Tonight, Monday, on FADE to BLACK: Mary Rodwell joins us from Australia to talk about multidimensional communication and how it’s managed and activation through downloads of scripts and languages.
Mary is a professional counselor, hypnotherapist, ufologist researcher and metaphysician. Mary Rodwell is the founder and Principal of ACERN, Australian Close Encounter Resource Network and is recognized internationally as one of Australia’s leading researchers in the UFO and Contact phenomenon. She is the Vice-President of Star Kids Project Ltd and an Advisory Committee member of Exopolitics. Mary Rodwell has lectured in the USA, Canada, Hawaii, UK and New Zealand and appears regularly in national and international media news programs such as the Australian documentary OZ Files, the BBC television program, Paranormal Files, UK and Discovery Channel Animal X. She has also participated in a University debate forum on this phenomenon, in 2006 at Oxford University, UK.
Mary Rodwell’s scientific, medical, psychological, and historical perspective supports her research of Star Children sometimes called Indigo’s all have telepathic abilities, and describe seeing, beings of light, angels or ET’s. She believes this is a genetic engineering program, which is part of an upgrading of homo sapiens, and is creating a paradigm shift in human consciousness.
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The spiritual meets the primal in this scene from the biopic “Ferrari.”
As the sequence begins, the automotive mogul Enzo Ferrari (Adam Driver) arrives at a workers mass. The priest gives a speech about the miracle of the internal combustion engine. But attendees are distracted by another event happening simultaneously at the Autodromo, a nearby racetrack. Maserati is challenging Ferrari for the record there. So scenes of worship are intercut with the driver, Jean Behra (Derek Hill, the son of Phil Hill, the first American-born Formula 1 champion), navigating the course. In the church, Ferrari and his workers have their stopwatches out to time the Maserati.
Narrating the scene, the director Michael Mann said, “My serious intent was to imbue into audiences minds what’s in our characters’ minds, which is there’s something almost religious and deadly serious about it. The metaphysical, the savage power is really what is wedded together as a value in this scene.”
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