So, getting in, I'm sort of glad to agree with you. Remember our hero? Yeah. We were the person who was going to go down and defeat the Zen people who were the He heard with people who were not depending on scriptures and were directly looking into the truth of our life and becoming liberated. And he went down to defeat them, and on the way he ran into a lady who completely dumbfounded them, watching the scriptures leave an expert. Then Olivia was referred by her, got a referral to her teacher, whose name is Dragon Pond.

[01:04]

The name of this case is Dragon Pond, renowned far and wide. And so, Olivia, he came to Dragon Pond and When he first arrived, he walked into the main hall of the temple and he said, Well, I've heard... I've heard a lot about this, uh, Dragon Pond. Now that I'm here, I don't see a dragon, and I don't see a pond. And the Dragon Pond, Mr. Dragon Pond, stepped up from behind the screen, and said, therefore, you have personally arrived at Dragon Pond. And then the story in this Ravenscape starts, where events spent evening with Dragon Pond, our hero, Virgin Ophelia, spent evening with Dragon Pond, standing in attendance

[02:16]

I questioned him sincerely and intently, and he got laid in dragging pumps as well as getting that light on shooting. And he drew up the blind door of the street to roll up, stepped outside upon it to be dark, and said, it's dark out here. and dragged it upon, lit the candle, paper, flat down from the table to the side, and offered it to, and just as he was about to take the paper and that came, dragged it upon, and it looked like that. And at that, it was, oh wait, really bowed.

[03:18]

It was the reason for his bowing. He says, from now on, I can never doubt the teaching of the sayings of venerable old teachers who are known widely. I think the story goes on to say that The next morning, Dragon Pond went up to the assembly and addressed, went up to the hall and addressed the assembly and crazed Richard Long and ran away. And then after that, Richard Long took out all his notes and commentaries on the scripture of the diamonds that were going to burn them and set out in significant all his very dishes. And he came. so last week I I'm sorry but I got a little bit of a philosophical but that can be illogical that you tonight I'd like to talk about the eye I love the story

[04:50]

And after the last day that came up to me, he asked me how to work with the story. And I told him about his eye. He tried to find the eye. And he went, he was meditating on hearing the story. What did you say? He said, well, how is it just going over to me? Incidentally, I didn't let you know. I didn't understand. Yes, but he went over the story from the point of view of searching on. He takes you to someone bringing him a lantern, a lip lantern, and then blowing it out. So, one possible eye on the story is from the point of view of the student who is confronted with darkness. He tells the teacher that it's dark. The teacher brings the student the light and blows it out from point of view.

[05:51]

And so the eye of the story quickly, when they're given a light, it's blown up. It could be right at the moment that the light's blown up. So you have the situation of darkness, and recognizing darkness, and admitting darkness and having some light shown to you from that darkness and having that light taken away and seeing the darkness that you knew and then waking up before being enlightened in that darkness. So, how we're talking to Don about this and some things that he said that this situation points to what a teacher can do in a situation like this kind of awkward in a minute what you do is

[07:15]

He was able to offer some light because this young man set it dark. Then he locked the light. He can blow the light out. Young man, wake up. So do you have any sense of what the darkness that you can experience and net fears? that can allow, and you can see the darkness into great darkness.

[08:22]

I think one level of darkness is the part of the world which is good works, but it will work for them. And it's much greater than you can do that. Like the darkness around the motions. You're saying that darkness is something that you can't put words on it. At one level. And in this story, where is that darkness? Where does that darkness appear in the story?

[09:23]

There are two darknesses in the spirit. That's the level of darkness you just mentioned. That's something that's given to him. It was given to him. But he admitted another darkness that set him up to be given this gift. We each have our own personal documents. Yes. And we have to recognize them. Right. And then, sometimes when we see the light, I'm not different. But only we can see the light. Each person is talking, so each person is white. I work with all the people around me. That, to me, that's not light.

[10:38]

If they're not present, but then you're not ever seen. It's not light. You never see it. And then, after you see the light, the darkness you can look at the city. It's okay to be that particular. In this story, the first darkness is the darkest you can see. And then the first light is the light you can see. Okay? The darkness is the darkness you can see and experience. It's the darkness of words. It's a verbal darkness. And the light to teach you is a verbal light. Okay?

