1. General Concepts :
One of the most distorted ways of brainwashing you is convincing you
that you have to go back to your past, and "relive" it now in the present,
in order to "fulfill your emotional emptiness" and therefore do now what you
haven't done before.
It is usually connected to personal relationships and sex, although you
can apply the idea to anything ranging from "missed vocations" to
communication skills to getting fit, for instance.
Try to think of today as the first day of the rest of your life.
Remember : an old foreign book called 'the Dragvarda' says :
"What have passed cannot be changed";
"What didn't happen yet can be modified";
"Each human being is the only master and the only owner of his own destiny".
Realize that you do not have any compromise with your present shell, nor
with your present identity. On the contrary of what THEIR characters assume,
you're not your biography, and you're not your shell.
On the contrary of what THEY say, the life of your person in the
Stage World doesn't need to have a continuity.
You can be one day Mark Smith, 32, white, American from New Jersey,
civil servant, black hair, having a kundalinic shell; the next day
Antoine De La Croix, 17, mulatto, French from Nice, unemployed, fair-haired,
having a very kundalinic shell; and the third day Felipe Ramirez, 49,
Mexican, top executive of a medium-sized company, a big round belly and a
not so kundalinic shell.
The examples given above are just random examples. Please do not start to
fantasize over them. From the perspective of the Backstage,
none of them is better than the other : they are just characters in a stage,
the Stage World... The stage society values are no longer valid in the
Changing your person so dramatically in the Stage World may sound
something that you'll never achieve. But this is because you don't have
your crystal activated yet, nor your pigeon-holes, nor access
to the Backstage reality : lots of helicopter trips,
paranormal powers, advanced technology, a complete paradigm shift
for your brain.
In the Backstage (or if you prefer in the nagual reality), these
things (biography, continuity) don't exist. Remember : for THEM, shells are
just like modeling clays. And even without changing your present
shell, you can vary immensely your identities, as well as your appearance.
If you have watched the movie "The Saint", for instance, you may have
noticed that the character played by Val Kilmer could easily change not
only his identity and appearance, but also his behavior and apparent
"personality" (if at all such a thing exist). In the language of the
Backstage, this is called a "character guideline".
When you have your crystal activated, access to the
pigeon-holes stored in your brain and also to the Backstage itself,
you'll be able to play characters in the Stage World, to have your shell
changed and also to make use of particular abilities the same way Neo and
Trinity did in "The Matrix" when accessing instant "programs" to
And if you are a PAN, you will be given the option of assuming your
pan original shape, if you want. It's your right as a PAN.
This original shape can be modeled on any shell capable of
functioning in the Stage World reality.
The fact that these elements are not tangible in your present reality
- the Stage World - doesn't mean that thhis is not going to happen to you
in the future. YOU KNOW it will. It's inevitable.
The reality of the Backstage is much bigger than the limitations and dense
concepts present in the Stage World.
Believe in the voice of your beloved one inside your heart. Believe in your wife. Believe in your husband. This voice is telling you the truth. THEY ARE NOT.
"I love you baby;
And it is quite all right, I need you baby;
Toward a lovely night, I love you baby;
Trust in me when I say..."
(passage from the song "Can't take my eyes off of you")
THEY are all liars. On the contrary of your beloved one, THEY will
present you a collection of lies, involving distorted concepts like "going
back home" and "diving into a pool". They will try to sell you the
time travel delirium, like merchants offering goods (and foods) by the side
of the road.
They will create and manipulate in your mind a dreamworld based on your
fears, traumas and neutral passions from your past. They will try
everything they can to take energy from you using this
"going back home" distortion, this "return to the past" disease.
Their goal is to dislodge your assemblage point downward to the point
of auric death, by inducing you to feel self-pity and also to feel
attracted by their distorted logic.
Notice that significantly the name of the program that Truman Burbank watches on his TV in The Truman Show is :
"Show me The Way to Go Home"
It's a brainwashing, but it's a delirium. It's not in your heart.
"Don't let your brain interfere with your heart".
(the character of Albert Einstein, played by Walter Matthau, in the movie "I.Q.", also with Meg Ryan and Tim Robbins)
Take a look now at a passage from the book "Journey to Ixtlan" (last chapter), by Carlos Castaneda :
(Don Juan speaking to Castaneda) : "(...) In your next meeting with the ally, (...) you will find yourself alive in an unknown land. Then, as is natural to all of us, the first thing you will want to do is to start on your way back to Los Angeles. What you left there is lost forever. By then, of course, you will be a sorcerer, but that's no help; at a time like that what's important to all of us is the fact that everything we love or hate or wish for has been left behind. Yet the feelings in a man do not die or change, and the sorcerer starts on his way back home knowing that he will never reach it, knowing that no power on earth, not even his death, will deliver him to the place, the things, the people he loved".
