say yep because that's that's not on there. Everybody know. This is very complicated. Mike.
39:56
S0
What'd you notice over lunch?
40:02
S6
I think I had a better time than I would have if we had all talked. And there was a moment in the car on the way back that I
40:12
S6
had no conversations in my head. No. Really? Swear to god. And I didn't even know that that's what was happening until I started to have a conversation in my head. And I said, oh my god. I just didn't have a conversation in my head for pretty long, like, three
40:31
S0
or four
40:31
S6
minutes, maybe. I don't know. No
40:37
S0
way of telling. Yeah. And why would you bother?
40:40
S6
Yeah. Yeah. It's nice.
40:45
S0
Karen got a call yesterday from Catherine. How old is she? 74. Four. She was in the personal renaissance course. She had nothing going on when she called yesterday. Karen's face totally shifts. She says, I think you have to talk to her. I said, meh. Have her call next week.
41:13
S0
That's nothing. It's just the only point for human beings, but it's nothing. 74, she was a nun for forty years. Sunday
41:23
S0
of the personal renaissance course, which is Saturday through the following Saturday, they went to a nudist colony.
41:32
S0
I suspect she's the first nun ever to go to that nudist colony.
41:38
S0
They they had quite a day.
41:43
S0
She went back to she was at the doctor's, I think it was yesterday. And this the same doctor who she went to after the IC course, and she only was using these four phrases because I think she went on for an extended period of time after the course just using these four. And the doctor just thought it was the funniest thing he'd ever heard of. Well, yesterday, she broke the news to him that she had been in a nudist camp.
42:13
S0
He may come to a course someday. But she had, all of a sudden, become entirely still in there. And how long it lasts? Who knows? Doesn't matter.
42:25
S0
With me, it lasts forever. With some people, it does. With some people, it doesn't.
42:31
S0
And it's not so bad to be kissed by the universe, is it?
42:39
S0
I'm so bad to be cuffed by the universe. Whatever.
42:45
S0
All contact is contact.
42:48
S0
What else?
42:50
S1
I think the thing that really made me was how our waitress got into it. Because we actually had her using a lot of the phrases before we left the restaurant, and she was just laughing. I think it made her day as it made ours.
43:03
S0
Don't they wanna play?
43:07
S0
Did you get what you wanted?
43:08
S1
Oh, yeah. Exactly. Sure. Mhmm. And I also got we got three ketchups from other tables around us without
43:19
S1
having to use anything other than, Michael, I need help. It's very complicated.
43:27
S5
The other thing was I noticed in me was a tendency to wanna make it okay. It's like to take as I watched him wrestle with just getting those phrases for me and kind of being confused, I wanted to cheat and say something to him to make it alright.
43:46
S0
Big difference here.
43:50
S0
I didn't Come here. Oh. Come here.
43:56
S0
Big difference here.
43:59
S0
Jerry brings two people up front with very different patterns for people to observe.
44:06
S0
Notice any subtle differences? Uh-huh. Where's her attention?
44:15
S0
On you guys. Where's her attention? On her. That's it.
44:21
S0
That big a difference.