There is no "Going Back Home"
Sections 1, 2 and 3

Artificial synchronicity, language manipulation and the true nature of reality - Introduction


NEW ! - (Added on September 1st, 2000)

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 The stage society values are no longer valid in the Backstage.

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 learn things.

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 this 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 maze ?

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.

NEW ! - (Added on September 1st, 2000)

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 "vampirism".

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 nobody else.

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"
(the Dragvarda)

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.


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 "vocabulary".

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. Ho-ho-ho !

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 forced similarities.


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 "vampirism" ?

If this is the case, you can mentalize : "EMOTIONAL SUFFERING IS NOT IN YOUR AGENDA".

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 so on.

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".

NEW ! - (Added on September 07 th, 2000)

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 :

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 - Practical Tips".

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.
(the 'Dragvarda')

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 to show.

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 approach.

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 at all.

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.


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 strenght 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 ?";
(John) "Sure";
(Woman) "I'm Anna, by the way. What's your name ?";
(John) "John. John Murdoch."

Two more final questions I leave to you :

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