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Thursday, September 09, 2004

<  Session 1625 (Private/Phone)  >

ďChecking in with Other FocusesĒ


Participants: Mary (Michael) and Jim (Bevan).

(Eliasí arrival time is 13 seconds.)

ELIAS: Good afternoon!

JIM: Good afternoon, Elias, and how are you today?

ELIAS: As always, and yourself?

JIM: As usual! (Both laugh) I just had a nice chat with Mary, and Iíve got a few questions for this afternoon.

ELIAS: Very well.

JIM: The incident with the name Marsha Sorenson temporarily clouded my trust of self with regard to personality names that I could come up with, until I realized I had probably gotten confused again. Is the name Marsha Sorenson actually the personality name of the woman whose picture I have labeled ďGuidanceĒ?

ELIAS: Yes.

JIM: I feel that she is another focus of Valline. Is she?

ELIAS: Yes.

JIM: By any chance, is Mariana Sorensen the personality name that I am seeking? (Pause)

ELIAS: First name is correct.

JIM: The last name is not?

ELIAS: Yes.

JIM: Is it a different spelling or a completely different name?

ELIAS: Different name.

JIM: Iím going to skip a bunch of questions, then. I feel that I am blocking my objective awareness from discovering the personality name of this woman that I met in the courthouse. Is that the case?

ELIAS: In a manner of speaking Ė not trusting your ability.

JIM: Well, I havenít done too well with her.

ELIAS: Ha ha ha! And in that, if you allow yourself to relax and allow your impressions to flow, you may be more successful. For what you are doing is pushing your energy.

JIM: Trying to force it. Yes, I agree.

ELIAS: Yes.

JIM: And it canít be done that way. Itís got to come naturally. Do I have a fear of contact with her, or is it forcing thatís caused this problem?

ELIAS: The forcing of the energy, although I may also express that there is some apprehension, for you are generating some expectations in your anticipation, and that sets into motion probabilities for disappointment.

JIM: Iím going to keep that in mind, because that may just turn that off entirely. With regard to my feeling of discomfort in the court building where I met the focus of Valline, was I tapping into Joshua Potterís energy deposit?

ELIAS: Yes.

JIM: Has Muriel Parks disengaged as of this time frame? I feel that she has not.

ELIAS: Correct.

JIM: I believe her HIV infection has ended her performing career. Is that the case?

ELIAS: Correct.

JIM: I suspect that her attitude toward her disease is one of despair, a feeling that the disease is just one more infliction upon her. Is this the case?

ELIAS: Yes.

JIM: Was my dream impression of her displeasure with me a reflection of her attitude toward her situation?

ELIAS: Yes.

JIM: You told me during my last chat with you that what I thought was her email address was not. Is that correct?

ELIAS: Correct.

JIM: Was that because she never had that address?

ELIAS: Yes.

JIM: I sent two email letters to that address, and they didnít bounce. Somebody else must have received them?

ELIAS: (Laughs) Correct.

JIM: Did the receiver read them, or did they simply delete them?

ELIAS: The recipient read them.

JIM: What was the reaction?

ELIAS: Somewhat of amusement and somewhat confusion.

JIM: Yes, I would expect that. (Elias laughs) You told me during my last chat with you that one probable self of mine made objective contact with Muriel. Was that probable self me?

ELIAS: All of your probable selves are you!

JIM: I understand, but the one Iím aware of. (Elias laughs) You know what Iím talking about! In other words, what Iím saying is was that contact that you referred to the first email message I sent to her? Because she did read one.

ELIAS: No, that was not the contact that I was expressing.

JIM: Thatís what I wanted to know. When Muriel is on my mind, am I projecting energy to her?

ELIAS: Yes.

JIM: If so, is she reconfiguring my energy in a way that is helpful to her?

ELIAS: At times, yes. Not always, but at times. It is dependent upon what she is experiencing in the moment and whether she is overwhelming herself or not.

JIM: Not much else I can do for her, I guess. I have the impression that Maria Capola is pregnant. Is she?

ELIAS: Yes.

JIM: Is Dominic Petrillo the father?

ELIAS: Yes.

JIM: Has she chosen to live with Dominic?

ELIAS: Not yet.

JIM: Are they married, or are they going to simply live together?

ELIAS: Not married.

JIM: Will her offspring be a male focus of Valline? (Pause)

ELIAS: Probability.

