Sunday, August 31, 2003 (Private/Phone)

Participants: Mary (Michael), Margot (Giselle), Howard (Bosht), and Sharon (Camdon)

Elias arrives at 9:00 AM. (Arrival time is 15 seconds.)

ELIAS: Good morning!

MARGOT: Good morning, my good friend Elias! (Elias laughs) It’s so nice to hear your voice!

ELIAS: And what shall we be discussing this day?

MARGOT: You have no idea how much I have to discuss today! (Elias laughs) I have a lot of quick questions for others, and a lot of questions for me. I may have to book another session pretty quick! (Elias laughs) At any rate, I have a lot of different kinds of things that we’re going to talk about.

The first thing I would like to talk about is that after the last session I had with you in May — which was a short session because I had lost all the weight and all that sort of thing — I’m sure you’re very much aware that I was very angry with you after I talked with you that day, because I didn’t really comprehend what you had said to me. I thought you had said that I had become very enlightened, and I knew that I had not become very all-the-way enlightened and that there were many people that were far more enlightened, in my perception. So I generally said, “Fuck you, Elias,” the rest of the day! (Elias laughs) But I knew you’d understand that. (Laughs) I was really annoyed.

But then I put what you told me about the loss of body mass and what had been going on with me because of the lightening of my energy into my own words, and I just wanted to check that with you to make sure that I now have the correct translation of what you said. I see it as my imagery to myself, the reduction in physical mass as the lightening of my energy.

ELIAS: Correct.

MARGOT: That would also include energy blocks, would it not?

ELIAS: Yes.

MARGOT: So I thought that was very nice, but it took me about a day to get there! (Elias laughs)

Also, I want to thank you for all the times that you’ve told me — that I finally got — about what happens to me when I push my energy. I’ve finally gotten to the point that I recognize, not quickly enough, but I do recognize the signal that I’m pushing and I stop immediately, which has really been good because that was such a familiar action to me to push. I’ve done it all of my life because I thought that I was good if I did that and it got a lot done. (Elias laughs) But it has been so helpful. My life has really smoothed out and I’m really grateful for that, and I’m going to get the signals faster as I go along with it. Very good! Thanks, Elias.

ELIAS: You are very welcome, my friend.

MARGOT: Sharon/Camdon has been here with us for a few days, and we’ve talked a lot about everything that the Elias Forum folks talk about all the time. She has a couple or three things that she would like to know. She wants to know, first of all, if the science fiction writer Stanislaw Lem is a focus of hers.

ELIAS: Observing essence.

MARGOT: Does she have a focus in Merluna by the name of Mielda?

ELIAS: Yes.

MARGOT: I figured that one out! (Elias laughs) In the “Oversoul Seven” story, is Camdon Story?

ELIAS: No.

MARGOT: That kind of brought up something else that’s been going with all of the other dimensional realities that we’re finding out about. It seems to me that “Oversoul Seven,” that whole set of books, is in another dimension now.

ELIAS: Yes.

MARGOT: Thought so. Stephen/Ornah would like to know what his connection is to B.B. King.

ELIAS: Counterpart action.

MARGOT: Oh, he’ll be pleased about that!

Bosht is on the phone with us right now. I don’t know why I’m always asking his stuff. Why is that, Elias? (Elias laughs) He would like to know if Sandel is a focus of his old friend Jim P.

ELIAS: Yes.

MARGOT: Cool, Howard! (Elias laughs) Is the famous Russian gymnast Ludmilla Turischeva a focus of Howard’s mother?

ELIAS: Yes.

MARGOT: You did it again, Howard! Is Howard’s focus as the Mona Lisa, or as the model for the Mona Lisa, which you have confirmed, is his mother in that focus an individual named Lisa Di Giardini, who was born about 1480 in Florence?

ELIAS: Observing essence.

MARGOT: Would she be connected to Benvenuto Cellini’s mother Elizabeth?

ELIAS: Another observing essence.

MARGOT: When you’re telling me observing essence here, you would tell me if it was for the lifetime, wouldn’t you?

ELIAS: Not necessarily; but if you request that, I shall.