No matter what happened in your past, for good or for bad, especially
when you were a neutral person, it is now history for you.
You can't go back. You are different today, so as the persons around you.
THEY can't go back either, to their pasts. Nobody is neutral anymore,
and everything is counterfeit and artificial. Everything but true love.
You're a survivor of the hurricane, and THEY are all
characters. THEY are all pretending, like phantoms around you, and they
read your mind all the time, manipulating it and your thoughts through the
association of ideas, doubletalk and artificial synchronicity.
Pavlov did this to mice in a lab, manipulating only acts and behaviors
instead of thoughts. Is that how do you want to feel ? Like a rat in a
Ask yourself : do you trust their characters ? Do you think they are
reliable ? They want to manipulate your brain and induce you to take your
aura to the altar of sacrifices. Their characters do not want you
to be happy. They want to deceive you, they want to take
energy from you. Stay alert. Watch out.
And beware of mathematical similarities. In the text presented above,
for instance, the expression "the sorcerer starts on his way back home"
allows many readings, including another meaning, not the one THEIR characters
try to attach to it in their linguistic brainwashing. You can say that what
Castaneda meant was that for a sorcerer (or for a warrior, as he
likes to say) "going back home" is just "reducing his/her vampirism
while the crystal is not activated yet". The difference is
that the "vampirism" exists today, not in the past.
Besides, it's only a book. Are you going to follow a book, or are you
going to follow your heart ?
Here is an additional passage from the same book, same chapter :
I looked at don Juan. He was gazing at me.
"Only as a warrior can one survive the path of knowledge", he said, "because the art of a warrior is to balance the terror of being a man with the wonder of being a man".
I gazed at the two of them, each in turn. Their eyes were clear and peaceful. They had summoned a wave of overwhelming nostalgia, and when they seemed to be on the verge of exploding into passionate tears, they held back the tidal wave. For an instant I think I saw. I saw the loneliness of man as a gigantic wave which had been frozen in front of me, held back by the invisible wall of a metaphor.
You only have to replace here "loneliness of man" by
"loneliness of survivors". But do never forget that you have your beloved
one on your side, so you're not exactly "alone". And if you're a PAN,
then you have also the voice of your FOREIGN father inside your head
on your side as well.
2. "Going back home" versus vampirism :
As you'll see in the next chapter (section "
Dismantling keyword Jew
everyone who gets caught into this linguistic trap ends with
'vampirism'. By manipulating language and controlling your
thoughts through the association of ideas and artificial synchronicity,
THEY create in your brain the illusion of "vampirism".
In other words, their speculation is capable of producing
"vampirism", and this you can apply to literally every case
of linguistic prison. Don't believe me : verify yourself. Take a look at
pictures of pre-hurricane veterans of OUR SIDE a long time ago, mainly
when THEY were young. Pay attention to reports bringing these pictures from
the Fifties, the Sixties, the Seventies, or else do your own research.
Analyze their auras. You'll see that everyone of them had
And by influencing some society values in distorted ways, they reinforce
for your brain the idea of impediment. What is important to say here is
that there is no impediment whatsoever for you to do anything, provided that
they don't use it later against you.
There is nothing "right" or "wrong" about anything in the Stage World. It depends on your intentions, it depends on your love, on your true love. Remember : the rule of the Backstage is Love.
"Try not to think in terms of 'right' or 'wrong'."
(Morpheus to Neo, in "The Matrix")
This includes the idea of having sex or dating in the Stage World the
very shells that produce the illusion of "vampirism" for your brain.
That's something that is up to you and the shell to resolve, and to
Realize that the emotion is not in the phenomenon, but in the
explanation of the phenomenon.
You lose energy if you have sex and/or date these shells believing that you're doing this with the intention of 'going back home'. The point is that having sex and/or dating these shells doesn't imply in 'going back home'. You exist today. The shells exist today as well. The relationship exists in the present, not in the past.
"What didn't happen yet can be modified"
In other words, you can do today what you choose to do, not because
of your past, but because of your present. You're not going
to do today something "because you haven't done it before", but because you
want to do it today. Your vampirism exists today not because
of the things that happened the time you were a neutral, but
because of their brainwashing during your linguistic prison.