JIM: I see her getting away from the movie making business and setting up in business with Dominic. Is that happening?

ELIAS: That is a potential.

JIM: How many focuses do I share with Jale?

ELIAS: Eighteen.

JIM: Eighteen, a pretty good number. I removed this question from those of my previous session with you, but I feel that it should be asked. Is Caligula a focus of mine?

ELIAS: Observing.

JIM: I feel that he expresses characteristics of my personality that I suppress for the most part. Is that the case?

ELIAS: Yes.

JIM: Do I have a focus with the name Bo Ni?

ELIAS: Yes.

JIM: Is she a small, dark-haired young woman, I believe Vietnamese?

ELIAS: Yes.

JIM: I see her in a shop in an Asian city. Is it Hanoi?

ELIAS: Yes.

JIM: Does her life span the middle of this century? (Pause)

ELIAS: Yes.

JIM: Is she born after my disengagement?

ELIAS: Yes.

JIM: In my story, she works with fabrics. Is this the case?

ELIAS: Yes, you are correct.

JIM: Does she dye fabrics in a creative way?

ELIAS: Yes.

JIM: Does she align with Vold?

ELIAS: Correct.

JIM: Soft orientation?

ELIAS: Correct.

JIM: Emotional focus?

ELIAS: Correct.

JIM: I believe that she is aware of herself as a focus of Bevan and to some extent is aware of me, among other focuses of Bevan. Is that the case?

ELIAS: Yes.

JIM: Is she related to, possibly the granddaughter of, the little girl shown fleeing naked and burned from a napalm attack during the Vietnam War? (Pause)

ELIAS: Not related by family, but related in association with that family. Within that culture, families are somewhat similar to what you define as extended families in other cultures, in which friends are also somewhat considered family. Although they may not be biologically related, they are considered related as family in their relationships with each other.

JIM: I see. So thatís why I associated that photograph of that little girl with Bo Ni, then.

ELIAS: Yes.

JIM: I am very much drawn to the painting of an old man that appears on the CD of Marinaís Miaskovsky recordings. Do I have a focus who is similar in appearance to that old man?

ELIAS: Yes.

JIM: Is his name Ivan Petrovich?

ELIAS: Yes.

JIM: Does he live in the timeframe of Ivan the Terrible?

ELIAS: Yes.

JIM: I place him in Kiev. Is that right?

ELIAS: You are correct.

JIM: Is he a beggar?

ELIAS: Partially, not throughout the entirety of the focus but for a partial time framework, yes.

JIM: Does he align with Vold?

ELIAS: Yes.

JIM: Orientation common?

ELIAS: Yes.

JIM: Religious focus?

ELIAS: Yes.

JIM: Am I a counterpart to Ivan?

ELIAS: Yes, you are.

JIM: Next, do I have a focus who is an organist?

ELIAS: Yes.

JIM: Does he live in Stuttgart, Germany?

ELIAS: Yes.

JIM: His name is Hans Schreiber?

ELIAS: Correct.

JIM: Living in the 1800s?

ELIAS: Correct.

JIM: Does he play pipe organ in a Lutheran church?

ELIAS: Yes.

JIM: Is he quite fond of the music of J. S. Bach?

ELIAS: Yes.

JIM: Is he aligned Milumet?

ELIAS: Correct.

JIM: Soft orientation?

ELIAS: Correct.

JIM: Religious focus?

ELIAS: Emotional.

JIM: Do I have a focus that manifests as a gray whale?

ELIAS: Yes.

JIM: Is that focusí personality name Ardus, A-R-D-U-S?

ELIAS: That would be an accurate translation.

JIM: Is the gender female?

ELIAS: Yes.

JIM: I see this focus in the Gulf of California during mating season. Is that valid?

ELIAS: Correct.

JIM: Do sexual orientation and focus type apply to whales and dolphins also?

ELIAS: No.

JIM: I wondered about that. Do I have a sperm whale focus?

ELIAS: Yes.

JIM: In the north Atlantic?

ELIAS: Correct.

JIM: Late in this century?

ELIAS: Correct.

JIM: Name, Nardik, N-A-R-D-I-K?

ELIAS: Once again an accurate translation, yes.

JIM: Aligned Tumold? Wait a minute. We decided that wasnít applicable, didnít we?

ELIAS: Correct.

