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Stalking the Average Man


-What are you talking about, we‘re bang on? |
-We were bang on—you weren't. |
-I told you to take enough for lunch. How could I know how much you had? |
-You implied your money would cover both of us. |
-You inferred my money would cover both of us. | Laughing, she said, -Are you saying I
cheated by intuiting exactly how much money you had with you? |
-I think you told me not to worry because you have more money in your purse, | I said,
scrambling.
-What does that have to do with anything? |
I hesitated, came up with nothing, and said, -So how do you practice this cosmic
wiretapping thing? |
With an errant grin occasionally leaking out of her poise, Bonnie explained the basics of
how to stop my internal dialogue without her help. She said these practices ultimately led to
another framework of reality called the Second Attention, but I was probably years away from
achieving entry as a deliberate experience, and only if I kept up the practices. That said, just
trying to access Intent as a guidance system automatically loosened my death grip on the First
Attention, which is fixed on the inventory of physical reality. There was a lot more to know
about how our perceptions assemble the world we experience, she said, but focusing between the
lines of conversations went a long way toward preparing me for extraordinary perceptions.
Bonnie also explained that -intending to know | made her plot edgy, because the apparent
meaning of the resulting information played on the assumptions of the First Attention of her
audience. As the scenes we had discussed amply demonstrated, what her teachers saw, said, and
did rarely agreed with what we thought they represented, but things still worked out. In this way,
a simple pause could be dramatic, and possibly create an access point for the audience to touch
their own Silent K nowledge about the screen circumstance.
Bonnie reached into her carryall, and took out a scene from her screenplay. I knew she was
working on it, but I was annoyed that she had completed something new without consulting me.
But I could hardly object.
-I‘m still working on the set description, but imagine that the chamber is translucent and
that we can see spatial infinity outside. O ur solar system will be recognizable off to one side of
the Saa-ra character.
-Got it. |
I read the following:
SCENE TWO
INTERIO R: CRYSTALIN E CHAMBER WIDE SHOT
Saa-ra, Kha-lib, Jerome, and Phillip are seen as astral bodies with a particular hue
differentiating them from the rest of the twenty-six astral body characters. They chat
in the foreground of this group, thirteen men and thirteen women who are grouped
socially: a few men talking to each other, a few women doing the same, three people
in nonspecific gender order, a group of six, etc. O ff to one side, PHILLIP is talking
to MAN ONE while SAA-RA stands beside him.
PHILLIP
You have shown them much and taught yourself well, but the journey is
not complete. We see that it will be brought to a close in this way.
FX: SECTION OF WALL IN FRONT OF MILKY WAY
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