Webpage list of movies shot in San LuisObispo, I find Foglost link.
and "Invigorate" it has.
Other titles: The Symbol of Great Vigor, Great Invigorating.
.
Monday, May 11, 2026
Sunday, May 10, 2026
scene 6 in progress
INT. LUX SUV - DAY
to be continued.
JOHN: So do we know the where of horse day?
CHLOE: On land Jackie’s family has northwest of Ruidoso, end quote.
to be continued
Friday, May 8, 2026
Yi 150: Disaster if i Keep Drinking
Line-6
Legge: The sixth line, magnetic, shows its subject with the horses of her chariot obliged to retreat, and weeping tears of blood in streams.
Wilhelm/Baynes: Horse and wagon part. Bloody tears flow.
Blofeld: He hesitates like a man trotting to and fro or like one shedding blood and tears.
Liu: He goes back and forth on horseback. He sheds tears with blood! [Arrogance leads to misfortune, perhaps extreme misfortune.]
Ritsema/Karcher: Riding a horse, arraying thus. Weeping blood, coursing thus.
Shaughnessy: A team of horses vexatious-like, dipping blood streamingly.
Cleary(1): Mounted on a horse, not going forward, weeping tears of blood.
Wu: The horse carriage falters along. Tears roll down from the rider’s eyes.
COMMENTARY
Confucius/Legge: She weeps tears of blood in streams -- how can the state thus emblemed continue long? Wilhelm/Baynes: How could one tarry long in this! Blofeld: How could a flow of blood and tears endure for long? [In other words, our present troubles will pass away in time.] Ritsema/Karcher: Wherefore permitting long-living indeed? Cleary (2): Weeping tears of blood – what can last? Wu: Only despair remains.
Legge: The sixth line is magnetic, as is her third line correlate. She is at the extremity of Peril -- the game is up. What can remain for her in such a case but terror and abject weeping?
NOTES AND PARAPHRASES
Siu: The man fails to overcome the initial difficulties and despair.
Wing: You have lost your perspective. You can no longer see your initial difficulties realistically, nor can you find your way out. This is disgraceful and will cause you much regret.
Anthony: Desire and fear prevail. The child in us rules. Despairing, we give up our path. “One should not persist in this.”
DeKorne: Lines two, four and six all show horses in retreat: strong images of psychological turmoil and confusion; two and four have proper correlates however, so they present the possibility of at least some kind of reconciliation. Here, the correlate is line three, who is depicted as being "lost in the woods.” At its most neutral, the image is one of severe disunion. Wilhelm and Blofeld state that the situation is not a lasting one, so all need not be lost if you seek a totally new and perhaps currently unrecognized connection.
"In our ordinary life we are limited and bound in a thousand ways -- the prey of illusions and phantasms, the slaves of unrecognized complexes, tossed hither and thither by external influences, blinded and hypnotized by deceiving appearances. No wonder then that man, in such a state, is often discontented, insecure and changeable in his moods, thoughts and actions. Feeling intuitively that he is "one," and yet finding that he is "divided unto himself," he is bewildered and fails to understand either himself or others. No wonder that he, not knowing or understanding himself, has no self- control and is continually involved in his own mistakes and weaknesses; that so many lives are failures, or are at least limited and saddened by diseases of mind and body, or tormented by doubt, discouragement and despair."
Roberto Assagioli -- Psychosynthesis
A. Severe disunion prevails but need not be permanent if you seek a totally new connection.
Yi 149: Marathon as Recovery Target
Other titles: Work On What Has Been Spoiled, Arresting of Decay, Fixing, Rectifying
Yi 148: how to Quit Drinking and Smoking
Changing Lines
Line 3
'Tied retreat. There is affliction, danger.
Nurturing servants and handmaidens, good fortune.'
Thursday, May 7, 2026
Yi 145: best i can do for my well-being today
Yep.
Other titles: Withdrawal, Strategic Withdrawal, Inaccessibility, Disassociation from Inferior Forces
.
Wednesday, May 6, 2026
Tuesday, May 5, 2026
Monday, May 4, 2026
Sunday, May 3, 2026
scary movie 1 elements 1
1. the house and property she leases to finish her novel. (what event spurs her to decide on it, having considered others.)
