Here is an excerpt from another session between Jack True and a patient. This patient worked for many years in the advertising business. She was drawn to Jack because she was very aware of various subliminal strategies used in her line of work.

Q: Okay, before I put you in a light trance, I want you to know that there will be no suggestions from me. I�ll have you report what you see.

A: Sure. I understand.

AFTER PATIENT IS IN LIGHT TRANCE:

Q: I want you to look at the space-time continuum.

A: I feel very relaxed. This is nice. Okay. I see a dark space�it seems to be floating, like a cloud. It�s big.

Q: Can you see anything outside of this cloud?

A: Just edges of dim light. Okay, it�s changing�now I see a few images. A warrior. He looks like a sun god. A palace. It has a huge lawn.

Q: What�s the warrior doing?

A: He�s just standing there.

Q: Any expression on his face?

A: Not really. He�s just looking straight ahead�the lawn of the palace has flowers on it�I can see them. I�m supposed to walk across it into the palace.

Q: Do you want to?

A: Sure. Why not? I�m going across the lawn, sort of flying, and now I�m in the palace. Very big room. It�s empty. No people. Paintings on the walls. Lots of large furniture. I�m getting the feeling�this is an after-death place. It�s where I could go if I died. I could live here. Take up residence. It�s sort of made for me. It�s my place.

Q: So does this have anything to do with the space-time continuum?

A: Yes. When we die, we can travel. If we stop and take up residence in an �astral� spot, we can forego any further travel�and then we�ll miss finding out about the space-time continuum.

Q: So this palace is�

A: A very pleasant diversion. Let me�just a second�okay, I�m back to the dark cloud again. It�s a mystery. It has thickness. It�s supposed to be part of a larger landscape. Okay, I can see a whole field. A valley. The cloud is over the valley. This is a landscape I might see on Earth.

Q: Any creatures?

A: No.

Q: Keep going�

A: This valley has space in it, but no time. Nothing changes. Weird. Wait. Okay, the cloud is moving. It�s like someone turned on a projector. For a movie. It was stopped, but now it�s moving. There�s a trick here�

Q: Yes?

A: I�m feeling drained of energy. When the time factor comes into the valley, then I lose energy. I�m reduced to a�spectator. Let�s see�

Q: Where is the energy drain coming from?

A: Yes. Let�s see. It�s coming from the cloud. The cloud is sucking energy from me. Let�s see if I can reverse that�(pause)�I guess I�ll have to destroy the cloud�(pause)�wow�

Q: What happened?

A: The cloud exploded. (laughs) It lit up and exploded. Oh well. No problem. (laughs) Now the sky is clear. This is space-time.

Q: What do you mean?

A: Well, this whole scene is a movie production of space and time. It�s supposed to�I don�t know�give me the impression that I�m still inside the continuum, that the continuum is everywhere. Oh, that�s good�it�s a good promo for the continuum. I see.

Q: Yeah.

A: Right. I get the distinct impression that there are a lot of scenes like this, and they all are movies, in a sense. They all promote the existence and the�ubiquitous nature of the continuum.

Q: I see.

A: Now I�m further away from the valley. I can see it as a little piece of scenery in a large space. But the large space isn�t really space. It�s not part of the continuum. It�s outside the continuum. Yes. Wait a minute�now I�m getting different scenes. But these are scenes on Earth. People in the streets of Calcutta. A piece of frozen tundra in the north of Russia. New York. Traffic on Broadway. A ranch outside Los Angeles---it�s in Santa Barbara. I have simultaneous perception of a lot of different places.

Q: Yeah.

A: I guess I�ve busted through the continuum. When you are in the continuum, you think you can only look at one place at a time. But that�s a delusion. That�s part of the�apparatus of the continuum. When you get outside, you�re free to look at a lot of things all at once.

Q: How do you feel?

A: Very good. Like I�m getting back something I�d forgotten for a long time. You know�it�s like you once could play the trumpet, but you forgot how�and then, all of a sudden, you can play it again. This is the way we�re supposed to see---a lot of things at once.

Q: Limitation.

A: Yes. You buy into the idea that you can only see one location at once�and that is part of the game. That�s part of the deal. Everything else flows from that. It�s what the continuum does. The continuum is not so much about space-time�it�s about the separateness that�s fostered by space-time. Space-time and the physical body are somehow linked. The space-time and the eye-brain apparatus are linked�there are energy vectors and energy inhibitions that function so that you can only see one location at a time when you�re INSIDE�but when you get out, you can see into all sorts of places. It isn�t just remote viewing one locale�it�s seeing lots of different places at the same time. I can also see how�

Q: Yes?

A: There are other faculties that are repressed, too�just a second�I�m looking at a small street in Santa Barbara. The more I look at it�the more the little buildings and shops seem like�archetypes of themselves�let me see�every object is one of a kind�something�s different�it�s two things at once.

Q: What do you mean?

A: It�s tremendously real, and it�s also�.like a strip cartoon�as if I could reach out and move away the whole street�as if it weighs nothing. It�s very beautiful. The people on the street�they don�t realize this�they�re inside it all�their perception is�I can almost�I can see energy vectors that tie their perception into the space-time of the street. Those vectors somehow contribute to making�all the objects on the street weigh a lot�.very solid to the people who are looking at them. Wow. This is fantastic�

End of excerpt.

There is a great deal to be learned from this session. It�s worth reading through several times.