You may mentalize something like : "DOUBLETALK CREATES VAMPIRISM" and
"NOT BECAUSE OF YOUR PAST, BUT BECAUSE OF YOUR PRESENT" (or just "PAST VERSUS
PRESENT"). You can reinforce it with : "YOUR VAMPIRISM EXISTS TODAY" and
"SELF-PITY INDUCEMENT" (or "EMOTION INDUCEMENT").
No matter how suffered or how wonderful has been your past, it could have
been worst, or it could have been better. No matter how your past looks like,
if you get caught into this linguistic trap, you will end with
vampirism. They artificially create and produce the sensation of
vampirism through the second-meaning keywords and through distorted
ideas within their sick
Ideas like 'going back home', the false 'mirror' or
'diving into a pool', ideas like taking your aura to the
'altar of sacrifices' in order to make your 'auric payment'
and receive your 'reward' by the hands of Santa Claus in person.
Ideas like "something to prove", "something to learn", "the lose-to-value
approach", "the inevitability approach" or
"the masochist premise".
No matter what are the characteristics of the shell that is necessary
to reduce or eliminate your "vampirism", THEY will try everything you
can imagine to convince your brain that you have an impediment to have sex
and/or date this shell in the Stage World.
THEY will explore distorted mathematical similarities between this shell
and other shells or elements using the "reality tracing technique". You will
realize that each case is unique and cannot be compared to the others. You
only have to deconstruct the distortions and falsiness embedded in the
You may mentalize : "MATHEMATICAL SIMILARITY" (or "FORCED SIMILARITY"),
"TRACING TECHNIQUE" and "INVENTED IMPEDIMENT".
On the other side, do you believe that having sex with kundalinic shell(s)
other than the shell(s) of your beloved one reduces your "vampirism" ?
Or instead, it is capable of creating an additional illusion (with or without
the "auric death" delirium) to the pre-existing illusion of
If this is the case, you can mentalize : "EMOTIONAL SUFFERING IS NOT IN
What says your heart ? Do you value shells ? But even without valuing
shells, do you believe that your beloved one is capable of
reducing your vampirism by having a relationship with you in the
Stage World using a kundalinic shell ? In other words, do you believe that
your eternal wife or your eternal husband can also be your "dentist"
in the Stage World ? Ask yourself.
If so, you may visualize something like : "NO HOME TO GO BACK", "NO MOTHER"
and "ETERNAL WIFE IS ALSO A DENTIST" (if you're a man); or
"NO HOME TO GO BACK", "NO FATHER" and "ETERNAL HUSBAND IS ALSO A DENTIST"
(if you're a woman).
Kundalinic shells are not 'prizes', 'rewards', 'salaries', 'benefits' or
'gifts' that you could 'receive' in the future, with or without the illusion
of "auric death". Realize that there is no receiving and no winning
at all. There is no "lottery" in the Backstage. Shells are just
modeling clays. And nobody really cares about you in the Stage World.
Not one of their characters gives a penny for you in the Stage World.
Do you believe that you have an impediment to have this relationship with
a kundalinic shell of your beloved one in the Stage World ? Ask yourself.
Do you believe you need it to reduce your vampirism ? Ask yourself.
Depending on the case, THEY will say : that shell is too young for you,
too old for you; too pretty (or handsome) for you, too ugly for you;
that shell is famous and you're not; that character is poor (if you're rich)
or vice-versa; that shell is black (if you're white, for instance) or
vice-versa; that character is jew (if you were created in a christian family
or depending on the country you live if you were born in an arab family) or
vice-versa; the character of that shell "doesn't combine" with yourself, and
The point is : do you have any prejudice concerning age, race, sex,
attributes of the character like job (if applicable), social class,
nationality, "personality", "preferences" in the Stage World, likes and
dislikes, little manias, etc. ?
Do you believe that a nuclear physicist cannot marry his foreign,
illiterate maid in the Stage World, if they are in love with each other ?
What about a female representative dating a former convicted criminal in
the Stage World, if they are in love with each other ? And what do you say
of a young teen girl living together with her thirty-some math teacher, if
they are in love with each other ? And finally, what do you make of a couple
formed by a so-called "ugly" and fat black woman and a so-called "handsome"
and lean white man, if they are in love with each other ? Ask yourself.