MARGOT: Yes.

ELIAS: Yes.

MARGOT: His other question is in the Robin Hood story, is Howard Alan-a-Dale?

ELIAS: Yes.

MARGOT: Now I have a couple of questions for you from Grady. She wants to know why, on our Donner Party reunion trip, she kept calling Howard “Harold.” She thinks that this must be a remembered other focus that she had with him when he was Harold.

ELIAS: Correct.

MARGOT: A long time ago, you confirmed that I am the great-grandmother of a child named Mei-Ling and you told me that I know Mei-Ling in this focus now. I think I recently tripped on the fact that Grady is Mei-Ling.

ELIAS: Yes.

MARGOT: I have a question here from Awan and Thelma. It’s come up that evidently you have confirmed in Session #1314 with Gottlieb/Hughel that Thelma’s mother Lisbeth/Vincea is a focus of Cesare Borgia, and then in Session #1344 Mark/Baruch was told the same thing. We need you to straighten this out.

ELIAS: This is correct.

Now; I may express to you what I have expressed previously with other individuals. At times I may be not distinguishing between an observing essence and the directing essence if the observing essence is observing throughout the entirety of the focus.

MARGOT: Which one is that?

ELIAS: That would be the latter.

MARGOT: The mother of Bridgy/Thelma?

ELIAS: Yes.

MARGOT: The mother of Bridgy is the OEL. We call that OEL now.

ELIAS: Ah.

MARGOT: So Mark/Baruch is the directing essence?

ELIAS: Yes. But they are the same. The observing essence is no less than the directing essence, and the experience is the same.

MARGOT: Yes, I understand.

ELIAS: Very well.

MARGOT: When we were at the Donner Pass, which was immensely wonderful and an intense emotional experience for me, we came out of that with some things we wanted to know about. When we were at the museum there that day, we were watching a movie. In my periphery there was a little five-year-old boy that I saw throughout the movie, and I was very much aware of him. After I had thought about that, I believe that that child was probably Franklin Graves Jr., who was five years old and who died there at the pass.

ELIAS: Yes.

MARGOT: I felt that he was really right there by my side. Some other questions I have for you regarding the Donner Party people. Thelma would like to know if she is the focus of Margret Wilson Keyes, who died in Kansas just after the emigration had started.

ELIAS: Yes.

MARGOT: Fryolla would like to know if her husband George is part of the Donner Party. She thinks that perhaps he is the wife of Lewis Keseberg.

ELIAS: Observing essence throughout the entirety.

MARGOT: She’s been a little bit concerned. She’s felt that George is a part of the Elias Forum. She really wants very much for him to be, so I’d say that he definitely is part of the Elias Forum?

ELIAS: In what capacity?

MARGOT: Just part of the group. Pat/Fryolla feels like she’s very much a part of the group, but she’s never asked you about this man that she’s married to, George.

ELIAS: Yes. (Laughs)

MARGOT: You know, down here we’re married and we want all our relationships in the same place! (Both laugh) We’re kind of sentimental in that regard. Elias, were you a part of the Donner Party?

ELIAS: No.

MARGOT: We thought you might have been Landsford Hastings.

ELIAS: No.

MARGOT: My thinking is that Mikah is the focus of Landsford Hastings. Would that be true?

ELIAS: Yes.

MARGOT: Oh god, I am so good! (Elias laughs) In the Donner Party there was a man that was picked up by the group in Wyoming, and his name was Jean Baptiste. He told the group that his father was a French trapper and his mother was Mexican, and that he knew a lot about Indians. Now, Jean Baptiste is the name of Sacagawea’s son, but the timeframes aren’t the same, so I know it’s not same man. But we wondered if the Jean Baptiste of the Donner Party could have been the son of Sacagawea’s son. (Pause)

ELIAS: And shall you not investigate?

MARGOT: We went with that as far as we could. We looked in all the history books, and we finally just had to go by the way it felt. We think he is.

ELIAS: (Chuckles) And this is your general consensus?

MARGOT: General consensus of Howard and me.

ELIAS: (Laughs) Correct.

MARGOT: Thank you, Elias! Are you going to say something, Howard?

