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jumped in to clarify.
    “I think he wonders,” I said, “how long you spiritual guides can stay in Kevin’s body without draining his energies and tiring him out. We wouldn’t like production to be held up because of it.”
    “I see,” said Tom. “The instrument, Kevin, can usually stay in trance for about two hours, three or four times a day. However, much depends on which personality is speaking through him. If it’s John exclusively, he may stay out easily for two hours because John’s vibration is higher and less taxing on the instrument than the rest of us. Allow the instrument about thirty minutes of recoupment period, and he will be able to go out again for a two-hour block. Does that sound favorable to your shooting?”
    We all looked at one another and nodded.
    “Yes. Yes, that would be fine,”
    I asked another scientific question. “If we have three or four cameras going, would that amount of electromagnetic frequency harm Kevin or anyone?”
    “No, not at all,” replied Tom. “If anything, we must keep our vibrations down so we don’t harm your equipment. However, the instrument, Kevin, may be bothered by the heat levels of your lights and is sometimes subject to heat exhaustion, but that usually occurs in sunlight rather than under electronic conditions.”
    Tom paused between answers, waiting for the next question in that peculiarly distancing way the spiritual entities have of communicating through sound and light vibrations. Stan asked if we should take any particular medical precautions in Peru. Tom advised bringing as much of our own food and water as we could. Again he cautioned against people with blood-pressure problems and cardiac difficulties. Since the location reconnaissance trip had not yet taken place, we asked if we should base out of Huancayo, where the action of my real-life adventure took place. Tom recommended a careful look because of potential accommodation problems.
    Returning to a more metaphysical note, Butler asked once again what type of spiritual phenomena we could expect during shooting. Peru and Kevin’s entities were not the only potential adventures. We were also to shoot with a Swedish medium in Stockholm who channeled an entity named Ambres, who in fact was the first trance channeler I had ever witnessed. Tom now explained that during the shooting with Ambres we could expect some interesting developments because of the mediumistic tendencies of some of the people involved (including myself) and said that the energies we would all be running would be high. I put it on the back burner of my mind. Sachi then asked some personal questions about her life and the pain she had been experiencing in her neck and back. Tom answered in his humorously profound manner, explaining the karmic blockages as he saw them.Sachi and Tom had been fast and trusting karmic friends during his incarnation as a Scotch-Irish pickpocket. They had both been involved with street theater during the Elizabethan time period, and coming from poverty-stricken backgrounds, they augmented their income by “rifling the pokes of people who were much better off.” Tom was working off some of the karma he had incurred for himself in that incarnation by helping and counseling people now—Sachi in particular, because he had taught her to steal! She adored talking to him and usually followed his advice.
    I begged everyone’s indulgence and asked Tom what I could expect with the publication of Dancing in the Light. He said some of those “whose art was interviewing” had found metaphysical and spiritual subjects more accessible since I had first plunged in where “fools” feared to tread with Out on a Limb. He said “Light” was a more controversial book because it was so personal, thereby placing the reader in the position of having to decide whether I was indeed crazy or perhaps (because of my unwavering belief) there was actually something to this spiritual-dimension stuff that I seemed to have