And by the way, what about a certain President who admitted to have used
marijuana and who had an affair with an intern within his
governmental palace ? Do you believe he really cares about his
character's position in the Stage World ?
(Please no second-meaning keywords in any of the examples above)
Who defines reality for you ? You or THEM ? Are you cattle ? Are you
concerned about what THEIR characters will think of you ? Do you really
think THEY care about you ? Do you really think THEY believe in the
dichotomies they pretend to believe in the Stage World ?
Remember : the hurricane is over in your city and probably in your
entire country. The secret Cold War is practically over in the Stage
World. The OTHER SIDE can no longer manipulate neutrals and use
them to turn the things you do in the Stage World against you. The
characters of OUR SIDE are not sadistic monsters. Whatever you do, do with
Love. The rule of the Backstage is Love.
Love has no compartments. Love cannot be divided into slices like a pizza. Love is all. Love has no boundaries, no parts, no factions, no frontiers and no prejudices. Love has no limits whatsoever.
"I know you're out there. I can feel you now.
I know that you're afraid. You're afraid of us. You're afraid of change.
I don't know the future. I didn't come here to tell how this is going to end.
I came here to tell you how it is going to begin.
I'm going to hang up this phone and then I'm going to show up these people
what you don't want them to see :
I'm going to show them a world without you;
a world without rules or controls, without borders or boundaries ;
a world where anything is possible.
Where we go from now, is a choice that I leave to you."
(Neo speaking to the 'Matrix' computer system in the end of the movie)
P.S. For the purposes of this text, the word "Love" obviously means "true love", which is the only and real love conceivable in the Universe. It has nothing to do with the illusion of sex and neither with the sickly performances of THEIR characters in the Stage World...
"You have to let it all go : fear, doubt and disbelief. Free your mind."
(Morpheus to Neo, in "The Matrix")
Additional archetypes to mentalize if necessary : "FEAR FISHING",
"DOUBT INDUCEMENT" and "DISBELIEF INDUCEMENT".
3. Erasing your personal history :
Nobody really cares about you. Not one of their characters. You are and always will be treated as a survivor of the hurricane
by them, at least until you have your crystal activated or till when
the GLOBAL D-DAY arrives.
THEY have now years of activated crystal, helicopter
trips, automatic transportation, advanced technology,
Holodeck trainings, tons of info coming from THEIR main
Earth-based satellite, and so on. The majority of them have already
seen foreigners in their original shapes. Some of them have
neutralized lizards from the OTHER SIDE during the
hurricane years ago in your city. Many of them have developed or are
beginning to develop the so-called "paranormal powers".
It has been a complete paradigm shift within their minds. They have
learned at least one foreign language. Their brains do not
dichotomize reality anymore. You can say that most of them see now the
world the way foreigners do.
The rule of the Backstage is Love. Survivors are governed by
this Law. Every one of their characters pretend dichotomies in the
Stage World, but they will never, EVER, interfere with a
survivor that is deconstructing these dichotomies with Love in his or
her heart. Do never forget this fact. Realize also that growing up
spiritually is deconstructing dichotomies.
So as a way of strenghtening your perception of the illusion perpetrated
by THEM towards your brain regarding the impediment delirium, you may
need to adopt a complementary tactic.
As a rule of thumb, the idea of impediment is centered in the image that
other people have of you, that THEIR characters officially have of
you in the Stage World. You may find out as very interesting and significant
the fact that you may in reality be feeding this image unconsciously with
unnecessary sentences, revelations and explanations you give them all the
time about your life.
Take a look at a passage from the book "Journey to Ixtlan", by Carlos Castaneda, chapter "Erasing personal history" :
(Don Juan speaking to Castaneda) "Your father knows everything about you", he said. "So he has you all figured out. He knows who you are and what you do, and there is no power on earth that can make him change his mind about you". Don Juan said that everybody that knew me had an idea about me, and that I kept feeding the idea with everything I did. "Don't you see ?", he asked dramatically. "You must renew your personal history by telling your parents, your relatives, and your friends everything you do. On the other hand, if you have no personal history, no explanations are needed; nobody is angry or disillusioned with your acts. And above all no one pins you down with their thoughts.".
(...) "But that's absurd", I protested. "Why shouldn't people know me ? What's wrong with that ?"; "What's wrong is that once they know you, you are an affair taken for granted and from that moment on you won't be able to break the tie of their thoughts. I personally like the ultimate freedom of being unknown. No one knows me with steadfast certainty, the way people know you, for instance". "But that would be lying". "I'm not concerned with lies or truths", he said severely. "Lies are lies only if you have personal history".