2. her arrival. at night, something seen/heard when she gets out SIV to open gate. starry sky beyond tall treetops.
3. arrival at house.
a. tire flatting.
b. curtains in window open, she finds closed when she first enters room.
c. the owl she finds staring at her, flying away.
d. front door unlocked.
e. entry. floor creak.
f. tour ends in master bedroom. faucet drip.
g. light issue.
that man
i know that man
at the far end of the bar,
following a star
still shooting
because it can
and things do what they are,
no matter the scar
from denuding.
i know that man
with his stare at his beer,
ballgame in one ear
while the other
is tuned to a band
only that man can hear,
like the siren’s song steers
those who’d make Muse Lover.
I know that man
has something in mind,
a thought that will bind
and pull like a magnet toward
a line in the sand
crossed and signature signed,
Hero thusly entwined
in the backwards in the forward.
Saturday, May 2, 2026
meet john, jan, chloe and barbara
john and jan, fit 70-somethings.
barbara, athletic-fit 50-ish.
chloe, athletic-fit 17.
john driving lux SUV TBD.
chloe front passenger seat.
barbara behind chloe. jan behind john.
john: sunglasses hang from collar of polo shirt, khaki slacks. belt matches leather loafers. gold watch and wedding band. silver hair cut casual corporate. two-day facial hair.
jan: martha stewart sunday drive casual featuring capris, deck shoes, cardigan over blouse unbuttoned at top to show silver necklace. hands on the purse in her lap reveal prominent diamond on silver wedding ring. recently styled silver hair to shoulders. sunglasses propped atop head.
barbara in track suit, running shoes, sunglasses propped atop head, hair pulled back in a bun. sporty-stylish bag in her lap.
chloe in knee-length jeans, sandals, sweatshirt with PASO across the front, sunglasses propped atop light rainbow beanie. long hair in a tail.
scene 2 dialogue
EXT. HOUSE - SUNRISE
Tom cowboy boots to hat, suitcase. Wanda robe and slippers, hair up, thermos.
From front door to truck in driveway.
WANDA: Thought about where you might have lunch?
TOM: Ain't countin' on it bein' there but if it is that taco truck in Cimarron.
WANDA: Tortilla Azul.
TOM: That's it. Knew it was tortilla somethin'.
WANDA: The only better tamales I've had are Maria's.
TOM: She and the boys got there yesterday.
WANDA: I remembered as soon as I said her name.
He opens truck door, slides suitcase to passenger side of bench seat, puts hat on top of it, puts key in ignition, turns to Wanda, she hands him thermos, he puts it in console, he turns to her, they hug.
TOM: What are you and Daisy doing today?
WANDA: Coffee and croissants at the cafe, walk on the river trail, the library for a showing of Cheyenne Autumn -
TOM: Really?
WANDA: Yep. It's their summer film series that I didn't even know about until Trudy told me last week. After that to Centennial for a glass wine at Bear Bottom and sunset at Mirror.
TOM: Jealous. Any more shows at the library after this?
WANDA: Cat Ballou next week, then a movie I don't know called Heartland, with Rip Torn, wraps up it up the following week.
TOM: I don't know that one either. If you don't have any plans that day, maybe we could see it.
WANDA: I'll check my schedule.
They embrace, kiss. He checks watch.
TOM: Five-fifty. I'll call at seven and every hour on the hour.
WANDA: Thank you.
TOM: Except when you're at the library.
WANDA: Text me at two and three.
TOM: Will do.
WANDA: And maybe a selfie from somewhere along the way.
TOM: I have an idea already.
They kiss. Tom into driver's seat, starta engine, rolls down window. Wanda steps up onto the running board, pokes her head in.
TOM (CONT.): Ready?
Wanda nods. Tom drives to the street, stops.
TOM (CONT.): I don't guess ya know how many days til we land in Honolulu.
WANDA (BEAT): A hundred and two. And elevenish hours, if the plane's on time.
TOM: Elevenish, huh?
She checks his watch.
WANDA: And twenty-two minutes.
TOM: I love you, Wanda.
WANDA: I love you, Tom.
