Black Box session 11-03-00 (2)

Session eight of ten continued

Friday, November 3, 2000

F: [long pause] I think maybe we should go up, maybe up to 21.

S: All right. We’ll pass up through 15 and move on to 21.

F: [pause] Ah, that’s better. [longish pause] It’s like the top of my body wants to leave. As though I wanted to stand up without moving. Like the second body’s getting up. [pause] Pivoting on the feet, sort of. Sort of standing up. My frame of reference is still lying down. [pause] The way it’s standing is like a sentry, like it’s waiting. [pause] Gentlemen, do you have anything to say here? [long pause]

Well, two things. I’m very cold, my legs and lower; and a headache. And I’m asking te headache what I can be learning… [pause] I don’t want to say a vision, that’s too – well, it’s a vision of right outside, down by the crystal, no, near the building here looking down to the crystal, and off to the east toward the other building. [pause] Actually in color, which is unusual. [pause] Now it’s as though I was at the – that walkway on the Nancy Penn center at the top. A sense of turning around, facing west. [pause] And it’s overlain with that sense I had before of Egypt, the sort of silent majesty of the world. [pause]

I’m being reminded that it’s all maintained, it’s not created and left. [pause] The forces that maintain the world are calm and always there and really they kind of, in a way they disregard us because they’re so much bigger than we, and in a way they take note. [pause] Wow! Almost painful cold now, in my calves, particularly my left calf. What’s going on? [pause] Inside left calf, down toward the ankle. The whole long muscles. Just – let’s concentrate on it. Go inside of it. [pause] Don’t know.

Headache is really the most pervading obvious thing, except the cold. An unusual headache, shaped like a cap almost, parallel to my eyelids and up above ‘em and around. Quite artificial. Very strange. My eyes hurt. A lot, actually. [pause]

Farther, say they. Let’s try 25, Skip? Can we do that?

S: Very good. Also, remember how you asked about the cold, and the symbolism was that it penetrated so very deep and that was why they were using cold as that symbol? I wonder if there’s a similar kind of coding to the headache?

F: All right, I’ll ask, while we do that. [pause] Well that certainly changed the feel of it as soon as I asked it, and so there’s something coming.

S: Okay. As we move through 23 there’ll be the sound effects of 23 and then on to 25 the same way.

F: That headache is there in the form of a cap as a symbol of capping my thinking. Of putting a cap on things by thinking. I don/t quite know what they mean, where they’re going with it. I expect they have a way of showing us. And the pain behind my eyes [pause] Not quite that it hurts to see, but that – well, it’s close. Using my eyes, seeing, hurts. No, not quite that. Seeing too much hurts. Using my eyes too much hurts. [pause] Well, what am I supposed to do about it? [pause] There’s some connections between the headache and the eyes, and it’s a metaphorical connection, too. At the same time we’re saying this, my – again, the calves of my legs, the whole — as one unit – actually extends through my feet now. It’s like a casting of cold, like a statue in the outside, freezing. [pause] There’s something going on – the headache’s on one end and the cold’s on the other end, and when I concentrate on the one, I lose sight of the other. [pause] I get the feeling that if I concentrated more on the connection to the other world – the cold – my eyes and my head wouldn’t hurt. But I’m doing it, and they still do. [pause]

This time that crystal is all transparent; it’s not cloudy or milky. It’s like glass. A lot of it and it’s heavy. And somehow I don’t have it quite – if I just – like if I twisted my attitude just a little, I’d be in alignment. But I’m not. And I don’t know how to find the thumbscrew to turn. Well, that’s silly: What do I need to do to turn it? Or how should I move? [pause]

It’s like, my feet are planted there, and they always have been. But not the rest of me. I mean, my feet and partway up my legs. But not the rest of me. And the part that’s farthest away from that, hurts. [yawn] That inspiration brought the cold way up the back of my neck. [yawn. pause]

I’m forgetting to describe this. It’s a low, like a wooden ceiling of beams, dark wood color, but it’s not – I keep wanting to say it’s what a boat deck looks like from underneath. It doesn’t extend all the way out; you know, it’s like, I’m underneath it, but it has a limited extent. It’s not circular, it’s like curved but it’s long; it’s oval, maybe, but I don’t see the whole oval. It’s a cross between like an outside – I don’t know, I’ve never seen anything like it. [pause]

This hooks into that whole thing about sacrifice that we dealt with once. Because that was outside wood, with a sort of a ceiling like this. [pause] And it had to do with the raising of, and using of energy. [pause]

It’s like there’s a blockage between all of that openness to the source that’s at my feet, and by the time it gets to my head it’s been blocked off partly, or mostly. So I’m going to work a little big on opening that up. [quite long pause]

Huh. Things been going on, but I wanted to record that I just realized I’m not sitting here holding my glasses in my left hand, with my arm bent. That’s what it feels like.

I’ve been watching something outside of Dave’s house there. It’s like, two people – they look like Georgia Pearson, in a way, and they’re not two people, they’re going to merge, because they’re one person. But they’re a little afraid of it. They’re laughing too, though. [pause]

[change side of tape]

F: [I am looking at my feet and they’re all] deformed. They’re all like sideways at the knuckles or however you’d say it. They’re all messed up. Bare feet. Down on the dirt somewhere. [pause]

The pain down to my eyes is amazing. [pause] I want to take the pain away from my eyes, because it’s too uncomfortable. [pause] Very stubbornly around my right eye. [pause]

Somebody in a purple short-sleeved shirt. Ed, actually. Pearson. Gesturing with his hands, walking up. The emphasis on the purple shirt. [pause] I don’t understand any of this. [long pause]

More is going on than I’m reporting, but it doesn’t make a lot of sense. Now I’m in some kind of a – either a car or an airplane, dominated by this huge control panel. Oversized, can’t see over it. Maybe a car, because it’s got a steering wheel. Big red steering wheel. When I said it, I heard the word “control,” and that’s – “oversized control,” I heard that. [pause] Was somebody else there, but I forgot.