HOWARD: Elias should be a quiz show host saying, “Is this your final answer?” (Elias laughs) Then the bells go off...

MARGOT: ...and we win lots of money! (Laughs with Elias)

HOWARD: The way you were playing with her I realized that, yes, in fact her impression was correct.

ELIAS: We do enjoy our games!

HOWARD: I do! (Elias and Margot laugh)

MARGOT: Not very far from the Donner Pass — and we’ve been there twice this year — is a ghost town by the name of Bodie, and it was a very active gold-mining town in about 1880. We’ve been there twice now, and every time I have thought it was this very familiar place to me, and I have felt sure that I was a resident there at one time.

ELIAS: Correct.

MARGOT: Was I a prostitute?

ELIAS: Correct.

MARGOT: Was I the madam that is talked about so much?

ELIAS: Correct.

MARGOT: That’s so cool, Elias! (Both laugh)

Recently I’ve gotten information in ways that I have never received information before, and it was quite exciting. In the first one, one night just as I was going to sleep, my eyes were closed when suddenly in front of my eyes appeared like in blinking yellow Broadway lights the name “Claude Monet.” I don’t know my connection to him. After getting a name like that in blinking lights, I decided that I might be him. Can you confirm that?

ELIAS: No, you are not that individual, but associated with that individual.

MARGOT: So I knew him?

ELIAS: Yes.

MARGOT: That’s cool. One evening the tune of “Lili Marleen” came sailing into my head loudly and just went on and on and on all evening long, to the point that I got on the Internet to see what I could find out about this song. The words that kept driving me crazy were the part of the song that says “wie einst Lili Marleen,” and I looked in the dictionary and was trying to find what “einst” meant and everything. I finally came upon the fact that there was this Swedish singer by the name of Lale Andersen who made that song popular to start with. Am I connected to her?

ELIAS: You incorporate a focus that engages a relationship with that individual.

MARGOT: I am a male?

ELIAS: No.

MARGOT: So that leaves only female friend of Lale Andersen?

ELIAS: Yes.

MARGOT: Is there any other connection I have to that song?

ELIAS: It was a preferred melody.

MARGOT: It was very popular during that timeframe.

This brings up something that I’ve been wanting to ask you for a long time and a lot of us have talked about at length. We can never figure out the communication that we’re receiving or how to interpret it when a song or tune begins to run through our heads and sometimes will stay there for a couple of weeks.

I can usually always figure out why that song came to mind again. Recently, an example of this would be that we saw “Fiddler on the Roof” again one night, and all the music from “Fiddler on the Roof” played in my mind for a couple of weeks. Now, there has to be a communication there to me. The only one that I could think of in that instance was many Jewish focuses that I know I’ve had and my remembrances of those that have come through in those songs so well. Can you give me any other clues about why we get something in our heads that just won’t stop?

ELIAS: It is dependent upon the individual and what they are presenting to themselves. You are correct, at times it may be an association with other focuses. There are also experiences in which this may occur and it may be associated with recall of experiences in this focus, or a particular expression of music may trigger associations with your preferences.

MARGOT: Preferences of music?

ELIAS: Not necessarily of the type of music, but preferences in association with the lyrics and directions that you move in yourself. For example, you may be listening to a romantic song and it may trigger preferences within yourself of your own expressions, and therefore you may continue to replay this particular song to yourself repeatedly.

MARGOT: Is it kind of like an essence connection?

ELIAS: It is dependent upon the situation and the musical piece and the individual, as I have stated, for it is not an action that may be blanketly described in all situations. At times it may be associated with what you would term to be an essence connection, but at times it may be associated with the experiences that you generate in one focus, or it may associated with other focuses that you incorporate.

MARGOT: So the message that we’re trying to figure out or translate to ourselves would always be in the form of connections?

ELIAS: Yes, in some manner.

MARGOT: I’ve got it. I’ve thought about that for years, and I thought that was so interesting. Especially after you told us about communications that we get, I thought I’m probably missing a lot here that I need to ask about.

ELIAS: I may express to you also, you may be offering yourself a communication in connection with other individuals also.