Now you may adapt everything for the post-hurricane period, since
there are no longer neutrals around you and the tonal reality
has transformed itself in the Stage World where you live.
Pay attention to your routine and realize how much THEIR characters
officially know about your life. And compare it with how much YOU
actually know of the descriptions of reality they provide you
about their lives. A good part of their sentences are simply invented,
and the facts they talk about generally do not have a corresponding basis in
the physical reality.
On the other hand, you may be giving away details and particularities of
your life. Notice that they fish your personal history all the
time, inducing you to reveal these details. They are treacherous.
They talk about similar subjects so as to induce you to reveal
particularities of your life.
They want you to believe that explaining everything you do in the Stage
World is something very natural and even healthy ! After all, you're
improving your "friendship" with THEIR characters in Stage World. Or,
in other words, in the Matrix reality... Or in Carlos Castaneda's
tonal world. Or in Truman Burbank's city of Seahaven...
Realize that you owe them no explanations and no satisfactions
whatsoever about your personal life and/or about your personal history in the
Stage World. The more you give them explanations and details about
your person in the Stage World, the more your brain becomes subliminally
preoccupied with what they'll think of you.
Here is another passage from the same book, same chapter :
(Don Juan speaking to Castaneda) "You see", he went on, "we only have two alternatives; we either take everything for sure and real, or we don't. If we follow the first, we end up bored to death with ourselves and with the world. If we follow the second and erase personal history, we create a fog around us, a very exciting and mysterious state in which nobody knows where the rabbit will pop out, not even ourselves."
Now let's take a look at some practical examples on how you can erase little pieces of your personal history in order to save energy :
a) In your workplace, there is not a rigid scheme of vigilance on the
comings and goings of the employees. They focus on results. So if you leave
your workplace for a moment, you don't need to explain to your workmates and
neither to your boss (or manager) - like a robot - where you are going
every minute. You just leave without saying anything. And if someone asks
you, you can say something like : "I'm going to buy a stuff" or
"I'm going out there for a moment" or yet "I'll go for a walk".
In an extreme alternative, you can lie : if you are actually going to the
drugstore, for instance, you can say that you're going (or have gone) to the
bank, and vice-versa;
b) Someone in your workplace knows your uncle. So the person says :
"How is uncle Joe ?". And you respond : "I don't know. It's been
a while since I saw him the last time". You don't have to be
enthusiastic about your uncle Joe... After all, he's also a character,
just like your workmates... ;
c) You work in a big company which occupies a whole building in your
city. So in your lunch break, you're in the streets near your workplace when
you enter a store. The attendant is showing you a product and you're
hesitating a little whether you take it or not, when she
suddenly asks you : "Do you work nearby ?". Your answer : a laconic
"Aham". She wanted you to say that you work for that company that
everybody in the vicinities knows where it is. She wanted to fish
your personal history... ;
d) Let's say you're a travelled person living in the U.S..
The time you were a neutral many years ago, you have visited Europe,
including Spain, France and Italy, for instance. THEY KNOW. So a colleague
of yours try to fish this information from you. She says :
"My sister is travelling to Spain tomorrow". And you say : "Humm,
Spain ? Good place to go. Bullfights, beaches, warm climate, it sounds good."
. And she keeps on talking : "She is going to taste all the
typical foods, specialties and drinks of each place". And SHE KNOWS that
that's exactly what you have done during your travel in the past. She wants
you to say anxiously and spontaneously : "I've done this too. I've been there
many years ago". That's her goal. So don't mention this fact.
You save energy controlling your anxiety and eagerness in telling
irrelevant details about your life to the other people. They are really
not interested in the particularities of your personal history.
They want to control your energies. They want to control your
Suppose now that she asked you directly : "Have you ever been in
Spain ?". In this case, you can say the truth, if you want, but don't
forget to ask for particularities of her life, too : "And you ?
Have you ever been there ?". And if she says she hasn't, you have the
option of insisting a little more : "But have you ever made an
international trip ? Where did you go to ?".
e) You're at a family meeting. A relative of yours approaches you.
He starts talking about lotteries. And "coincidentally" you have made
your bet that very morning - after more than 3 years without buying a single
lottery ticket. HE KNOWS. He wants you to say that you bought your ticket
that morning. THEY want you to feel anxious to reveal them every
detail of your life, so as to accustom your brain to the sick
premise that you owe them explanations about your life.