They kiss.
TOM/WANDA: Miss you already.
Another kiss, Wanda steps down off running board, folds arms cross chest.
WANDA: Git before I start crying.
TOM: Before I beat ya to it.
WANDA: Which house first?
TOM: The brick near the river?
Wanda nods, gives thumbs-up that Tom returns.
WANDA: Go. Okay?
Tom nods, flashes peace that Wanda returns. He makes turn onto street, Wanda watches him drive away.
INT. TRUCK
Tom nears stop sign, his eyes on WANDA IN REARVIEW. He puts hand out window, waves. She waves back.
WITH WANDA
She watches the truck stop at light, left turn signal before Tom makes turn, looks at her, blows a kiss she returns before Tom leaves view. A BREEZE RINGS THE CHIMES. She walks to porch, waters plants, closes her eyes and smiles at the WESTERN MEADOWLARK SONG. About to enter house, she stops to look back at the HUMMINGBIRD hovering a few feet away before leaving in a blur. She enters house, closes door. WESTERN MEADOWLARK SONG.
Gil, Maria, The Boys basics
INT. GREAT ROOM - DAY
Texican. Limestone and leather. Fireplace, whitetail deer mounts. Gil reading book in rocker facing big window to oak motte.
MARIA: Knock knock.
GIL: Who's there?
MARIA: Ida.
GIL: Ida who?
MARIA: Ida forgotten Tom and Wanda arrive tomorrow had I not seen it on the calendar.
Gil marks page, closes book, turns to Maria.
GIL: Just Tom. Wanda's staying to be with a friends whose husband just passed.
MARIA: Oh.
GIL: And big news.
MARIA: Big good news?
GIL: Big great news. They're buying a house with Ruth in Kerrville.
MARIA: Wow. That's huge wonderful news.
GIL: Tom and Ruth are going are going to check a few open houses.
MARIA: They're coming over, aren't they?
GIL: Monday afternoon. Dinner at Spanish Trail.
MARIA: Yay. Whatcha readin'?
He holds up Foglost.
MARIA: Your guy.
GIL: Picked it at up yesterday.
MARIA: You're moving through it.
GIL: Page turner.
MARIA: What's it about?
GIL: A man whose drinking has ended his marriage and is ruining his law career buys a boat and takes it on Lake Superior. I'm where he's just encountered serious fog.
MARIA: Ruh roh.
A soccer ball rolls into frame of the big window, drawing Gil's and Maria's attention. TWO BOYS 16, and 14, in tennis shoes, shorts and Mexico national soccer team jerseys, race neck and neck in pursuit of the ball, follow it out of frame.
GIL: Somebody's caught up.
MARIA: He tries harder.
GIL: I've noticed.
MARIA: The younger ones usually do.
GIL: I'm going to let Robby drive the Corvette, if it's okay with you.
MARIA: Of course. I expect pictures.
GIL: There'll be pictures.
MARIA: Have a route in mind?
GIL: A Vanderpool loop we took when Ricky first drove it.
MARIA: That's news to me. How old was he?
GIL: Fifteen and-a-half.
MARIA: No pictures
GIL: Lost in the fire.
Gil's PHONE RINGTONES TBD.
MARIA: Hoodat?
GIL: Tom.
He picks up, stares at screen. A selfie Tom, aviator sunglasses, has taken of himself at the Vietnam War-era Huey helicopter at the Vietnam Veterans Memorial State Park in Angel Fire, New Mexico.
MARIA: Where is that?
GIL: Vietnam Memorial in Angel Fire.
MARIA: Y'all fishin'.
Gil smiles, sets phone.
GIL: We all fishin'. Friday morning, Breaking in Dale's new pond.
MARIA: Oh that's right. Sounds fun. Taking the boys?
GIL: Taking the boys.
As previously, practically exactly, soccer ball enters frame from other direction, the boys, neck and neck follow it out of frame. She leans to kiss Gil's cheek.
MARIA: Off to market, back in an hour.
GIL: If we're not here we're at the treehouse.
MARIA: How's it coming?
GIL: Well, I'll take pictures. Drive safe.
MARIA: Always.
She leaves, he resumes Foglost.
