About the script: if you think of it
like a master plan, where often the ‘actors’ do not know they are in it –
so I wouldn't use the term ‘theatre’ (where the actors know they are in a
theatre, with a script, and lines, and an ending).
Think of it more like a lot of sheep in a fenced field. There is a Shepherd and a sheepdog – the Shepherd knows exactly the outcome he wants (the blueprint) and he has to work out how to get there.
The sheepdog doesn’t know all of the plan, but he knows we’ve got to get the sheep through that gap in the fence, and then he will receive a nice dinner and a night by the fire.
Now come the sheep. They will be problematic for the Shepherd if they panic. So he needs to work slowly, methodically, and react to different situations depending on which way the sheep go – but he has various options open to him, which he has thought out in advance.
The sheep will, predictably, normally follow each other, feeling safety in numbers, and also wanting their evening meal in comfy surroundings, whilst trying to supress the subconscious fear of the end-game – the smell is in the air but the Shepherd is still smiling, and looking around, nothing seems different from yesterday.
So the sheep, unaware of the script, will eventually go through Gate A, or sometimes (different field, same end-game) Gate B, or sometimes (end-game) Gate C, and into the waggons.
It doesn’t occur to them that there are other options, like working together to knock down the fence and escape, at least to give liberty a try. Too scary, better stick with the Shepherd, who seems to know what he’s doing (although that yapping dog is a bloody nuisance!).
That’s how I see the script! We are working under ‘compartmentalisation’, where not many people can see all of it, or are even aware that there is one. But there is one.
Think of it more like a lot of sheep in a fenced field. There is a Shepherd and a sheepdog – the Shepherd knows exactly the outcome he wants (the blueprint) and he has to work out how to get there.
The sheepdog doesn’t know all of the plan, but he knows we’ve got to get the sheep through that gap in the fence, and then he will receive a nice dinner and a night by the fire.
Now come the sheep. They will be problematic for the Shepherd if they panic. So he needs to work slowly, methodically, and react to different situations depending on which way the sheep go – but he has various options open to him, which he has thought out in advance.
The sheep will, predictably, normally follow each other, feeling safety in numbers, and also wanting their evening meal in comfy surroundings, whilst trying to supress the subconscious fear of the end-game – the smell is in the air but the Shepherd is still smiling, and looking around, nothing seems different from yesterday.
So the sheep, unaware of the script, will eventually go through Gate A, or sometimes (different field, same end-game) Gate B, or sometimes (end-game) Gate C, and into the waggons.
It doesn’t occur to them that there are other options, like working together to knock down the fence and escape, at least to give liberty a try. Too scary, better stick with the Shepherd, who seems to know what he’s doing (although that yapping dog is a bloody nuisance!).
That’s how I see the script! We are working under ‘compartmentalisation’, where not many people can see all of it, or are even aware that there is one. But there is one.
What I’m hoping, of course, and I agree
it’s a faint hope, is that there’s a bigger Script than their Script – a
sort of divine law of justice, or a Mother Nature’s law of equilibrium.
But for the moment, even though they’re steaming ahead with the agenda, most people around me see this life as normal, and even if I broke down the fence and shouted “Hey, you lot, over here, let’s escape”, they’d just look at me blankly and say to each other “Oh that’s susan, she was always a bit of a nutter (and she wears glasses)”, and go back to eating the grass with head down.
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