Every Death is a Transformation

TWELFTH SESSION  22/9/11

I still couldn’t get my head around the whole change in direction our communication seemed to have taken. I wanted so much to believe that it really was Jane’s Seth, yet had serious doubts – something I’ve yet to completely let go of.

Prior to starting we talked about how we’d like the session to progress, and my needing definitive proof that we are communicating with Seth. I would like to get to the point where we were hearing more from ‘Seth’ and less from us. Also, that I’d like advice on how to approach Sue Watkins re: the subject matter of the email.

            A D Z U

(I laugh.)

Pad: Hello? Who is this?

            SETH

Kris/Pad: Hello Seth.

Kris: (laughing) Were you just getting our intention with that ‘Adzu’? (the glass moves slowly towards yes/no) Mmm, sort of. So, you’ve obviously been – well, I’m assuming you’ve been aware of what we’ve been discussing in terms of the direction we’d like this session to go in. Is there anything that you can…that you want to say to get the ball rolling? (pause)

            BY A YEAR FILM WILL BE MADE

Kris: Erm, do you mean the script will be finished?

(pause) NO   FILM FINISHED

Pad: Better get on to it.

Kris: By a year?! The email that I’ve written to Sue Watkins, can you give me any feedback on that?

            BEGIN WITH CEGMENT

Kris: Did you mean ‘Segment’?

            YES 

(pause)

Kris: ‘Begin with segment…’

            ENERGY FILM

Kris: Can you tell me what else I might put in that segment?

            CALL IT  DEATH IS NOT FINAL

(long pause)

Kris: And beneath that, what should I write?

            YOU (hesitantly) ADDRESS DEATH HAS BIDY

Kris: (to Pad, quietly) I don’t understand how some things are so clear… ‘You address – death has…’

            ADDRESS DEATH ENERGY TRANSFORMED

Kris: Death is energy transformed? (pause) Is that what you mean?

            YES (pause) BEGIN WITH HOW CELLULAR MEMORY  

            HAS ENERGY

Kris: What happens to that memory or energy at the point of death, then? I know you said it’s transformed, but what’s the cellular memory?

            GETS FORMED BY (Pause) DYING

Kris: Cellular memory gets formed by dying?

            YES

(long pause)

Kris: What kind of information is stored…?

            FORMED WITH HIGHEST GOOD

Pad: Was that in answer to your question?

Kris: Don’t know.

             FORMED WITH LOVE  (pause) WITH DEEPEST REGARD

             FOR YOUR (pause) DEVELOPMENT (long pause) J  E Y I

Kris: Could you start that again, please?

            JE (pause) ER

Kris: Jeer? I thought we were going to Jester land, then. Can you try that again or continue?

            DECIDE WHAT YOU WANT   WHEN YOU WANT TO DIE    

            GOD NOT YOUR MASTER

(long pause) FORM  GHOSTS ENERGY DID NOT GO (pause 

            YOUR HIGHEST GOOD (pause)

            IS ENERGY GOOD 

Kris: Right, I’ve got to ask – is that a question for us?

            NO

Kris: Ok, thank you, just needed to clarify that. Carry on.

            ENERGY HAS HIGHEST INTENTION

Pad: Are you getting frustrated?

Kris: I don’t know where it’s going (unclear) connected. It doesn’t sound like Seth, sounds like someone trying to be like Seth.

Pad: Are you going to stop it then, or are you going to see where it goes?

Kris: Well, what do you think?

Pad: I don’t know. As you’ve said, it’s making some sense, but then…

Kris: ‘Begin with how cellular memory formed by dying.’ That’s good. ‘Formed with highest good. Formed with love.’ So the cellular memory gets formed by dying with highest good and with love, and with deepest regard for our development. ‘Decide what you want when you want to die’. Ok, I can get that, that you decide what you want when you want to die. Or, you decide what you want and you also decide when you want to die.

Pad: God has nothing to do with it.

Kris: ‘God is not your master.’ That’s ok. ‘Form ghosts energy…’?

Pad: Yeh, that’s where it goes a bit.

Kris: So, other than that last bit, it’s been ok, it’s made sense – of sorts. Let’s just keep going. Are we still talking to Seth?

            YES

Kris: And what you’ve dictated so far is what I’m to put in an email to Sue Watkins?

            YES

Kris: I’m just a bit concerned because some of it doesn’t make much sense… not just because it’s hard to understand the concept, but the way it’s been worded is a bit…disjointed? The bit about ‘ghosts energy’?

            DO NOT GET FILM ENERGY

Kris: Sorry. I don’t understand. (pause) Can you speak in complete sentences?