JIM: I suspect that John L. Lewis may be a focus of mine. Is he?

ELIAS: Observing throughout the entirety.

JIM: Is he Vold aligned?

ELIAS: Yes.

JIM: Emotional orientation?

ELIAS: Yes.

JIM: Political focus? (Pause)

ELIAS: Emotional focus.

JIM: In picking up information of other focuses of myself, I feel that I am just skimming the information available, selecting from that which is familiar. Is that the case?

ELIAS: Yes, and practicing with your impressions.

JIM: Am I using my empathic sense to obtain this information?

ELIAS: Yes.

JIM: Is it fear that prevents further probing?

ELIAS: Not necessarily. It would be more of a confusion objectively of how to access more information.

JIM: So itís not specifically fear; itís not really knowing how. Is that the problem?

ELIAS: Correct.

JIM: Since I am observing essence of two symphony orchestra conductors, it seems as though I should have a focus who conducts a symphony orchestra.

ELIAS: Not necessarily.

JIM: Not necessarily? Well, do I have one? ELIAS: (Laughs) Yes, you do, but that is not necessarily the rule.

JIM: I understand. Is that focus either Eugene Ormandy or Serge Koussevitzky, by any chance?

ELIAS: The latter.

JIM: Is he aligned Vold?

ELIAS: No.

JIM: Common orientation?

ELIAS: Yes.

JIM: Thought focus?

ELIAS: Political.

JIM: Is Koussevitzky aligned Sumari, then?

ELIAS: Yes.

JIM: Yes, so I had him confused there. Am I observing essence of the ballerina who dances the part of Cinderella in the premiere production of Prokofievís ďCinderellaĒ ballet in 1945?

ELIAS: Yes.

JIM: Is her name Ivana Petrovsky?

ELIAS: Yes.

JIM: Does she align Sumari?

ELIAS: Yes.

JIM: Does she belong Sumari?

ELIAS: No.

JIM: So she aligns Sumari and then maybe belonging to Zuli?

ELIAS: Yes.

JIM: I had it reversed. Common orientation?

ELIAS: Yes.

JIM: Political focus?

ELIAS: Correct.

JIM: Does she dance with the Bolshoi Ballet Company?

ELIAS: Correct.

JIM: She must be about my age. Is she still living?

ELIAS: No.

JIM: There is something about the Miaskovsky CD that affects me as powerfully as Tarasovaís Khachaturian CD. Is Nikolai Miaskovsky a focus of mine? Or am I observing essence? Or is this another empathic response?

ELIAS: It is empathic. It is also a vibrational quality that you resonate with strongly, and there is also partial observing essence.

JIM: This album in particular makes me feel that I love Marina as myself, in the sense of both appreciation and knowing. Have I identified that feeling correctly?

ELIAS: Yes.

JIM: Am I observing essence of the harpist whose picture adorns my computer desktop?

ELIAS: Yes.

JIM: Is her name Michelle Johanson?

ELIAS: Yes.

JIM: Does she belong Sumari?

ELIAS: Correct.

JIM: Aligned Borledim?

ELIAS: Correct.

JIM: Soft orientation?

ELIAS: Correct.

JIM: Emotional focus?

ELIAS: Yes.

JIM: How many lives do I share with her?

ELIAS: Sixteen.

JIM: My fatherís recent death at age 105 makes my concern about my own age seem a bit ridiculous. Am I limiting my choices as much as I feel that I am because of my age beliefs?

ELIAS: For the most part, yes.

JIM: I feel that there is a connection between my feelings with regard to my age and my yearning for disengagement. Is that the case?

ELIAS: Yes.

JIM: How much of the physical discomfort that I experience do I create in order to soothe my concern over how my disengagement will affect others?

ELIAS: Considerably.

JIM: Many years ago I associated the number 84 with my disengagement. Since I didnít disengage in 1984 and Iím still here after the 8th month of the 4th year, Iím wondering if age 84 is what I picked up. Am I missing anything there?

ELIAS: That would be accurate.

JIM: Good night, you mean Iíve got to live to be 84?

ELIAS: Not necessarily. Ha ha ha! That is a choice.