MARGOT: Right, but that would just boil down to connections.

ELIAS: Correct.

MARGOT: I’ve always had a great interest in Mary Magdalene, such a great interest that one night I tried talking with her. I certainly had an interesting conversation with somebody. Am I the directing essence or the observing essence of her?

ELIAS: No, but you incorporate a focus in that time framework which expresses a closeness to that individual, and you, in that focus, hold an admiration for different qualities that that individual expresses.

MARGOT: Am I male or female?

ELIAS: Female.

MARGOT: Well, that narrows it a little, Elias. I’ve looked for my connection there. I’ve always known I had one; I just haven’t tripped on it yet. But I shall see what I can find out.

ELIAS: Very well. (Laughs)

MARGOT: You can help me a little bit, just a hint here and there, you know?

ELIAS: (Laughs) I may express to you that you accomplish quite well in your impressions!

MARGOT: We’ve become very much interested of late in Nefertiti and Akhenaten. I am under the impression that I am the oldest of the six daughters of Nefertiti, and that my name, therefore, would be Meritaten.

ELIAS: Yes.

MARGOT: Camdon would like to know if she’s the half-sister and wife of Tutankhamen. Her name would have been Ankhesenamun.

ELIAS: Yes.

MARGOT: Cool. Now, Pythagoras — I’ve always felt very connected to him, especially when I was into a lot of numerology and whatnot, and I’ve felt like I must have a connection to him someplace. I brought through a name not too long ago that I felt might be his wife. The name was Minua or Minuas, something like that. Do I have a connection to him at all?

ELIAS: Yes, and the name is correct but it is not the wife.

MARGOT: What is it, his lover?

ELIAS: One, yes.

MARGOT: One of his lovers! (Elias laughs) And that would have been my name?

ELIAS: Yes.

MARGOT: Would my name be Minua or Minuas?

ELIAS: Minua.

MARGOT: Cool. Is the focus of Pythagoras in this group?

ELIAS: In a manner of speaking.

MARGOT: I had kind of felt that Allesander is him.

ELIAS: No.

MARGOT: When Anjuli told me that she had brought through or learned of a focus of mine by the name of Angelka Pastrovic, who lives in Yugoslavia, I got a couple of questions out of that. Am I related to Ivo Pastrovic, who is Anjuli?

ELIAS: Not related to, but known to.

MARGOT: So he and I know each other?

ELIAS: Yes.

MARGOT: I did have a talk with her one night. But before I got to her, I found myself talking to somebody by the name of Angelica, who told me that she lives in London in the 1800s. Do I have a focus of Angelica, too?

ELIAS: Yes.

MARGOT: I’ll investigate all that. Would I also have a focus by the name of Giselka?

ELIAS: Yes.

MARGOT: That came to me, too. We’ve all been, of course, very involved in investigating our focuses in the dimensional reality of Atlantis. Howard feels sure that my name is Coriantumr.

ELIAS: Yes.

MARGOT: Oh, my god! (Elias laughs) You know why that’s a big one, Elias! I also got the name of Atacus. Is there somebody there that I know by the name of Atacus?

ELIAS: Yourself.

MARGOT: Do I have two focuses in Atlantis?

ELIAS: You have more than two.

MARGOT: Oh, that’s so exciting! (Elias laughs)

You told me a long time ago that I have a Dream Walker aspect. I didn’t know until recently that this aspect has a name. I feel that my Dream Walker aspect would be Adani or Adoni.

ELIAS: The latter.

MARGOT: Thank you so much. Would Patel be the essence holding the focus of my old friend Jack?

ELIAS: No.

MARGOT: I guess I had to get one wrong in here! (Elias laughs)

Also, lately I’ve been really looking at observing essences and how we figure those out. It seemed like, in my case, at least, I find them not only when I think I’m the directing essence. So then checking into and kind of experimenting with this sort of thing, I’d like to ask you about two that I think that I am the observing essence of. One of them would be Bob Fosse, the dancer and choreographer.

ELIAS: Correct.

MARGOT: The other one would be Leonard Cohen, the songwriter and singer.

