Transcription
[Music] thought-forms. Where I'm telling you a story. Something I just—it's a book I read, but I don't even know the title or whatever it was, but I was intrigued that you can create a thought-form, and you can—it can become so real that someone else can actually see it. So I would sit—what I would do—I had a silver dollar, and I put it—initially, this is how I started—I put a silver dollar on my table here. I looked at it and I looked at it, and and all of a sudden it's in my mind's eye. So I turn around, and I can still see this other guy in midair. But what I want to do is I want to be able to do this and see if somebody else can see the silver dollar that's not there, just my thought-form of it.
So I, when I was on lecture tour, I had the time—some time during the day to be by myself. In this particular day, I felt—I was sitting in a park bench, and there was a—behind it there was a a mall for shopping, and there were people going back and forth and back and forth. So what I did—and all you can do is close your eyes, and you can make it a bird, or you can make it anything—but this silver dollar is what I wanted to do. Now I see the silver dollar, and I mentally put it on the sidewalk. After it's on the sidewalk, and I can see it even with my eyes closed, then you can open your eyes. You can open your eyes, and you can look around, and you can observe the people, and it's still there to me in my mind's eye. Now will somebody else see that? They go back and forth and back and forth. All of a sudden a woman comes with—they—a little—I'd say about a two or three-year-old child, and he must have been very, very tired of being in his cart, because he was hanging on to the cart, and they were really slowly, slowly walking. And when they came to where the silver dollar was, this kid, his eyes lit up, and he reaches down, and he keeps going like this, and his mother said, "What are you looking at, honey?" And he goes, "Oh, nothing." Well, honey, there's nothing there. There's nothing there, and he's—he's trying to pick it up because he sees it. And then all of a sudden there's nothing there. "Honey, let's go," and she's pushing him on, and he looks back at me and sort of grins. It goes back. Now I'm excited about the old God. I'm excited about that. Just—it's the most wonderful thing.
And then I thought, well, I would like an adult to see if there are any—don't adults—so I just sat there. None. Now this is an all-day session here. It was probably an hour or two later. I'm still on that silver dollar, and they just pass it by. Some people look where they go, and some—night—all of a sudden there's an elderly man that comes, and he's walking very slowly, probably before his walk through the day, and all of a sudden he looks down, he started to smile—like he did not pick it up, but he kept smiling—and all of a sudden it goes by it, and he said—he said, "I know what you're doing," and he says—I don't recall the words that he said—"I know what you're doing, and it's fine," or whatever, and walked off. So again, this tells me maybe the elderly and the very young have this capability, but at the point—at the time I did it, I was not young or elderly. I was in between. So my theory is you can do it if you choose to. You could start off on the tea table at night, and you can put up maybe dice there, or maybe some item there, whatever. And if children are coming in—you have grandchildren maybe, or neighbor children—go ahead and see if they can see it. If they try to pick it up—something—if it's a toy, a red toy or something that attracts this child—and I said that would be fantastic. Then you would know this child can see in another dimension. There are many, many children that cry at night and say there's a boogeyman there, or there's somebody in my room, etc. And we have some pretty good classes now at the colleges that investigate a little bit more thoroughly on this—its credibility—and they are finding that it is credit cleanup—credit ingredients—because this can happen. But that was my research therapy. And it seemed like after I do it—after I read something, and then I do it, and then I let it pass—I mean, I'm not going to keep doing it over and over and over again—I let it pass. I think, okay, I mastered that. But what useful purpose does it serve unless it amuses me or entertains me? Then if it comes up again, I may do it again. I'm doing it with my grandson right now—well, Chris, he's only a year old, but I work with that and see what happens there. So it's an exciting—