            FILM IS NOT ABOUT DEATH

Kris: And yet everything has been about ‘death is not final’…

Pad: Just let it try and finish what it’s saying.

            ABOUT HIGHEST GOOD ENERGY  DEATH IS NOT FINAL

Kris: But it’s not about death.

Pad: Because death is not final.

Kris: I know, I know, I’m sure…

Pad: You’re either with it or you’re not.

Kris: I think that’s what he’s trying say.

        ENERGY CONTINUES  FILM CAN HELP GHOSTS TO MOVE ON

Kris: Now I’m more convinced than ever that this is no way my subconscious. (laughs) I’m sure my subconscious would not be confusing me so much.

Pad: Are you convinced that it’s Seth?

Kris: No. Not the Seth that talks to Jane.

Pad: Ghosts. Does he talk about ghosts?

Kris: No, but then ‘ghosts’ could be a word they’ve used for simplicity’s sake rather than a huge explanation of what a ‘ghost’ is – they’re putting it in our terms. What lingers after death.

Pad: Have you ever heard it…have you ever read in any of the Seth stuff, talk like that?

Kris: Ghosts? That people will form what they believe when they die. Ghosts. Maybe an energy form of somebody who doesn’t know they’re dead, and is therefore creating their world around them the way they believe it should be, and inhabiting that world.

Pad: So should we just let Seth continue, or do you want to ask questions?

Kris: I don’t know. What do you think? I’m totally befuddled. It keeps coming back to the film being about ‘death not final – energy highest good‘.

Pad: So it’s not about death. The film can help ghosts to move on.

Kris: I don’t understand how that would be – how would it help ghosts? Unless people who are dying, if they see it, they’ll have a different idea about what happens next – maybe. But then they wouldn’t become ghosts…

Pad: Exactly.

            CAN YOU BELIEVE

(pause)

Kris: Is that meant for me?

            YES

Pad: Can you believe in what?

Kris: Maybe can I believe this. (pause) What are you asking if I can believe?

            IN SETH

Pad: Well, maybe you need to say if you need any proof or…

Kris: I do, obviously. I can believe in Seth. I totally believe in the Seth that I read about in Jane’s books, 100 per cent. And you know why I’m struggling to believe this Seth. Not just because of what’s coming through, but because you’re actually speaking to us. Can you do anything to put my mind at rest so I can let go of the doubt and focus totally on what you’re telling me?

            JUST LET (pause, then hesitant) BELIEF  (slowly) R A D I

Kris: Just let belief…

            D E

Pad: ‘Radiate’, do you think that might have been? Would Seth say ‘just believe’?

Kris: No. Just let belief what?

            PLEASE

Kris: Are you saying ‘please’?

            YES

Kris: It’s hard, I was hoping you’d say something that I could say to Sue Watkins that only Jane, or Seth, or Rob would know. And if I put that in an email she would have no doubt whatsoever in my integrity. And then, yes I could imagine this film being made in a year. But you haven’t given me anything like that. You could be a failing actor for all I know who died and is desperate to make a film, and this is the only way you can think of doing it. I don’t know. And I really believe that if you were Seth, there would be no hesitation for you, you may do it playfully, whatever, but you would give me something, I know you would – well I know Seth would. You wouldn’t keep talking in cryptic… sentences. (pause)

Pad: So you don’t believe him, do you?

Kris: I’m just struggling.

Pad: So, if this isn’t Seth who we’re talking to, who is it? Tell us your name.

            SETH

Pad: Seth as in Jane Roberts’, Seth?

YES

Kris: Why can’t you give me some information that only you or Jane, or Rob would be privy to, that Sue Watkins would know? Why can’t you just do that?

            BECAUSE YOU NEED TO TAKE A LEAP OF FAITH

Kris: Now, I thought that in my head. As soon as we got to ‘need’, in my head I thought ‘to take a leap of faith’. Right? Did I pick up the message before it was spelt out and that’s why it was in my head? Did my having it in my head, have it spelt out because I am somehow doing it?

(Pad laughs.)

Kris: (exasperated) Jane never had to take a leap of faith!

Pad: Didn’t she?

Kris: Well, he just told her all this amazing stuff, loads of really coherent sentences and paragraphs…

Pad: Maybe he can’t come through as clear to you.

Kris: I think the fact that I’m composing an email to Sue Watkins, that I’ve already set up to have a conversation with Delcia – is a leap of faith. Maybe not in the fact that I might get a film made in a year…? Oh, Gordon Bennet!

Pad: (scanning notes) ‘Can you believe’, ‘please’, ‘because you need to take a leap of faith’.