ELIAS: Correct.

MARGOT: Now I come to the big one! Is Bosht the essence of Leonard Cohen?

ELIAS: No, also observing.

MARGOT: I’ve kind of come up with a theory on the observing essence thing. It just keeps seeming to me that because we find ourselves in this present timeframe holding a keen interest in somebody, that we then become the observing essence of that somebody within simultaneous time.

ELIAS: Not necessarily. At times, yes, but that also may be an indication that you engage counterpart action with the individual.

MARGOT: I see. Then you’re saying that all of a sudden in this present now when we develop a liking or a drawing to a certain individual, that we kind of go back to the past and change the past and become the observing essence or the counterpart?

ELIAS: You may.

MARGOT: That’s a real definitive answer, Elias! (Laughs) I’ll work on it.

ELIAS: You may, or you may be offering yourself impressions as to an action that you are generating. It is not necessarily that your interest in that focus has created that, but at times it is the reverse, that it has been created and therefore you generate an interest. Therefore, it may be expressed in either direction.

MARGOT: Okay, got it. Recently you confirmed the focus of Margot Frank for Laura/Belagia, and it caught my attention in such a way that I’m wondering if I’m Anne Frank.

ELIAS: No, but you also are known to that individual.

MARGOT: So I was a contemporary with them?

ELIAS: Yes.

MARGOT: Oh, there’s a focus I hadn’t thought about! Was I male or female?

ELIAS: Male.

MARGOT: Let me see if I can get you to answer one more here. Was this during their time in Amsterdam or afterwards?

ELIAS: During.

MARGOT: I’ll work on that. Thank you!

Now we’re going to go back to Massenet and Thais, and Jens did give me the message that you said that I was the observing essence of her. I’m thinking that Sandel is the directing essence. Would that be so?

ELIAS: Yes.

MARGOT: I knew that one! She’s argued with me on that.

Then that takes me to the last time we talked. I had decided that the vision of the red-headed Irish girl playing the violin was Massenet’s violinist, but you told me it was another focus of mine. I’ve been trying to find out more about her. At that time I told you that I believed her name to be Judy or something like that, but I also got the name of Madeleine from out of nowhere. Do either of those names relate to this red-headed Irish girl?

ELIAS: No, but they are associated with other focuses of similar appearance.

MARGOT: Oh, that’s interesting. Would the red-headed Irish girl that’s my focus who plays the violin be classified more as an Irish fiddler?

ELIAS: Yes.

MARGOT: I’ve been on the Internet, and I kind of thought that was the case. Could you give me any kind of a time framework for her?

ELIAS: (Chuckles) I shall express to you to continue your investigation!

MARGOT: Thank you so much, Elias! (Elias laughs) In relation to Massenet, I want to also ask about the singer by the name of Sybil Sanderson that he selected to take the leading part the first time that he presented the opera of Thais. Is she in our group, in the Elias group?

ELIAS: Yes.

MARGOT: And Massenet was in love with her, right?

ELIAS: Yes.

MARGOT: So this is somebody that I know? Is it Fran/Sandel?

ELIAS: No.

MARGOT: But it is somebody that I know within the group?

ELIAS: Within the Forum.

MARGOT: Within the Forum, but not necessarily in the group I run around with?

ELIAS: Correct.

MARGOT: In regard to the Romanovs, there’s a lingering opinion with many people today that the crown prince Alexei was not assassinated with the rest of the family and that he was somehow spirited away to Canada, where he died in 1977. I have never believed this, but it just keeps popping up. Could you speak to that? Did he not get assassinated with the rest of the family?

ELIAS: Correct.

MARGOT: Did he go to Canada?

ELIAS: Correct.

MARGOT: Wow. Well, I stand corrected, because I just wouldn’t believe that.

I’ve had dreams of suffocating. At this time of year I’m rather short of breath anyway, and I went to bed recently and was very short of breath and didn’t know if I was going to be able to sleep or whatnot. I did sleep, but I dreamed all night long that I was either drowning or suffocating or in some manner doing without enough breath. The one dream about it really got me because I’ve never had that sort of an experience in a dream. Was I a passenger on the Titanic?