JIM: I understand. Iím still trying to figure out what Iím trying to tell myself with some imagery that has stuck in my mind. First, there was the dream where I was kneeling beside a round basin-like depression in the ground that was filled with a greenish fluid of some kind. I got the impression that it was a sort of toilet, but wasnít like any toilet Iíve ever seen and there was no odor involved. I felt that my intention was to unclog whatever drain serviced the basin while at least three robed figures watched. I think this imagery tells me that I am, to a large degree, blocking energy of a certain sort. If the color green is significant, then it may have to do with love. I didnít think that was the case, but is that at least part of the message?

ELIAS: The restriction and blocking is associated correctly. The subject of the blocking being love is incorrect.

JIM: So I have to find some other thing Iím blocking there. Was one of the robed figures Patel?

ELIAS: Yes.

JIM: Was another of them you?

ELIAS: Yes.

JIM: What am I missing in that imagery? Anything there that you can help me with?

ELIAS: The other figure is Ordin.

JIM: Ah! Very good. In another dream, I opened up two things like pustules or sores in myself, except that they werenít sore, and I squeezed out of each a column of dark matter flecked with white specks. Off to my right was somebody watching with disapproval, but I donít know who. I suspect that what I am bringing out into the open in this imagery is my beliefs. I didnít see myself trying to get rid of them, but merely bringing them out where I could see them. Have I got that right?

ELIAS: Correct, and also expressing more of an exposure.

JIM: Do the white specks Ė the light colored specks Ė represent beliefs that I currently honor? Is that the idea?

ELIAS: Yes.

JIM: Is the person that I feel disapproves representative of the social milieu in which I find myself?

ELIAS: In a manner of speaking, but also is another representation of yourself.

JIM: So I disapprove of... Okay. Again, am I missing anything there that you might want to comment on?

ELIAS: I may express to you that this may be significant for you to evaluate within yourself, the certain elements of yourself that you are disapproving of. That also may be helpful in association with unblocking some of your energy, allowing yourself to be accepting of yourself. Also, another element that is being expressed in these dream imageries concerns that factor of exposure and your hesitancy to express that exposure within yourself outwardly.

JIM: Yes, I recognize that. In still another dream, I met my father somewhere, and we walked together to do something but I donít know what. Was this a clairvoyant dream predicting my fatherís disengagement?

ELIAS: No. It was imagery to remind you of your intermingling in relationship with that individual.

JIM: Was I prompting myself to reexamine my beliefs with regard to my father?

ELIAS: Yes.

JIM: Are there other interpretations of that?

ELIAS: It is imagery to, in a manner of speaking, prompt you to experience what you appreciate of this individual, which shall also be helpful to you in offering yourself more avenues to be appreciating of you.

JIM: I need more avenues, thatís for sure. (Elias laughs) In my most recent dream, I believe that I met you. Were you the little man that I met in the bus station?

ELIAS: Yes.

JIM: What did you give me that I was putting in my pockets? (Elias laughs) No answer there?

ELIAS: Small stones that represent different energies that you could hold.

JIM: You were to take me to Newburgh. I canít quite figure Newburgh unless it represents a post-disengagement situation. Does it?

ELIAS: (Laughs) New experiences.

JIM: The other image was not dream imagery, but imagery I presented to myself just after awakening. I saw my arms extended outward radiating light, my hands cupped to hold a small, dark figure. I felt the light to be love, as though I was intent on bathing that dark figure in love. At first, I felt the dark figure to be Muriel, but then I thought it was me. Which, if either, was it?

ELIAS: Yourself.

JIM: Anything else Iím missing on that one?

ELIAS: That is accurate. And perhaps you may actually engage that action. Ha ha!

JIM: In playing one of the solitaire games on my computer, I get the impression that quite frequently tokens change on the fly. I think Iím using one token and find that Iíve used another. Moreover, the token that I think I have often shows up on the next draw. Is Patel playing games with me?

ELIAS: At times. (Laughs)

JIM: I try to pay attention, playing slowly and deliberately, but the moment I stop doing that, the switching seems to happen again. What is going on? (Elias laughs) Games, right?

ELIAS: Being playful, and a small reminder to be paying attention Ė but paying attention in a playful manner.

JIM: Playing solitaire seems to be my method of meditating. Do I have that right?

ELIAS: Yes.

JIM: I suspect that I have a belief that I must always be doing something and think of meditation as not doing anything. Is that why I feel uneasy when trying to meditate?

ELIAS: Yes.