Now another part that I'd like to share with you, and this was a group of people—I read about six or seven—and this is a studio sort of a set up. And as I said, I experimented with so many things, so many people, I didn't even keep track of it. It was just one thing right after the other. But we were asked—through six—oh, six of us—to create a thought-form. This was in Dallas, and we create a thought-form, and then they had—we sat there and had fun. We hit him—six feet tall, he's got a British accent, he's got one brown eye, one blue eye, and his—is what I said—"What kind of a profession should he have?" And I will just give it to him and just really, really making him handsome. And so we had to leave the room completely and get out and read something else and take our minds off of it. And then the psychics—two major—three—well, three, but two of them were good psychics—they came in and sat there, and they had to write down what they had seen. Two of them were on target; the other we just had a little fleeting things. But these—these two said he's British; they gave him an accent; he's got brown eye, and he was an architect or whatever we said. And so we then question—always question—did they read our minds? We didn't telepathically deliberately communicate, but they could have read our minds, but they saw—they saw the person. That's another experiment. Sometimes it takes a little longer, and what I say is if it's important enough, do it. If it's not, go on to something else that you're interested in. But in that period I was interested in it, and then I research it. When I had physical challenges, I had my own doctor, and he's thoughtful—lay it on the line right away—he's a thought-form because I can already see him because the typical doctor to me is—is in a white coat, he has gray hair and little glasses, and a stethoscope hanging here. That's the typical doctor. So that's what he looks like to me. And when I have a physical challenge, I say, "Oh, doctor, come on in," and when he comes in and I create him, and then I communicate with them. All right. Now I question—is there another being that has taken over temporarily and gives me the answers? But do I get my own answers? I don't know. But whatever I get makes sense, and I follow it. And now when I had major surgery, he made more sense than two—or—three physical doctors did. So I rely on him constantly to this day. He's around when necessary, and so I listen to them. I mean, you know, we need to have different opinions, and of all the opinions I had, I think he's the smartest. He said to me, "It's on you, and you create a thought," but it's very simple. I did research in England for three weeks. I sat in séance rooms specifically because these beings would appear to me with a message. Sometimes they would just float around if someone came in. So now I want to know—are these thought-forms I create by association, or are they coming in on their own volition? And if they are, is there a message inviting—entail—what's going on? My husband went with me, and he went to look—he has his interests were elsewhere—so I would faithfully go up to the plates. Incidentally, if you're ever in England—34 Belgrave Square—it is this spiritual frontier association, and it's still there, and you can go there. And when I went there, I had to pay two dollars when I got into the door, and she said, "Which medium do you want to sit with?" And so you had a choice. I didn't know what, and she says, "Well, why didn't you go with Veronica? She's on the second floor," and then a half-hour situation, and you go up there with your ticket, and somebody takes it in, and then you're in this room with just a round circle with chairs, and then in a few minutes this medium comes out and sits there, and then closes her eyes. And if you've seen it on television—what does this man call John or whatever his name is—I don't even recall—this to me, I'm jaded, and it's not interesting anymore. But she would come in, and she said, "I have a message from Martha today. Martha Thomas is with you, and he has a message for you." Okay, all right, listen. "That electric bill will be taken care of. Don't worry about that. Okay. The flowers we planned it for you—they're blooming. Yes, it's our anniversary. I'm waiting for you, Martha." That was it. Behind the medium, I see a little man smoking a pipe, and I see the smoke. I actually can smell the smoke, and it was very pleasant—very pleasant. And that was my first medium. I went—okay—I—after you have this—saya—this incense or whatever—you go downstairs, and they have a tea room. And in the Tea Room these women come down—mostly women—and they converse—like Harry talked to me—"You know what did hear you say," etc. So I gravitate to the one and that is—I was interested in—and then she tells me—I said, "Did you see your husband?" "No, but I know he was there." And I said, "My flowers are going—you want to come home and see the bush he planned it," and this is the winter, and it's a full bloom. And I thought—all I could think of when I see things like that—I would think of how much energy you were putting into this. The medium could see her husband—she couldn't—but the medium could and knew the nut—she was picking her brain—picking up her mind and conveying it, and she's in hog heaven because she has a message from Harry, you know, and it's all—when I would say her thoughts. So she created this [Music]