Page 262 - The Mirror of My Soul. Vol. 1

Nicolai Levashov. The Mirror of My Soul. Vol. 1. Born in the USSR

their own. All details of this reality coincided down to the smallest, differing only in

spatial nuances.

The latter means that everyone who was shifted to the past was located at different
points of this reality and therefore they observed one and the same event from different
angles. Someone saw a dinosaur to his right, someone in front and someone to his left!
The difference was only in this, and the rest they saw the same, only from their point of
view. Thus their descriptions, actions and reactions to what was going on were quite
synchronous. And the synchronism was also to the minutest detail. It is of interest—first
I shifted people and only then asked them, where they were and what they saw.

This proves the fact that I was unable to tune them in to one and the same “wave”.
But the most curious thing was that I shifted them to the past and did not even know
what they would see at that point in space, to which I had sent them. It is rather like the
situation when a person lives next to a road and before he looks out from the window,
he knows that he will see cars on it, but he is unable to estimate how many cars will be
on the road at that moment, or what the make and colours will be.

The same situation is observed with the shifting to the past—I open a “window to
the past” and do not know what a person will see in this window. I am only sure that if
I have done every-thing correctly, this person will see exactly dinosaurs and not extinct
amphibians. If the latter, nevertheless, were to happen, it would mean that I had “missed”
the epoch, nothing more, which is un-desirable. But I never “missed” and the people got
into exactly those epochs which I promised them.
Certainly, it is almost impossible to describe what was happening on the stage.
Different people reacted to one and the same situation differently. When they saw a
living dinosaur, one slowly slipped down to the floor, another stood in a stupor with his
mouth open, someone else slowly moved aside as far as possible, while one, on the
contrary, fled as quickly as possible! When a dinosaur was paralyzed, some people
looked at the immobile animal with genuine fear and huge dread ready at any second to
run without a backward glance. But others approached an immobile head in order to pull
down the lower jaw and glance into the mouth of a “sweet” animal!

The most interesting thing was that many people started to act in another reality
quite independently, without any control or correction from my part. A lot of things
happened at the level of reflexes. For example, when a person carried out a fight with a
gladiator in the Roman Amphitheatre, he avoided the blows in a reflex manner just as if
it were a real fight. It is simply impossible to act this which means only one thing—the
fight was real.

The fighter saw his enemy the way any boxer in the ring would do it, although all
the rest of the audience, which was not shifted into this reality, saw only this man. The
situation was quite comic for the audience—the man both avoided and inflicted blows,
jumped aside, etc., and… there was no one else there. When he finally succeeded in
landing a knock-out blow to the ancient fighter, several people dragged away a prostrate
form, taking him to a place in the corner of the stage where they tried to bring him to life
by sprinkling water and patting his cheeks.

When several fellows could not get through a brick wall which I created for them,
and made unsuccessful attempts to squeeze through a narrow crack in it, the audience
roared with laughter. Poor fellows set their hands against this wall and nothing happened,

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