(pause)

Kris: Why would Seth say ‘please’? (pause) You know what? If some other being, once living or not, was to say I’m going to help you make a film and it’s going to be about energy and about the fact that death isn’t final – I’m with you. You don’t have to be Seth to persuade me to do that.

Pad: Your problem is that if it’s Seth, you’re going to look…people are going to expect certain things and you don’t want to look a fool – when it isn’t Seth, or if it isn’t Seth.

Kris: Or just in believing it was Seth. No-one would know if it was Seth or not, let’s face it.

Pad: You’d rather know that it was somebody else, or…

Kris: Come back, Frank. (laughs) It was so simpler when it was Frank. Who’s probably Seth, or Ortundra… (laughing) It’s an interesting twist though, that I’m getting a cob on with an energy form. I’m getting my knickers in a twist with a Ouija board entity. (both laugh) I’m having an argument with it. I felt like I was his wife… (loudly with humour) Can you just give me one coherent sentence? (pause) Ohhh, dear. Ok, come on. I am not giving up on this. I am not giving up on this. Ok, is there anything else I need to put in the email, or could put in the email to Sue Watkins?

            GET HER TO LOOK IN THE FILES THAT ROB KEPT

(pause)

Pad: That’s good.

Kris: Yeh, that’s brilliant.

            DO YOU BELIEVE NOW

Kris: ‘Look in the files rob kept’, and then ‘do you believe now?’ What will she find? Which files? He must have kept hundreds. Which files?

            THE ONES IN HILL HOUSE

Kris: Ok, are there particular files that she needs to look at?

            YES

Kris: Ok, can we narrow it down. Are they in some kind of box? (pause, then glass moves between yes and no) Sort of. Ok, do they have a name? This particular set of files? Or a date -anything that distinguishes them from the other files. (long pause) Will she be looking for a particular theme?

            ENERGY TRANSFORMATION

(We have a short break)

Kris: Ok. I will do that. What are you thinking?

Pad: Nothing.

(I put my finger on the glass and gesture to Pad to do the same. He laughs.)

Kris: (laughing) Come on, I haven’t finished. Any comments on what I’ve just been saying to you?

            I KNOW HOW DIFFICULT THIS IS FOR YOU

Kris: Well, you know what? That has probably done more to help me believe what’s going on that anything that was said tonight. While I was on the loo, I was sending a message – well, I was talking to whoever this is – and I said that my problem is that I’m afraid that not only will I look a fool if I believe this totally, but that if I’m wrong I’ll be bereft because I want it so much to be real, so I’m just scared of opening myself up to that. And when I came down and said, ‘can you give me something on what I’ve just said to you?’, that’s what I was referring to. And I got ‘I know how difficult this is for you’, which to me is in response to what I said upstairs.

            KRIS YOU ARE A YOUNG ENERGY AND YOU HAVE TIME TO

            LEARN  WHY NOT ENJOY BEING HUMAN

Kris: Oh my goodness. ‘Why not enjoy being human’. Maybe I’m in a hurry to go back to being spirit.

Pad: Maybe not, you don’t know that’s what it means. You could ask if that’s…

Kris: He knows what I need to know so he’ll tell me.

            JUST GIVE YOURSELF THE CHANCE TO MAKE THE MOST

           OF YOUR LIFE

Pad: Are you not doing that? In some way?

Kris: Maybe by denying the possibility of being able to make a film, I’m keeping myself stuck. I’m being safe, aren’t I?

Pad: Does it really matter?

Kris: I don’t know.

Pad: Ok.

Kris: I don’t know. Maybe give myself the chance to make the most of my life.

Pad: Are we going back in?

            LAUGH (pause)  HELPS  GIDDY

(I laugh)

            GOOD

Kris: What? ‘Good’ that I’m laughing?

            YES   DON’T FORGET THAT DEATH IS NOT FINAL

Pad: Seth, are you sure we’re making a film about Jane and not a James Bond film?

(We both laugh)

            JANE

Pad: Shall we finish now?

Kris: Ok, we’re going to finish – as, obviously, you know. You knew before we knew because we finished ages ago, years ago, we’ve not even finished yet (in response to Pad’s confused look) Spacious present.

            AGAIN  DEATH IS NOT FINAL 

Kris: Ok, I’ve got to ask this question: Are you preparing one or both of us for something?

            EVERY DEATH IS A TRANSFORMATION

Kris: And you’re preparing us for something, aren’t you?

            YES

Kris: Ok, I’m not going to go any further with that, because that could be a huge thing. Preparing us for the film, preparing us for whatever.

Pad: Ok, so we ending it now, then?

Kris: Ok, thank you very much…Seth.

Pad: Thank you, Seth.

(We spend the rest of the night discussing just what it is we are communicating with – again!)

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