[11:42]

The word light is there. He has a word. He has a word without light. He says it's dark. He sees this thing. He sees the word there and calls it dark. Okay? And then the teacher gives up this candle and he says light. The mind sees that word, he sees light with the word light. The teacher blows the word light out. Then there's other darkness, which is not the darkness he recognizes. The new darkness. Well, I don't exactly want to say what that darkness is.

[12:42]

You can say that if you want to. If I say what it is, we just go back to the light that was there before he saw the darkness. In other words, he was in the room and there was light. But he didn't. He called it light. He called it light. Then he walked out and he saw darkness. The light in the room and the darkness he saw are in the same room. The light teacher gave me the same, or the same one. That three, light in the room, light up the darkness outside, and the light teacher gives them. And also your postulation about what the darkness and the light, that's still backing down with light and dark. You hear about this real darkness, and of course you want to put some kind of thing up there to say what it is. No refreshing. No refreshing. No refreshing. This is something that isn't that the teacher isn't planning for taking on some darkness himself.

[13:49]

And he could hide the path that this guy first stumbling off in the darkness. Yet, what he could get in the end of the light which were leading through darkness. What he does, he got the exit to him and that. And that takes it back. And that's, to me, something about his own limitations as a teacher, what that person can do to help someone else. That he's giving the light, but he's taking it back to make but she got to do it by something for herself, not just to see if you're not like this and to come to this own realization. And it means that it's interesting that, you know, well, again, it seems to be very, very intimate.

[15:00]

It seems to be that in what it is though, I'm glad you asked the thoughts of wanting to help me, but realizing that you can't do that, so... Okay. So how can this... It seems that something's gone down. Something like control. But there's some tests there. or the explicit thing, the conversation that he attended. When the intimacy of Donald's talking about his intimacy, they don't suppose out there, the relationship should not be told very much about. It's a very specific quality to... to learn about it. Why else did he have like, you said, oh, I got it again. Oh, I got it again. Yeah, I love it, but it's good.

[16:07]

I don't know why I'm sorry, but it seems that Virgin Rouse was, you know, like hanging around all night. This guy's chance, you know, and the way this guy to, you know, come out with the... words that would, you know, make it weird to me, and God, and Dragon Con might get set up, instead of spending the time with that friend as he left. I don't see if that must be happening so far, but up there, that we, that must be about the same reason. There was toughness, I said, he's telling him he can't. I can't give you this. Here's the light. Do this. I can't give you this. The end of the night, look dead. There's a light. Take care of you if I can die. You're really welcome.

[17:09]

You're welcome. You're welcome. Pickle motion 3. And we realized that we didn't understand. But just a little transition. A little relationship. So we had a beat. So we went to do that land. gesture. When I said, uh, trigger. When people wake up. When you see exactly, very mad. It didn't seem like he was, uh, he just stained that. Is that different from what you're saying?

[18:14]

It sounded like it was relaxed. It looked like it's okay. It's fine. I felt like they were both saying that somehow some intimacy had developed between them during the evening. And that that wasn't because either one of them would be amazing. They were both saying that. However, this impasse was reached. Still, it got to a point where he said, OK, what more can I do with that? And I don't think that was a trick. I think that's really the way he felt. I mean, I think you get to that place where there's no more to do and you say, well, that's just... But somehow, that impact, when he sent this guy off, this guy can just run into some darkness, which he then could give the teacher something back now more.

[19:30]

Couldn't say this darkness before. But because of what they had done, now he's more into the darkness, just to give this recognition of darkness back. And somehow, I'm dragging on to be there. And if you say, do this one additional thing, walk with this light, which is quite natural, then it was kind of a slightly different thing. It's a kind of unusual thing. It's unusual, but it's not polite. It's [...] awesome. You walk with a little camera. So one of the things that inspired me to study Zen was that the stories, the Zen stories were not so tremendously different from our daily life, the kind of difference between things like this and like this. So like, the difference between giving somebody a candle and saying, let it go with that, or give them a candle and eat back, or blowing back.

[20:36]

So it's that, oh, How can we have a chance like that? They do take the way that I can do [...] it. Yeah, and in some ways, maybe, you know, in one sense, the literal thing is he extinguished it, but in maybe even better ways, he took it back. Well, in other words, he turned it back. And he got the other guy to turn the light back. That's another way to work this. His light got turned around. What the teacher did is he turned this guy's light over.

[21:39]

And then he recognized his own. Right. He got to see his own life. They're turning away. He's a little thing you want. Well, a student was kind of like him to think of the way he was. teach it awkwardly way. We need to look directly into the surface. We can show them what's up. And at the end, it's very guttering. We'll be able to speak about it. We can't. We can't. We can't. Thank you.

