by Vadim Zeland
Following
Hey, hey, and away! You have already learned a lot, my dears, but far from enough to walk freely through a motion-picture. We will go over it all again and again!
The question ‘how?’ takes you away from your goal and your goal frame composition.
Wanting ‘everything to go my way’ spoils everything and takes you away from the goal.
Resisting the script brings you nothing but trouble.
If all your thoughts are focused on the goal, the script will lead you to it.
Do not resist. Observe yourself and follow the flow of the film roll.
Learn to feel the decrees of Power and to follow the decrees of Power.
If controlling the events and people in the current film roll is impossible, what should you do? Let go of both and allow the film roll to turn just as it is already turning and allow people to live their lives just as they are already living them. Why would you worry about the current film roll if you are free to change it? And when did you decide that you have the right to influence other people? Let them all go, and they will let you go, and what’s more, run to you and do what you want them to, but more on that later.
I remind you: your mind should be focused on the end result, the goal slide, not the course of events or the behaviour (actions) of other people. You can’t resist the script; that’s impossible, even when you are being fully present. All the changes that take place in your reality that is in accordance with your will are the result of you switching to a different film roll. You can’t do anything about the script in the current film roll.
Some may protest that they have woken up and decide to escape the script, consciously and intentionally. Let’s say, you decide to do something earth-shattering, for example, to beat someone’s horns for no good reason. ‘Maybe I’ll get the same in return, but still, I have broken from the script whilst being fully present!’
Firstly, you cannot confirm that this — your curve ball — was not in the script. And secondly, so go ahead and make all the curve balls you like. What’s the point in that? We’re talking about solving your problems and achieving your most sought-after goals, and about, why your dreams aren’t coming true. Playing curve ball with reality can never lead to anything good. Reality is not to be trifled with; reality must be handled competently. That’s what this is all about.
All the rest is trivia, and the same goes for the minor exceptions from the rule, which, undoubtedly, you will come across in the course of your experiments. All these little things are unworthy of your attention. It is better to focus on the main thing that is of fundamental importance. So let’s move on to the specifics.
Once you have woken up, the meaning and principle of strolling live through a motion-picture are not to start creating your own tyranny, but to consciously obey. Composing reality and switching the film roll: herein lies your free will. In everything else, the essential thing is to wake up, observe, and follow.
Wake up in order to do three things consciously:
Reject the script’s control.
Start to follow the script.
Compose your goal frame.
Observe in order to...
1. Track your attention.
2. Track the advantage and benefit from it.
3. Track and illuminate the upcoming slide.
Track in order to make use of the Power and Wisdom of the script. The script is like a river, always moving along the optimal path. Your first task is to show it the destination — the goal. You will not be able to calculate how to achieve the goal. There are too many variants, subtle details, people, circumstances and events involved and all of them are equally unknown to you. The script can solve the task with ease, and so your second task is to follow it.
Following in this case is not quite the same thing as what we were talking about when discussing the principles of Advantage and Allowing. Following is the ability to sense the decrees of Power and obey them. However, you don’t always have to feel them. Often it is enough to consciously observe the pattern of how events are unfolding, and then to simply accept them, act in accordance with them and show no resistance.
To sense the direction in which the script is pushing you, it is enough to become fully present, to be in a state in which you can see yourself and see reality. If reality does not give you a clear answer, where you should follow, it means, you must listen more carefully to yourself and your feelings. When you are fully present, you will be able to do this very easily. The harder task is to track yourself at the right time so that you wake up.
Here the various triggers that we leveraged in the methods for tracking attention, frame illumination, and advantage will help you. You must use the triggers, all of them, continually so that it becomes a habit. That’s the only way of learning to wake up at the right time. Unless this becomes a habit, nothing will work. The ability to wake up at the right time is the most important thing.
In addition to the above, I give you the control triggers. Your most destructive habit is your desire to control everything: the script, events, and people.
1. I want something from people and events.
2. I want everything to go according to my plan.
3. Something isn’t going the way I would like.
It is essential that you replace the habit of controlling with a new habit: letting go and following. And now, the following method:
1. Catch the control trigger.
2. Wake up: I see myself and I see reality.
3. Ask yourself, feel, what is the first command saying?
4. If you receive an answer to this question, follow the command.
5. If you don’t receive an answer, compose the goal slide and try following again.
Outer Power
So how are you, my sweet little lambs? Have you understood that a live stroll isn’t just a stroll along the lines of “I’ll do whatever I want”? On the contrary, on the walk I am humility itself: “I behave quietly, without giving away my presence; I watch and follow”. You will also have realised, that in reality, all this is total pretence and imitation. So let’s repeat the principles.