Friday, May 1, 2026
Yi 138: what is finally moving me to Quit Drinking
Hilary Barrett:
"It is time for transformation. The old Chinese character for 'Radical Change', which also means 'leather', shows an animal hide: this is change like a shaman's, putting on a new skin to change your identity. And it is also revolutionary change: this hexagram marks the day when the Zhou people and their allies marched out to meet the armies of the corrupt Shang dynasty and defeated them. You change the governing principle and bring about renewal."
Yi 136: hex 28 in play re the pressure moving me to change
.
'Great Exceeding, the ridgepole warps.
Fruitful to have a direction to go.
Creating success.'
"When you exceed something, you cross over a line and make a transition. The traditional Chinese house has a structure like an old-fashioned tent: uprights support a horizontal ridgepole, and all the weight of roof and walls is suspended from there. Here, the ridgepole's limits have been exceeded; the supporting framework is no longer adequate to the weight it's asked to bear.
This means stress, and also a greatness of spirit and purpose that goes beyond the scope of the situation. It is fruitful to have a direction to go, to reach out imaginatively and explore. Since things cannot hold up as they are, there must be movement."
related 28
Wednesday, April 29, 2026
Yi 133: what so Influences Return today to Annamarie
WTH?
Hilary Barrett:
"Influence is what moves people, and how people are open and available to be moved – by emotion or inspiration, physical responses or visiting spirits. All these things touch, stir and attract us, drawing us into relationship. The Chinese character for 'influence' shows a mouth and a weapon: the influence goes deep, and makes us vulnerable.
It is good to respond to the power of influence with constancy, steadying the motion it inspires and creating a place in your life to contain it. The man who 'takes a woman' in marriage brings her into his home and makes room for her there. Good fortune comes from this more feminine way of relating: being open and allowing space for new influences."
recent related Annamarie Influence.
Tuesday, April 28, 2026
HK final beats 13-20
13. Day. Barbara with John and Jan gets Hunter's call re Tom Walker. Middle name.
14. Day. Wanda with Daisy gets Tom's call from Hunter's guest room. Tom calls Ruth, at peach stand, leaves room, arrives back yard, framed by window over guest room desk.
15. Day. Gil, reading Foglost, Maria, knock knock Ida gets Tom's Organ Mountains selfie. Hijole.
16. Day. Hunter and Chloe airport.
17. Hunter and Chloe arrive Hunter's, Tom's truck in driveway. Intros, inquiry.
18. Sunset. Barbara and Brian, re Tom and Olivia. Chloe pic.
19. Sunset. John and Jan, Chloe pic.
20. Night. Hunter, Chloe, Tom re Wanda and 25th re Hawaii, re surf, re Pismo re San Diego and USMC. Hunter call Jackie.
Monday, April 27, 2026
HK final beats 1-12
1. Night Tom and Wanda, Hawaii and Foglost.
2. Sunrise. Their house, Wyoming plates, ABQ monsoon, re Daisy, Tom leaves, wind chimes.
3. Day. Gil, Maria, Boys, Foglost, knock knock Ida.
4. Sunset. Tom ARR ABQ motel.
5. Sunrise. Tom LV ABQ motel.
6. Day. John, Jan, Chloe, Barbara, MBZ Wagon, re Jackie, Horse Day.
7. Day. Hunter, home office, Organ Mountains, Chloe pics.
8. Day. Tom driving in Hunter's 'hood. Aviators.
9. Day. Hunter, kitchen, calendar, trash bag.
10. Day. Tom ARR Hunter's. Phona camera. Hunter in garage. Tom drives away.
11. Tom U-turn.
12. Hunter, foyer, doorbell, Tom Howdy and enter.
HK scene 1
INT. BEDROOM - NIGHT
TOM and WANDA, 70-somethings in pajamas and reading glasses, sit up in bed under covers to their waists, reading. Wanda turns a page of James Michener's novel, Hawaii, in paperback. Tom has a hardcover titled Foglost, written by H.C. Hardyn, per the dark grey font on the light grey cover and spine. Unlit candles on floating shelf above headboard. Smart phone and lamp on their respective nightstands.
WANDA: Should we do a luau?