[22:49]

There are two things that normally are so that people use this gesture of the light. One is the light. You can see the light in magic. More in the light. What's dying? For the feet, you know, to somebody. But when the light goes out, we realize that we have to read that, we go. The gesture means that the project we thought was about this letter, which is not enough. So there's sort of the contradiction there, which I think is very profound when that makes him realize the wisdom of the teacher. In other words, the wisdom of the teacher is saying would not listen to himself.

[23:55]

But the other thing about it that tickles me is there's something, there seems to be something, every kind of story it's told, like there's something very humorous, like the teacher off on the light and then blow it out. I almost blew all the anger out and blew it out. Like, do like that justice that was still resulting in the... It's humorous. It's funny. It was something that somebody liked that. Forgandry. Mm-hmm. We ought to get it. Mm-hmm. We ought to get it. Mm-hmm. We ought to get it. We ought to get it. We ought to get it. And you, [...] you. If I had to read a story that looked like, we looked over on this meeting, so I didn't, [...]

[25:00]

And when I read that, I go back and tell me, that's what it's doing to me. So I tell everybody, that's what they're doing. So, Todd, how are you feeling? Can I tell you if it's a lady and you shouldn't be tired of me? What? Can I eat that? I'm going forward.

[26:01]

I'm going to listen to your patients. I'd like to ask about this balance between yourself and beauty. You know, I was thinking about this balance that could be more tongue plowing. Right back to the head of the stereo. Should we... Maybe we should make it look kind of like orient towards a song like... It's all that you can get on to the center. I think people are having trouble hearing this. Well, what I'm saying is, you already had mentioned that one good, the deeds of terror, that some others, and all the evil, I don't want to watch you. But could you explain on that basis where the deeds of the story, to me, it's part of.

[27:03]

Where is the evil in the skirt? Where is the good in the skirt? Well, the grip seems to be a feature. Or it's a vehicle. A practitioner means to be good and loyal. The good is this guy walking halfway across China to see this meeting. We're here in the state of late at night attendance. That's pretty awesome. So you wonder where the ego is? Want me to tell you where the eagle is or you are? Where is the eagle? [...]

[28:05]

Where is the eagle? [...] Has he still got that through the evening? Yeah. He's still a stretch. Probably good. The big part of that was a place to go now. Don't think. Is it that evil? We got a worse evil than you. Anything to find? I'd rather than find what evil can do without the time of it. This is it. Okay. Wait, see, didn't it look like it? I mean, like, like, things like it. The first thing is what? You know, I'm looking back, sir.

[29:18]

I'm thinking of things like, well, people change the world. Like, you know, get married and working on people, you know. How about a mirror light? What is all you have? Not evil anymore. But being in your opinion, is there no evil in the way? In my personal experience. In my personal experience. In my personal experience. Maybe. Right. Well, that's... That's... That's pretty neat.

[30:38]

It's okay. But actually, it's... That's what you can do. I'm not really defining it. I'm not defining it, like to say. [...] I mean, I say, oh, look, I think we're different. But... In fact, you could find them at the best... that's... that's... that's... that's beautiful. What do I find? What? I mean... I mean, you know, I could define... I could say... Well, I mean, you said Hitler kind of thing. Right. So, like, you don't see enough that in your life. If you don't see yourself trying not to be... Not good people. Well, I still like to say, like, it's me. But that's me. Because I feel like I'm there.

[31:40]

I mean, the people are like, well, I can't get this change between the people that I can't do. Yeah. Yeah. Do you think that's... Well, that's my point of when I continue to ask somebody to do it. Because I see people being scared sometimes. But I think I have a judgment. You have a judgment for something that you... Well, I have. It would have been weird with you. Well, I'm a little bit with you, but... I mean, I'm not saying yes or no as to who it is, because if I change my mind or not, the only time I find out why it's particularly big, perhaps. It's because I change my mind from feeling that evil. I don't know. It makes sense.

[32:41]

Okay. So, in one hand, I can say everything I think. In another way... Okay. So, the way we hurt each other all the things. Possibly, simply. So, it was something like that I didn't got. Yeah. You've heard a lot of people like it. That you've heard a lot of people like it. Sure I do. I'm sure people could be in some way, whether I find a deal or not, yeah. That's something else. I'll tell you, don't read it.