Wake up, observe, follow.
Compose the goal frame and follow the script.
Following makes use of the Power and Wisdom of the script.
Constantly respond to the triggers so that they become a habit.
Replace the habit of ‘controlling’ with the habit of letting go and following.
To follow is to have the ability to feel and heed the decrees of Power.
(Only you mustn’t confuse the decrees of Power with the desire to indulge in your own weaknesses and stupid inclinations, my sweetie pies!)
By following the first impulse, the decree, or as it is also referred to, your intuition or presentiment, you are taking the first step. It is a mistake to ignore the decrees. Disobedience is not the same thing as freedom. If you go at odds with the script and make a mistake, it will bring you back into the fold, only this time, in a worse program, on account of your error.
The reason for your disobedience, in this case, is your self-awareness or, more precisely, your self-importance. The reason it causes you harm is that you aren’t using it for the purpose it was intended; it leads to inappropriate action as opposed to right action. Your conceit doesn’t realise the nature of your situation. I have told you in some detail, that you are in a film, in the position of one of the characters, and I have also explained how you must act in order to free yourself from this position.
In the previous lessons, we have talked about how the script is a program that shapes your behaviour and all your actions on the current film roll. But is that the be-all and end-all of the script? There are in fact two exceptions to this: one constructive, the other destructive. I have already described t
he destructive exception which is when you fail to heed the script.
The constructive exception lies in the moment that you wake up and consciously compose your own reality. This is the only thing that isn’t included in the script. The script doesn’t foresee the exception that you are capable of switching the film roll and coming into possession of a different script.
You see how curiously the world is constructed? The script isn’t aware of your ability to change the film roll. This is a privilege granted to you by the Creator. No-one, not a single living being can do this except you! You are the exception to the general rule. And yet you don’t use it!
As I have already explained, the script can even be obedient to you. In what sense? When you compose your own reality, the current script releases you and gives way to another, that of the film roll into which you shift the moment you illuminate the goal frame.
As you know, you have two intention centres: inner and outer. The inner centre is located in the forehead, the outer, at the tip of the plait. Inner intention accounts for your basic performance in the current frame. So far we have only mentioned outer intention in passing when we talked about the principle of ‘it having nothing to do with you’.
I’ll remind you again: you are taking a live stroll through a film when you are present with your attention, and propel yourself with your intention. Propel the frame, but not with your petty intention, propel it with outer intention. The outer intention is referred to as such, because it is not yours; it does not belong to you or take instruction from you. How does it move then and what on earth is it?
You might suppose that the script is the outer intention, but it isn’t. There is something else beyond the script. The outer intention is a kind of power, a driver that powers reality. Its active component turns the film roll in the way it is destined to turn. Who predetermines the storyline and for what purpose — this is a weighty, complex question, and not the one we shall attempt to answer here. It is more important to us to understand what we can do with the phenomenon of ‘predetermination’.
You can’t influence or directly impact Power, but you can use it indirectly. You have an access point to this power, which is your outer centre — the plait. When you are asleep, Power takes you by the plait and leads you through the script like a puppet. But when you are awake, fully present and take the plait ‘into your own hands’, meta-power, Power’s reactive component is activated. This is what enables you to launch a different film roll, one that corresponds to the frame you are composing.
We have already looked at the method for working with the plait. But we’ll repeat it here once more, just for good measure.
Wake up and enter the awareness point (being present).
Activate the plait (focus your attention on it, feel it).
Without removing your attention from the plait, compose your goal frame.
As soon as you became fully present, your attention came into your possession. As soon as you have activated the plait, the puppet strings also ended up in your hands. Now, without letting go of the strings, direct your attention to the inner screen and draw the picture of your future, compose your goal frame.
Your attention is simultaneously focused on the internal screen and the plait. Attention feels the plait and draws (visually, or/and in words, thoughts) on the screen. It draws not from the inner centre but from the outer centre, which is at the same time both yours and not yours. You are applying not a visible, tangible power, but a virtual, intangible meta-power, which acts somewhere behind you and beyond you.
It is nothing to do with you; you aren’t doing anything directly; you are simply facilitating indirectly and observing what is happening. Do not force, allow, so that it can move of its own accord. Note and remember the feeling that arises behind you and beyond you. This is your contact with Power. If you can learn to own this feeling, Power will be with you.
Paper person
What are we continuing to study? Have you fallen asleep? Do you remember? The live stroll technique. Don’t worry, my lambs, it’s not that difficult. It just requires practise — regular, systematic practice. If you have not tried it yet, and have only read about it, or listened or stared at me wide-eyed, try it. You’ll do it easily.