JIM: I apparently believe that reading is doing nothing, because I donít feel comfortable unless my legs and feet are moving. Does this have anything to do with my movement in widening my horizon?

ELIAS: As you are noticing and identifying it, yes.

JIM: It was pretty obvious that impulse led me to put our bird feeder out in a timeframe that allowed me to confront a bear just entering our yard. Was meeting the bear just an event to call my attention to the validity of impulses?

ELIAS: Partially, and also partially to surprise you. (Laughs)

JIM: It did all right! I have some questions regarding Dale/Jene. Regarding the Polynesian girl focus of Jene, is her name Jessica Haoli?

ELIAS: Yes.

JIM: Is she aligned Tumold?

ELIAS: Yes.

JIM: Is she common orientation?

ELIAS: Yes.

JIM: Political focus?

ELIAS: Yes.

JIM: Does she live in Honolulu?

ELIAS: No.

JIM: Is Martha Jacobson a focus of Jene?

ELIAS: There is a focus of Jene that incorporates that name, yes.

JIM: In other words, what Iím trying to say is, is that focus married to me as C. J. Jacobson? Is that his wife?

ELIAS: Yes.

JIM: Is one of the Russian naval officer clients of Ingrid a focus of Jene?

ELIAS: Yes.

JIM: How many focuses do Jene and Bevan share in this dimension?

ELIAS: Thirty-one.

JIM: How many focuses does Archar have in this dimension? (Pause)

ELIAS: Seven hundred.

JIM: How many of those are contemporary with Deangelo?

ELIAS: Two.

JIM: Iíve picked up the name Samantha Higgins to associate with two different pictures of women. Is the woman in the picture that I have labeled ďBustedĒ a focus of Archar?

ELIAS: Yes.

JIM: Is her name Samantha Higgins?

ELIAS: Yes.

JIM: Does she live in Rahway, New Jersey?

ELIAS: At one time, yes.

JIM: Does she align Vold?

ELIAS: Yes.

JIM: Soft orientation?

ELIAS: Yes.

JIM: Political focus?

ELIAS: Emotional.

JIM: Lesbian by preference?

ELIAS: Yes.

JIM: Is the woman in the picture that I have labeled ďWillowĒ a focus of Luli?

ELIAS: Yes.

JIM: Initially, I got her name as Samantha Higgins, but I think that was a confusion with the focus of Archar. Is her name actually Willow or Wilma Rayburn?

ELIAS: Yes, the first.

JIM: Is she aligned Zuli?

ELIAS: Yes.

JIM: Soft orientation?

ELIAS: Yes.

JIM: Emotional focus?

ELIAS: Correct.

JIM: Why my negative reaction to her?

ELIAS: What is your impression?

JIM: I think this is in relation to some other focus of mine. Could be weíve run into each other in other places.

ELIAS: Correct, and also a type of energy that the individual expresses that at times is not in keeping with your preferences.

JIM: I hate to ask this, but is the lovely girl that I have labeled ďDid it!Ē a focus of Daniel T.?

ELIAS: Yes.

JIM: I have a negative reaction to Daniel. Does this arise from bleed-through from another shared focus?

ELIAS: Yes, and also differences.

JIM: Is Gauge a focus of Danielís?

ELIAS: No, counterpart.

JIM: I have a similar reaction to Gauge. Thatís probably the same thing as with Daniel, right?

ELIAS: Yes, quite similar.

JIM: Is the woman I have labeled ďThere!Ē a focus of my step daughter-in-law, Melissa?

ELIAS: Observing.

JIM: Are Jasmine and Patsy Z. focuses of the same essence?

ELIAS: Counterparts.

JIM: If the big barred owl was a symbol of my acknowledgment and appreciation of myself and my movement, the small saw-whet owl that showed up at our bird feeder probably is also. Is that true?

ELIAS: Correct.

JIM: The small saw-whet owl seems more in line with the small owl symbol that I showed to myself in the dream that I asked about. I think that I am using that owl symbol quite often in dreams without being consciously aware of it. Am I?

ELIAS: Yes.

JIM: Why did I draw the saw-whet owl to me?

ELIAS: For you are drawing your own imagery of what I have expressed in analogies of the big dog and the little dog, but you are translating that into a different creature.

JIM: Big owl, little owl.

ELIAS: Correct. Ha ha ha!