[33:41]

Well, the main thing is, you know, I think it's a denial that we're, for example, they deny that everything we do. Everything we do. In fact, everything we do doesn't repeat. And they deny that. That's how, oh, that's, that's great. Now, isn't that good, right? That's, that's, that kind of thing's all right in the neighborhood, all good. People do good things often, not, [...] but, not, [...] but, not, [...] but, not, [...] but, not, [...] We have people talking to them.

[34:48]

So obviously the story about that, I think we had an issue about him. That was... I couldn't get the notice outside to a big school. We get you now and see everything that's right now. through all of the years as a minister. It shows the experience of doing it. And then it comes from someone who's really into the application of the library. Where do you think about it? That would mold you to cut the trash. She really was maybe a great teacher at the library. So I agree, he is arrogant.

[36:02]

Before he meets her, he's still arrogant after he meets her. However, I feel that he's getting less arrogant because of meeting her. She helped him. realized his arrogance is in this. I think he started to open up to his arrogance upon meeting her. And I see the story of his evolution of his admitting his arrogance. And then when he meets Dragon Pond, he says this thing about, well, I don't see a Dragon Pond. And Dragon Pond comes up and it shows him, cuts his arrogance down another step. And I think he spends the evening with Dragunov, and I think he, rather than eliminating his arrogance, I said that cutting his arrogance down, but I think rather than eliminating his arrogance, what he is realizing through the story is he's realizing step-by-step how arrogant he feels. I think he's becoming more and more aware of his arrogance through the story.

[37:03]

And that's the story. Yes, exactly. And as we do that, we set ourselves up to be helped. Some of us may seem more arrogant than others, but it really is true that we seem that way. And in a way, I guess it's true that some of us are more arrogant than others. I mean, really. Still, all of us have to admit thoroughly how arrogant we are, and that's hard for all of us. All of us have quite a bit of... Some people have mountains of it. You get it. Some people have molecules, but it's hard to admit a lot of the derivatives too, thoroughly. So that's our darkness. It's... So the story itself, it's a story that doesn't say much about it.

[38:22]

You're reading a lot of psychological states, and then a message that's into the story. And the church tells me that it comes to a bit. And also, I remember that sometimes I read a story about what they're talking about. So that's when we do that connection. And I didn't really get it medical. I don't know exactly what to say about that, but just that kind of refinement which was taken.

[39:29]

And I, you know, understand me what you're seeing about these people, these gates. Look, it has to be a way it works. Look. Look. Look. Yes, of course, this is no way to be concerned about it. Well, I was just listening to what people said. And then you said, yeah, well, it doesn't seem to be a conclusion or something. That's my big one.

[40:49]

Yeah. Yeah. Yeah. Well, I don't need to read what I call it without you. It works. What reminds me of when I came out about the fire, I think back to a very good sleep. I came out and was thinking, that would be what it looks like. Revival is one of those things. You actually have lots of good music. They can't just discuss it. And basically you've sung about something like Would Jesus wear a Rolex on his TV show?

[41:57]

I thought, well, I guess the message bears keep Woodward. That'd be good on it. Woodward Rolex, right? He was a TV band outside. Woodward Rolex. Well, I thought, well, why would Jesus see Woodward Rolex? Well, it's insane. So... I think if you're saying we're not sure about this, what's what it said afterwards, I think we have to do, we have to, first of all, let's take the life off. And then let's talk about, let's talk then about what we saw about how we should go on. So I think, I think. And also then when you talk about several other groups, I think you're talking a lot. Would that help you at the time? Would you learn your books?

[43:00]

Yeah, maybe you would. That may be true. You might be right, but I like... First of all, let's talk about how I'm back at that place. What did I talk about? Yeah, if you're saying that, then fuck it. The other part of the story is in the back of this part. I, myself, I was like, all this stuff's coming in and I started, all before and after, and I started, [...] and I'd like to know if we can, if you can find the vibe of this place, if you find that place.

[44:17]

And I'd like to know if you feel it, understand what this original statement about darkness. Yes, right. Okay, good. So do you have one? Oh, yeah. And you got the other one now? Oh, yeah. What? That's when my daughter died. And that was very good. And the light went on. And okay. Yeah. Another darkness for me, which is one of the years later, when I met my doctorate. And I think it's well, but it's good. And right now, my darkness is like, I can't be in control of everything.