ELIAS: Yes.

MARGOT: I thought that was probably so. There have been other focuses of mine, haven’t there been, in which I’ve been on boats or ships that went down?

ELIAS: Yes.

MARGOT: Could you give me how many times that’s occurred?

ELIAS: Twelve.

MARGOT: Is any bleed-through action occurring there with the asthma that I have?

ELIAS: Yes.

MARGOT: I thought so. Very good. That explains so much to me.

You may or may not know that I shared with others in the group Renoir’s “Luncheon of the Boating Party.” I can’t find the picture that I have of that, but if I were to ask you... You did confirm that as a friend of Renoir’s, I am the girl in the yellow hat standing at the railing of the boat?

ELIAS: Yes.

MARGOT: I think my name is probably Ellen or Nelly?

ELIAS: Continue your investigation.

MARGOT: Oh, so it’s not either one of those, huh? My impression is that the man that I’m talking to in that painting is Frank/X-tian.

ELIAS: Correct.

MARGOT: I want to know, would all of Renoir’s friends in that painting be in the Elias Forum now?

ELIAS: Not all.

MARGOT: Lots of folks got in on this. You, of course, can’t see the painting, can you? If I ask you about various individuals in the painting, would you know what I’m speaking of?

ELIAS: I am aware of the energy.

MARGOT: There’s a man in a white shirt, also with a yellow hat, who is in the front of the picture leaning against the same railing that I’m leaning against, and KC believes that may be her.

ELIAS: Correct.

MARGOT: In the middle of the painting, at the very rear of the group, Ornah feels that he is the man talking to the man in the top hat.

ELIAS: Correct.

MARGOT: On the right side of the painting, there’s another man in a white shirt wearing a yellow hat. Some people in the group think it is Ken/Connor, and I feel that it might be Deane/Leland.

ELIAS: Leland.

MARGOT: On the right side of the painting, there is a woman in a blue velvet dress talking to that same man I was talking about just then, and Camile feels that it’s her.

ELIAS: Yes.

MARGOT: So if Marj/Grady feels that it’s her, then she’s wrong?

ELIAS: No, observing.

MARGOT: Grady is the observing essence?

ELIAS: Yes.

MARGOT: Got it. We’re just moving along so good here! (Elias laughs)

You have explained to me before that every physical symptom I create is because I’m in transition. That was very helpful to me because I finally have accepted that. We also talked about the occasional creations that I create, thinking I’m disengaged and I’m just not aware of it. This hasn’t happened to me since I talked to you about it before, but that was a very uncomfortable state of being for me and it lasted a couple of weeks. When I get into that space of discomfort because I don’t know whether I’ve disengaged or not, is there something that I can do to prove to myself that I have not disengaged? (Pause)

ELIAS: Yes. Engage your partner and instruct Bosht to generate some action that is unexpected — any action.

MARGOT: Oh, that’s a fine test! That’s great! Thank you, Elias.

ELIAS: Allow him to choose any action that shall surprise you or that is unexpected, and this shall be your evidence.

MARGOT: And then I would not think I created that.

ELIAS: Correct.

MARGOT: I think that’s wonderful! (Elias chuckles)

I’m going to see if either Camdon or Howard is around, because we have about ten minutes left. Okay, it’s Bosht now.

ELIAS: Very well.

HOWARD: Greetings.

ELIAS: Greetings!

HOWARD: I had to get off the line for some reason. Our telephones did not want to work while Margot was on. I have just a few questions here which we can get through rather quickly.

ELIAS: Very well.

HOWARD: Does Grady have a focus as Seal, the singer?

ELIAS: Observing essence.

HOWARD: I have a desire to find out the lover of Thelonious Monk, and I decided that Giselle is Billie Holiday.

ELIAS: Observing.

HOWARD: C9 said that Margot’s name was also Bertha as a lover of Thelonious. There is a blues singer called Big Bertha, and I wondered if that was Margot.

ELIAS: Yes.