TOM: Well, what is it they say about when you're in Rome?
WANDA: Do as the Romans do.
TOM: Heck, I'm halfway thinkin' about takin' a surfin' lesson.
WANDA: Well that's some halfway thinking alright.
TOM: What? You think this dog's too old to learn anew trick?
WANDA: I'd pay to see it.
TOM: Won't have to. Got 'em down the beach from the hotel. You just bring your Mai Tai, stick your toes in the sand and observe.
WANDA: Oh I'll record it and post it on the blog.
TOM: Guess I better start doin' my pushups, squats and crunches and go easier on the ice cream.
WANDA: Maybe I'll take a hula lesson.
TOM: I'll be parked under a palm tree for that.
Wanda sets book in lap to make a hula dance movement with her arms and hands. Tom smiles, turs page.
TOM: Do ya think we'll get lei'd?
Wanda, entirely surprised, looks at him big-eyed. He looks at her.
WANDA: Thomas Travis Walker. My goodness gracious.
TOM: What? Ain't that what they call them flower necklaces they give ya when ya get off the plane? A lei.
Wanda shakes her head.
WANDA: Yes, a lei. But I don't think airlines do that anymore.
TOM: Oh.
Wanda resumes reading.
WANDA: But I have a feeling our chances of getting lei'd will be considerably better when we get to our room.
Tom looks up, stares straight ahead, genuinely surprised, sets books in lap, looks at Wanda, who grins, looks at Tom, winks. They stare at each other, set books on nightstands, TURN OFF LAMPS TO BLACK.
SQUEAK OF BEDSPRINGS.
Thursday, April 23, 2026
Hunter and Gil dialogue in progress
EXT. OAK MOTTE - DAY
Describe.
Gil and Hunter in ATV aimed at view. The boys in treehouse, ATV nearby.
HUNTER: How long have you been here?
GIL: My entire life. My dad and uncle used their G-I bills to start a construction company in San Antonio. Couple years later dad bought the land, started building on his time off. We'd come up and spend the night in tents.
HUNTER: We being whom?
GIL: Me, my sister, mom and dad, and whomever of his crew were up. Uncle did the same with land he bought near Vanderpool.
HUNTER: World war two G-I bill.
GIL: Yessir. Dad was Army in France, his brother Danny was U-S-M-C in the Philippines.
HUNTER: Tom was a Marine in Vietnam.
GIL: He was. Did he talk about it?
HUNTER: No. Just a reference to boot camp in San Diego.
GIL: We were there together.
HUNTER: Ruth mentioned that. And that you might be willing to talk about it.
GIL: She mentioned you might ask. We can do that. Maybe when you're back next week.
HUNTER: Thank you.
GIL: I've got pictures.
HUNTER: I'd love to see them.
GIL: Deer at your three o-clock.
A beat before it occurs to Hunter to turn to his right to see the WHITETAIL BUCK looking back at them from fifty yards away.
HUNTER: Did Tom hunt?
GIL: Got his first here, right where he is, from the tree house. His thirteenth birthday. Me, Tom and our dads. But if he ever pulled a trigger after he cam back I don't know about it.
HUNTER: Came back from Vietnam.
GIL: Yessir.
HUNTER: Did he ever say why?
GIL: We talked about it. I'll tell you more when you're back, if you're interested.
HUNTER: Very.
GIL: Have you ever hunted, Hunter?
HUNTER: I killed a robin with a slingshot when I was eleven. That was enough hunting for me.
to be continued.
Tuesday, April 21, 2026
Yi 115: beats set in stone
Hilary Barrett:
"This is about natural beauty, like the beauty of a plant, whose form is the perfect, simple expression of its nature. It's also about the way people create images to communicate something of a person's or thing's inner nature."
Monday, April 20, 2026
Sunday, April 19, 2026
baseball movie 8 Kid’s Dad
We meet him after we meet his bat, doing time in a midwestern prison, for manslaughter, nearing a parole hearing that might get him out. He comes out of a dugout to an on-deck area to wait for his at-bat in a prison league softball game. He’s mid-40s, fit, a regular with the weights in The Yard. His thick and taut arms are almost entirely covered in tattoos.