[45:20]

And I haven't changed my darkness yet. That darkness is still there. Oh, no. I thought I was real casual. No, I suddenly gave a look at that touch. I hadn't gotten to break. And tell us about it, too, so I don't have to set myself up to be about it. Somebody could give you some light now. I just have to recognize when I see it. They've already been out there, and I might not believe it. So now, you know, we, we, we, we adjourn, and you guys go, let's take out the end of this. Do everybody have some darlings to work with? I was thinking aggression that better go, yeah, darlings, and people, people, children, children, children. With that, it's affected the darkness of people in their lives.

[46:24]

They should be getting at the darkness, but temperance of their self. And I wonder, for everything. What else did they have to do? What did they have to do? What did they have to do? How did God be acceptable? Sorry, listen. It's fine. That's not the whole story. Isn't that pretty? I get what? It's epic or not, let's hear about those who want to suck that. It's probably not true, you know, to what's... In there, people seem to be using a clean subject to take advantage of them.

[47:30]

And evil, I have a lot of problems with the difficulty because it seems like the old theology and morality is acting. And I can't extricate that. I can't use that word in my own voice very easily. I don't think that would be harm. What about the harm? Right, darkness is maybe a little bit deeper, but I'm happy to tell you that every place we can do, so it's not the same. Probably the fact that we truly know. No, if I could hold on to my own, I sort of put darkness in the darkness of the story that is both frightening and probably frightening because I have to, I can't do the question whether it could be my own light. In fact, I really enjoyed what it was really dark.

[48:33]

It was so beautiful. It was beautiful. It's not that you're going to be able to do that when you're done. It's always to me. One of the things that I'm learning is that the other thing is that it's the pain. I just want to be able to support my child and I said I'll leave it for a month and I have a lot of pain. And that the darkness, like our books, made the joy. And I guess I'll let you piece together this discussion with maybe about that darkness that you like darkness that I can't believe with. It is frightening, but it's also, you know, you didn't really believe it, but what you believe it, you don't believe it, the value of the passion with you. So, I want to thank you. He put the black guy in Kyrgyzstan in his own job, and he [...] put the black guy in Kyrgyzstan in his own job.

[49:42]

What we find is the darkness in which we have a chance to wake up. . [...] What do you think about it?

[51:03]

What do you think about it? What do you think about it? Yes. But if you do judge, if you do get into judging, that's not . But you don't have . Okay. Take a break, kid. Okay. Okay. Let's see.

[52:16]

I mean, [...] Well, this story can be a paper line. But what a dark. The dark. And the story came up. Finally. And he still takes it on him.

[53:18]

He says. He took a lot. He took a lot. He was thinking about him. He was speaking in the room. While he's talking to the teacher. The teacher's telling him in the room. But he's saying. Please somehow. The rent fucked out. In the dark. When he please somehow. As it came. There are really discussions. that you are fundamentally frustrating language. All day long, you're feeling frustration and pain with language. Can you please admit that? If you can, you can see that you're in the dark cognitive words. Words are believed in darkness. But a painful doubt, a frustrating doubt, not liberating darkness yet. Once we admit, I believe how frustrated we are and how in the dark we are with our worries. That's all we have to do.

[54:20]

Our job is done. And someone will give us a standard to people now. So people are saying you can't even get frustrated with the language. But can you feel frustrated in alignment all day long? If it's only in this class, well, then come back. Because it should be like this all day long. In fact, it is like this all day long. All day long, we are frustrated. We don't stop. We are. If you stay in any posture long enough, you'll find a comfortable spot with you. He said, you'll become uncomfortable. That'll work twice.

[55:24]

And your posture is fine. If you stay in this class longer, you'll never be talking. If you leave at 9.30, you tell me not to be a doctor, tell me not to be a doctor, but to be a doctor or a doctor. Probably not to be a doctor or a doctor. Which is good, but you can understand that this is not different from the rest of the day. That you're always, always sad. We're always trying to sound frustrated by the words that are linked to the kids. But of course, you must like to eat that way because you voluntarily can eat it. Some way you do it, right?

[56:32]

Yes. that was that's what i didn't like to talk about because um he's been working on that so he's working 35 night, which constantly would be it's the sun and sun. And the question to him is about the nature of the mind that was doing this work. And apparently the answer, which is also a new brand is It's about punctuating the mind. You've seen me with the hope of, in fact, having our situation, which the language produced, you know.