How ‘bout a vacation in 27, Skip? This is too much like work.

S: Very good. [laughs] All right. Move on up to your favorite place in 27.

F: [long pause] What’d I just do? I gave – I gave two things to somebody, and I know what the things were and I know who he was, and I’ve totally lost it. [pause] Oh well. [quite long pause]

All kind of little scenarios been going on. A little cold centered in my lungs now. But it’s okay. [long pause]

[yawn] Cold. They don’t make sweat shirts like they used to. [long pause] Oh, for heaven’s sakes! Big black cat just came out. Looking at me. [pause]

Sitting in a chair staring at a cement floor with cigarette butts on it, and stuff. [pause] Somebody saying “You see, body work’s the most promising thing to me,” in an English accent. [pause]

I don’t have an idea where I am or what I’m doing. And most of it’s gone by unrecorded. [pause] The only constants are the cold and the headache. [pause] “Train your C1 to only see – ” What was that? Somebody was just reporting an insight they got, and they – they suddenly got it. And I started to report it, but I missed it. [pause] It had something to do about the focus levels, and seeing one of them at a time, but I don’t – well, let’s see. [pause] Gosh, my eye hurts. [pause] It’s like it’s a mound sticking up from the ground, my eye. [pause] Vulnerable and noticeable. [long pause]

Somebody’s going through a whole bunch of books, and he says, “the third name is Jumpy Hat, you’ve read her,” like it’s a series of children’s books. Jumpy Hat! Showing me all these books. [pause]

I want you to either tell me what’s going on with this pain, or else take it away or do something. What’s the point of it? [pause]

An image of a sort of a – Oh hell, I’ll never be able to describe it. Anyway, there’s doors that can open that are like cage doors, and they walk in. It’s like a control room, sort of. Sort of like a cave, too. What are they doing? That represents the eyes and the head, I guess.

Don’t have any sense of – oh man. Waves of cold going through; that one actually was painful. Didn’t have any sense of the people. [pause] Couldn’t see them, I mean. Knew somebody was entering in there, but didn’t see ‘em. [sigh and pause] I don’t know – [yawn]

S: Let’s ask the direct question now: Does Michael Landon have a message about the book his daughter has written?

F: Okay. [pause] Or a message for her, or any kind of message. [pause] No, I don’t know, it’s more like I am the message. From him. To her.

S: Yes, that makes sense to me.

F: Well, that’s one of us. [pause] I hope it makes sense to her. [pause] I want to know why the headache. I can put up with a lot but I’d like to know why. It means something. [pause] And I get the feeling that if I can’t figure it out, I’m going to have it for quite a while, and I don’t really want it. Unless it’s useful. It’s sort of like a – now it’s the sense of—I get an idea of a – what are those things that people fence, you know, the people who use spears? Swords? Whatever those things are. It’s one of those cages they put over their head so they don’t get hurt. That’s the sense of it. You can see through it but you can’t get hurt. It protects you from accidents and stuff. Fencers, is what I was trying to say. But I don’t know – are you saying this headache is like that? [pause]

Now it’s centered behind the right – backward from the face, behind the right – Oh crap. If it was at the right temple, it would be back a little more. But it suddenly centered right there. Deliberately. And what does all that mean? [pause]

Well, what I hear is, drink lots of water. Oh, and drink lots of water because things have been – there have been changes that are releasing toxins and the water’ll take them away. And the changes started with the stuff last night, the tones actually made changes. And the flushing with water is a normal way to deal with it, but I need the kick in the head, as they say, to get my attention to doing it. It’s like the Hemingway story, “you got nice friends.” However, I take the point, and I’ll drink some water.

There’s – I’m getting actually that it’s quite a major change, physically. The equivalent they’re saying of massages, two or three massages, and that if the massages aren’t accompanied with lots of water, they’re not as effective because the changes can’t be – the toxins can’t be flushed away. I don’t know how much of that’s a metaphor, but the water is not. They want me to drink a lot of water. It’s a strictly physical adjustment.

Okay. I don’t suppose you’d consider taking the headache away while I don’t have access to the water yet. [pause] They certainly toned it down right quick. It’s right there, though. [pause] All right, fine. Leave it there till I get the water.

S: Okay, let’s begin to work ourselves back first to 25.

F: You can go all the way down to 21 if you want.

S: All right. [pause]

F: Whatever you did just reduced some pressure that was on me. [pause] I hadn’t realized it, but it’s like the lower part of my head’s been in a vice. [pause] I think I’m going to remind her [Cheryl Landon] of him [Michael Landon], actually. Do I look like a scrawny Jewish kid? That was a joke. [long pause]

Whew. I can’t remember having a session where there was so much that just sort of floated by and I didn’t – couldn’t really —

S: All right, let’s stay with the sounds and move slowly; follow the sounds back to focus 10.

F: [pause] Whew. The headache re-concentrated, and then it just lifted a little. [pause]

S: All right, I’ll continue now with the count back. [does]

F: Oddly enough, I feel like I’m still inside the crystal. Which is all right.

S: Okay. Wiggle your toes. Everything back together?

F: I think most of the toes are there.

S: [laughs] Okay good. Break the ice cubes off of them…

F: I’m going to stay in the crystal if I can, actually.

S: All right. just relax and I’ll be in in a couple of minutes.

[debrief next post, 6-19-07]]

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