We probably learn more about him via conversation in the opposing dugout before he comes to the plate and drives ball a jaw-dropping distance over a guard tower. Dugout conversation probably includes a cigarette wager that is decided by the home run.
As did the softball leave the prison so does Kid’s Dad, having won parole. Though we don’t know it right away, he is a mostly reformed man who has maintained contact with Kid, and is aware Karen wants nothing to do with him other than is absolutely necessary.
Kid’s Dad has a problem in a debt owed that he does not have the funds to pay, pressuring him toward activity that might make the money and might put him back n prison for good, and possibly killed.
The bat is NOT one he used in the minors, it is a game used and autographed Dick Allen Louisville Slugger.
Yi 114: what Writerly Trait pushed through Resistance this morning
Oracle
'Creative Force.
From the source, creating success.
Constancy bears fruit.'
Hilary Barrett:
"This is the pure creative spirit that flows through people and events: it drives towards manifestation, an inspiration that wants to be realized.
It begins with an opening to the source of the creative impulse – not plans or intentions, but the vital energy that powers them. Then you create success by sustaining a continuous, two-way flow between source and action. You step into the heart of a process of creation, welcome its momentum and find ways to join and work with it.
Through constancy, this brings out intrinsic potential and yields a harvest of positive results. To be constant is to be true to your intent, faithfully aligning all your choices with your original vision, and carrying your understanding through in practice and over time."
Hunter's dream, in progress
EXT. MODEST CAMPFIRE - NIGHT
POV CAMERA aimed at small fire encircled by stones. OCCASIONAL CRACK AND POP OF FLAMES CONSUMING TWIGS, WHISPER OF STREAM THROJUGH GRAVEL BAR, FAINT LOWING OF CATTLE.
TOM (0.S.) Do you remember the way back.
CAMERA TILTS UP to Tom's bearded face, eyes concealed by the brim of his worn felt cowboy hat, red bandana around the collar of his trail-worn shirt, his hands open to the fire for warmth. He's sitting on a log, legs crossed at ankles, gloves on a rock near the fire.
CAMERA TILTS UP AND DOWN TWICE.
TOM: Regrets?
CAMERA PANS SIDE TO SIDE TWICE.
to be continued.
rltnshp dream: white girl, brown nhair
She's considerably younger, white with brown hair and green or blue eyes, as best i recall. Shorter than tall. She's leaving, there's a rift, I confess my love, she reciprocates. BUT there's a problem. Probably problems. For one, I'm "grumpy," per her, and I know not to argue 'cause she's got some right on her side. Dreams ends at goodbyes, after "give it time, we'll check in later." She's going to Texas. My sense of need to get my shit together if I want to be with her.
.
Saturday, April 18, 2026
baseball movie 7: opening scene and Bobby/date/Louisville Slugger
Henry’s dream. include Uncle. the Suburban. Monsoon and water in the arroyo. Sunrise. THUNDER wakes him to Bainbridge Island apartment.
Bobby is a teammate from Henry’s minor league days, now a coach with a minor league baseball team based in Alpine, Texas, playing at Kokernot.
They meet in El Paso when Henry takes in the Suburban for the chop. Bobby provides the tickets to the game that is The First Date, Kid included. Kid of course asks how Henry knows Bobby. Thusly are we introduced to Henry’s brief baseball career.
Providing Henry the opportunity to inquire about the baseball bat he saw at Karen’s house. Kid tells us it’s his dad’s.
Henry leaves it at that.
caught
I let it get away a little.
It's got away a lot.
Robust has given in to brittle,
ripe has gone to rot.
I have arrived in the middle
of rock and hard place, caught.
Friday, April 17, 2026
baseball movie 6: arrival and drive to river
Henry flies to El Paso to meet Cousin and Cousin's Partner, staying at the Plaza. We learn mopre about Henry via Cousin telling Partner. All drive the next day to the manufactured home in the desert south of Deming, near the Florida Mountains. Cousin hands over keys (to house, shed, Suburban, other) and leaves with partner in rental SUV, to El Paso for flight home to Tulsa. Henry pops a beer, goes to Suburban, starts engine, goes for a drive to Hatch and a spot on the river.
.
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