HOWARD: Speaking of Margot or Big Bertha (Margot laughs) — and I am not saying that they are one and the same — but the way we cooperate together currently reminds me very much of the way Jimmy Reed and his wife Mama cooperated. I think I have a focus as Jimmy Reed, the blues singer.

ELIAS: Correct.

HOWARD: That is so cool! (Elias laughs) Bright lights, big city! Thank you.

ELIAS: You are quite welcome.

HOWARD: I have an impression. Since you verified Fran’s identification with an old friend of mine, I believe that Fran is the person or the essence or the focus known as Michelangelo.

ELIAS: No.

HOWARD: They must be very connected, then.

ELIAS: There is a focus in that time framework which expresses a tremendous admiration for that individual, but is not that individual.

HOWARD: There is the person who mixed the paints for him, though, especially on the Sistine Chapel. Would that person be Sandel?

ELIAS: Yes.

HOWARD: That’s cool. (Elias laughs) It occurred to me that I could actually be doing two things at once. I could be painting myself, so to speak. I could be Leonardo painting Mona. Is that correct?

ELIAS: You could be, but you are not! (All laugh)

HOWARD: That’s all right.

I need to skip on here. I read a book on Zoroaster, “In Search of Zarathustra,” and the author was saying that the book of Daniel seems to have been inserted and doesn’t have any Hebrew heritage. It was his impression that Daniel was in fact a priest of Zoroaster himself, and that during the captivity the Jews had picked up this story and incorporated it later in that book. When I read that I said, “Of course!” It’s all magic. I guess I’m looking for validation on that.

ELIAS: Yes.

HOWARD: More distortion, Elias! (Elias laughs) It’s just amazing!

ELIAS: It is not necessarily what you would identify as distortion, my friend. It is stories to be generating a point.

HOWARD: But Shadrach, Meshach and Abednego, and the den of the lions — that is so Persian, it’s remarkable! It’s a story I very much feel a part of, I would say more in line with Daniel himself and his work. So I’ll go out on a limb here and say was Daniel a focus of Bosht?

ELIAS: In another dimension.

HOWARD: Finally, the last loose end is I read the autobiography of Cellini, and I said to Margot several times that I just can’t believe how cavalier this individual is, especially when it comes to murder. I decided that there was something within me that says that I have been an assassin in my life. I wondered if Cellini was an assassin for the Medici or the Vatican.

ELIAS: Temporarily.

HOWARD: Then when he was put in prison for an insult to the Pope, he had a vision while he was there that an angel comes to him, and the angel identified himself as Saint Peter.

Now, in my own experience when we’ve talked about Jesus coming to talk to me when I was a child, and later discovering through you and in investigations when my operation was pending that this gentle voice of the past was in fact a future self of mine talking to me when I was a child, and because I have such a varied image of the incident in the garden at Gethsemane when there was this uproar with Malcus and the other Romans came to take Jesus away, I think that I am the person known as Saint Peter.

ELIAS: Observing.

HOWARD: I see. Then the next question is was I physically present in the garden at the time of this incident?

ELIAS: Yes.

HOWARD: All right. (Elias chuckles) I don’t know where to go with that because I just don’t know. Unless, am I the brother James of Christ?

ELIAS: No.

HOWARD: All right. Well, I’ll leave it to Sharon.

MARGOT: Sharon is just going to say hi, Elias.

ELIAS: Very well. (Laughs)

SHARON: Hello, Elias!

ELIAS: Greetings, my friend!

SHARON: Greetings to you.

ELIAS: Are you generating fun, as usual?

SHARON: Oh, absolutely! It has been very much fun! (Both laugh) And now I get to say good-bye after hello.

ELIAS: Very well, and we shall meet again and you may express hello again!

SHARON: And I will! (Both laugh) Good-bye now.

ELIAS: Au revoir, my friend. (Laughs) And to you all, as always, I express my affection and my dearness in our friendship.

HOWARD: Thank you.

ELIAS: Until our next meeting, au revoir.

HOWARD: Au revoir.

MARGOT: Au revoir, Elias.

Elias departs at 9:57 AM.

©2006 Mary Ennis, All Rights Reserved

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Copyright 2003 Mary Ennis, All Rights Reserved.