JIM: I picked up the name Lola Montez in trying to come up with a name for the flamenco dancer. That name must have some significance to me. Is she a focus of mine?

ELIAS: Yes.

JIM: Does she have an intimate relationship with a focus of Valline?

ELIAS: Yes.

JIM: Do I by any chance have her picture of her in my gallery?

ELIAS: Not yet.

JIM: Has the number of my contemporary focuses changed from the four that you gave me?

ELIAS: Yes.

JIM: It has. How many now?

ELIAS: Five.

JIM: We have another one. Has the total number of my focuses in this dimension changed since you gave me a figure of 1426? ELIAS: Yes.

JIM: How many do we have now?

ELIAS: One thousand four hundred eighty-one.

JIM: Weíre growing! (Elias laughs) The crop circle photo that appeared to represent our energy centers caught my attention rather strongly. The information presented by that photo feels right to me. Do you agree?

ELIAS: It is a translation.

JIM: I have, associated with that photo, an image that I believe I brought back from dream state of a skeletal array of colored nodes strung together with colored lines. What am I telling myself with this association?

ELIAS: And your impression?

JIM: Apparently thatís my energy flow of some sort. Itís the only thing I can think of there.

ELIAS: Yes, for you have designed a construct similar to what you may view as a DNA strand, but it is a construct that you have designed in association with energy rather than physical manifestation.

JIM: Both you and Seth have urged us to be playful, yet I believe you both have indicated that humor is an action peculiar to physical life, while playfulness is a personality trait of nonphysical entities such as yourself and Patel. I realize that much of humor is duplicitous, but is it all that way?

ELIAS: Is all of humor duplicitous?

JIM: Yes, thatís my question.

ELIAS: No, not all humor.

JIM: In what way is non-duplicitous humor not playful?

ELIAS: Clarify the question.

JIM: Well, humor seems to be a physical thing...

ELIAS: Correct.

JIM: ...and playfulness is general. So weíre saying that some humor is not duplicitous, and how is it not playful? Thatís what Iím trying to get at.

ELIAS: How would humor not be playful?

JIM: Thatís the question Iím asking. So youíre saying it wouldnít...

ELIAS: Humor would not be playful if it is expressed in a manner to be intentionally hurtful. I may also express to you, humor would not be playful also if it is incorporated as a camouflage.

JIM: Covering up something else.

ELIAS: Correct.

JIM: In my first chat with you, I asked if a picture of Muriel carried her energy, how she viewed herself at the moment the picture was recorded. I think that you answered, ďYes.Ē Is that correct?

ELIAS: Yes.

JIM: In other words, I create looking at a photograph. I create it, right?

ELIAS: Yes.

JIM: The person I view in that photograph, am I accessing that personís energy deposit to do so?

ELIAS: At times.

JIM: The problem I see is that there is also a photographer, a developer, and probably others involved. Do the energy deposits of their experience enter into the creation of the photograph?

ELIAS: At times, yes, also.

JIM: My next question was pointing out that itís got to be a very complex. I can see the complexity in our physical creation of things. Thatís what Iím saying.

ELIAS: Yes.

JIM: And Iíve run out of questions! (Elias laughs) So I guess I donít have anything else to ask about at the moment. I thank you very, very much for you help and... Oh, letís go back to Mariana.

ELIAS: Very well.

JIM: Youíre saying sheís not Sorenson, so I should be able to pick up her last name. Is it anything like Sorenson? Whyíd I pick up Sorenson?

ELIAS: That you are generating in association with another focus.

JIM: Oh, weíve got another one of those.

ELIAS: Ha ha ha! Another avenue for you to be engaging playfulness!

JIM: Youíre right. Well, I have to work on that.

ELIAS: Very well!

JIM: Thank you very much for your time, Elias.

ELIAS: You are always welcome, my dear friend. I may express to you that I quite enjoy interacting with your energy.

JIM: And I certainly enjoy interacting with yours.

ELIAS: Thank you! I express to you, as always, great affection and tremendous encouragement in your adventure, and a supportiveness in your generating of covering that small dark figure with that white loving energy. Ha ha ha!

JIM: Thank you.

ELIAS: And I shall participate with you also.

JIM: Iíll take all the help I can get, Elias.

ELIAS: Ha ha! To you in great fondness, my friend, until our next meeting, au revoir.

JIM: Au revoir.

Elias departs after 49 minutes.


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