The outer, not inner intention propels the frame.
The outer intention is a kind of Power, a driver of reality.
Meta-power is the reactive component of Power.
The plait is your outer centre, your access point to Power.
Power is used indirectly, like meta-power, through the medium of the plait.
Meta-power sets in when you activate the plait and compose your reality.
And so, you take a live stroll through a film when you are fully present and move with the power of intention. Failing this you are not fully live, and you aren’t walking at all; you’re just fulfilling a prescribed role.
How else can I offend you? When your awareness is absent, you are not fully yourself; you aren’t there at all. You are just a fictional character, like an illustration in a book. You could cut a figure out of paper and insert it between the pages of a book. That is what you are.
What can a paper person do, to say nothing of a paper snail? Sit like a prisoner in a book, that’s all. All that distinguishes you from a purely fictional character, are rare glimmers of self-awareness, when you exclaim: why isn’t everything the way I want it to be? That is where the difference ends.
Everything isn’t the way you want it to be, because you always act head on, with your petty intention. You want to be loved, respected, helped with something, given something, and so you demand in a childish manner: love me, respect me, help me, give me.
From the outside, this is what the scene looks like: you are standing in front of a mirror, reaching out your hands and shouting “Give it to me!”, trying to pull the reflection closer. The reflection responds by doing the same. It does not give, it takes away. In reality, as in the mirror, you always get the reflection of all your mental attitudes and actions. As the message, so the response, what you put out is what you get back.
You probably don’t remember (for you don’t, do you?), but as I have already said, even in a state of distraction and non-awareness, you still compose your own reality to some degree, not as effectively as you do with awareness and intention, with the plait, but you are still composing it nonetheless, particularly when you are wholeheartedly set against something. Reality, as a rule, gives a mirror-like response. What you give out, is what you get back.
Reality, however, isn’t like a normal mirror, it’s a paradoxical mirror. Its paradox lies in the fact that when you look into it, you don’t see yourself objectively as you really are. This is because the reflection is the set of physical circumstances that surrounds you — the current frame. Your attention is totally immersed in that reflection. This means, that your Self is literally pasted into the motion-picture like a fictional character or an illustration in a book.
Being a character inside a film, you aren’t capable of changing or shifting the reflection in any way. You can’t propel yourself ahead either; your ‘I’ dissolves into the frame and ceases to exist. You acquire the ability to propel yourself ahead and things outside of yourself when you pull your attention away from the motion-picture, or away from the mirror, which amounts to the same thing.
Your body remains inside it, in the reflection, but your attention is focused here, outside of the mirror, on the side of the image that is being reflected. And then, you see yourself standing in front of a mirror, and you see reality as a reflection of all your thoughts and actions. Only when you see yourself here, standing facing the mirror you are able to propel yourself forward in such a way that “everything is how I want it to be” in the reflection.
As you probably won’t have guessed (for you haven’t, have you?) we are talking once again a
bout your presence. You are your attention. You are either a living individual and you exist, or you are a paper person and you don’t exist. You are only present in the film when your attention is focused on the auditorium, where you can see both yourself and reality. In essence, wherever the screen is, you’ll find the mirror too.
The difference between a normal screen or mirror and the reality screen or mirror is that, in reality, the image and its reflection are superimposed. You observe one image around you, not an image separated by a surface into two. But that doesn’t change the essence of the thing. Your everyday reality is created by your thoughts and actions. If, when standing in front of the mirror or screen, you propel yourself consciously, then the reflection will look the same. When you do this, you are practically shooting your own film, your own reality.
The first thing you must do in order to shoot your own film, is to wake up and become fully present. Imagine that you have come to life inside a film. You aren’t watching the film as you usually do; you are living in it. Feel it. Open your eyes and look at everything that surrounds you afresh. Refresh your view. You’ll notice that the colours are richer. And now, imagine how you would feel to be not a character in a film but an objective outsider. But you have entered the film as an insider. No-one knows except you. In body, you are inside the film, but in your awareness, you are outside of it. Feel your individuality, your presence.
Second. Before you start desiring, expecting, and asking something of other people and reality, you must imagine that you are standing in front of a mirror and asking yourself the question: what must I do for the reflection to meet me half way? Obviously, you have to make the first move. Instead of your usual manner of claiming the larger portion of the cake for yourself and harping on “give, give, give...”, you wake up and realise that the reality mirror is simply repeating your movements. And if you want to receive something, you must first give something similar. It doesn’t actually matter what that is. Simply, replace your ‘give me’ with the opposite, ‘here, take’. Then, as if by magic, in the reflection, you will receive the very thing you wanted. What you give out is what you get back.