[57:35]

And so the no repression means that she's trying to point what is mine actions like. Fantastic. Thank you for it. Words are what prostrate me. Words are what never makes. Thank you. What? Yes. We're waiting to see it. We're ready. We're ready. I'm trying not to take us to the tail. I don't wait. We're ready. We're ready. that the tissue must run along. It's very useful to people who do it.

[58:40]

People who have oxygen or inhibitor, not doing that, but the thing. But all in very shape, very clean, and things are very little. And it's really hard It's somehow trying to adjust itself some way to the middle. Well, I don't want to talk to you anyway.

[59:49]

This thing, this gradation thing that... I think that what I knew might need was simply denial of money. Because I think everything we do is continuing to talk to me. What we don't really know exactly is what's happening. What we've heard people that don't have a way of looking at all that. We were confused. We don't know what to do. We're doing only something like that. And part work, right?

[60:52]

And that's not, and that's not, I don't think that's just . I don't think that's black. That's what kind of gradations. Isn't that what you tell the truth about? I think you know. I think you know. It's not untrue. And it's not a gradation. It's not. You're basically not telling the truth. You have to sneak yourself around. That's not a gradation. You know what I mean? Nothing. Why? Yes. We don't necessarily know people. Most people that are feeling the denial do not know they're to deny. And at Zen centers or Buddhist places or spiritual places are the places where people are generally speaking. I'm going to follow them in denial. Because they're trying to be good.

[61:56]

So they don't want it. That's tough. It's quite skilled. I mean, the likes of those people, that is the main, that is the main topic. That sounds. It's like all the motivations all lined up for us. They're running the right track because they're up too. It seems to me the story is worship. It seems to me the story is worship. We see what we need to see, or we see reflected in ourselves. Pardon myself, that happened in the book, or whatever the matter was to find the scene.

[62:57]

But for me, what I look at when I see death is that the teacher gives light. And then came to the brain again, which repeats it that the answer is not the teacher or the teacher. Not the doctor, not the teacher. So that's all. Because that's something that I'm not a teacher, so I... I'm looking at, in myself, good student, teacher, relationship, power, and so for me, that's what I project, a story that seems to be not good. That's why, see, it reads so flat. It's just, it's different. And it's a good story because it allows us to bring out one of its needs. Thank you. Thank you. What did that life send you lives?

[64:06]

You're a scooper. What did he do with him, but he trusted him such that he understood what he meant. He did not understand what it meant. What did he understand? I'm asking the second question. Don't forget. He understood something. It stood up to be like, yeah. I couldn't see it. In a great size, it stood up and came to the doctor and stuff. I had nothing to see what the two should have said.

[65:07]

It wasn't really quiet. Well, then you may as well in the dark. Because he wasn't given the light in any kind of way. He wasn't given the teachings. It's okay in the dark. It's completely okay. You don't need my light to make your way. Also... I could see the story. It could back all these, you know, the same place, all the good countries. So it was mostly like, you know, some would be in my cabin. I could see each one of my favorite two people, that I would have this nice feeling. I thought, here, I'm going to be nice. I could play great because we love the land. And I can imagine a person would say, oh, how sweet would you just like to really feel how nice it would be in your life. Really darkness. It's a good, just tender feeling there.

[66:07]

Tender, ordinary feeling. Ordinary compassion helps us. And it was strange going with life to get this out of me. Shall we wipe this a little while? God bless you.

[67:21]

Ah. . .

[68:40]

. ... [...] . . . Thank you.

[70:03]

. . . ... [...] oh

[71:09]

... [...] Yeah. [...] .

[72:17]

. [...] uh uh

[73:36]

. [...]

[74:41]

Thank you. Thank you. ... ... ...

[76:13]

What's up? What's up? What's up? I don't know. I don't know. I don't know. .

[77:50]

. . What's that? Huh? Huh?

[78:59]

Thank you. Thank you. . [...] Oh. Oh [...]

[80:12]

What? I'm not going to be able to do that. [...] I'm going to be able to do that. . . uh uh

[81:20]

so um Darby, thank you. Next week, I'd like to discuss case number six, which is the World of Honor and World of Law.

[82:31]

The world on one fourth floor, and my gosh, it's smart. It's not six. What? And, uh, I'd also like to discuss this number 23. Either good or evil. So, do you have what we can read about? Tell me what... You should have some of the jokes. The goofy copies over there. The dog broke, so I'll tell you this very good. Thank you for your intentions.

[83:18]

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