It's like the Spanish Inquisition, a mental one. It's like if you had to
report your life to them, like a slave, over and over, in such a way that
your brain subliminally will have to ask them for permission to do anything
in the Stage World, or wait to see what their sentences will say about what
you have in mind, through their sick second-meaning "vocabulary".
Realize that your linguistic prison is a mathematical Nazism ! Can you see
now how deep the rabbit-hole goes ?
In this case, you can mentalize: "SUBJECT CLONING" (because they're
imitating aspects of your life through artificial synchronicity), and
say whatever you want to say about lotteries, but without telling him
that you bought your ticket that morning.
There is a very significant passage from "The Matrix" that you may want to apply here, as well as in other parts of this text :
"Do not try to bend the spoon. That's impossible.
Instead, only try to realize the truth." (young boy to Neo, in "The Matrix")
"What truth ?" (Neo)
"There is no spoon." (young boy)
"There is no spoon ?" (Neo)
"Then you'll see that it's not the spoon that bends, it's only yourself." (young boy)
Do not tell them anything about yourself that they already do not know.
And if they ask directly about your life, you can either use evasive or
laconic answers, change subjects, create a diversion (like going to the
toilet), or answer the question provided that you also ask about the very
lives of their characters in the Stage World.
Always protect your assemblage point [according to Carlos Castaneda,
the point from which your consciousness perceives reality]. If you want,
take a look at the section "Quick Reminder -
And remember : THEY will never push you beyond your limits. You only have to believe in the voice of your beloved one inside your heart, and believe in yourself. THEIR characters are all LIARS. Their descriptions of reality are false and distorted.
You're the only owner and the only master of your own destiny.
You don't have to tell them everything about you. Now you choose which
portions of reality you show them and which portions you do not show, as
well as the moment you choose to show, and to which characters you're going
I suggest that you pay attention to the available elements around you,
and erase your personal history piece by piece whenever it is possible,
avoiding, however, to proceed this way in relation to the
very element that is being targeted by their "impediment" delirious
In the first case (all the other elements of your life), you save energy
by erasing your personal history. You can take a hint by looking at the
examples given above. You subliminally tell your brain that
your life is none of their business, that you owe them no explanations
In the second case (the alleged "impediment" or "forbidden element"), you
don't need to erase your personal history. So you
gain energy by telling your brain that there is no impediment, that you're
not afraid of their speculation and that you have the courage needed to
assume a relationship in the Stage World with your beloved one using that
shell which is the object of the impediment approach, in spite of all their
sickly sentences, and against all odds.
You tell your brain that you're the owner of your destiny.
You tell your brain that now it's the time of your life. Don't be
afraid of happiness. Stop suffering.
You may mentalize something like : "THAT'S ENOUGH" (or "ENOUGH OF THEM"),
plus "NO MORE TRIAL BALLOONS", "NO MORE REALITY TRACING",
"NO MORE NEW SUBJECTS" (or "NO MORE NEW HYPOTHESIS"). To reinforce
everything, you can add : "ENOUGH LIES", "ENOUGH DICHOTOMIES", "ENOUGH
IDLE TALK", "ENOUGH FIDDLE-FADDLE", "ENOUGH CLAPTRAP".
Now your wife (or your husband) tells you what it's going to happen.
Not THEM anymore. They are just phantoms around you. They are not real.
Finally, take a look at some passages from the final part of the movie "Dark City" (with Kiefer Sutherland), which is also about manipulated realities, and which I also recommend you watch in your video.
(doctor) "You will survive, John. You'll find strength within yourself, and you'll prevail. (...) The world can be what you make it."
(doctor) "Where are you going to ?"; (John) "Shell Beach".
(John, after creating his Shell Beach, not theirs) "Do you know if Shell Beach is round here ?";
(Woman) "I think that it's over there... I'm heading there with myself... Would you like to join me ?";
(Woman) "I'm Anna, by the way. What's your name ?";
(John) "John. John Murdoch."
Two more final questions I leave to you :
a) Do you believe you have to take the initiative to flirt and approach
your beloved one in the Stage World ?
Or do you believe that he/she is the one who must do it, once he/she has
his/her crystal activated and you do not ? Ask yourself ; and
b) Do you believe your beloved one has to act as a character after approaching you (or being approached) in the Stage World, or he/she may speak sincerely to you at least when you're alone with him or her ? Ask yourself.
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