Peter Turner Vol 11 Hypno Effects PDF [PDF]

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Vol#11 Hypno-Effects ClubMagic.Info

Introduction Welcome to this month‖s instalment, in this month‖s instalment we will look at ―hypno effects‖ – The title of this introduction is inspired by the term ―Hypno trick‖ (a term coined by hypnotists), a hypno trick is a trick that from an outward perspective looks like real hypnosis - when in-fact it is pseudo hypnosis and relies on mechanical methodology. I have always felt that term ―trick‖ in the context of mentalism or hypnosis cheapens the process of what it is you are proposing to perform – hence changing the term to ―hypno effect‖ I think that the term ―effect‖ suits the definition of what we are doing much better than ―trick‖. In this volume you will find a range of ideas, from a range of artists that utilise a series of techniques to give the illusion of being able to hypnotise a participant in order to create an effect. Some of the effects in this volume will read on paper as simple physics, don‖t overlook the power of these routines and if you do I promise you, you will regret it. I think there is a strong lesson to be learnt here, many is the time that people read something and dismiss it as impractical, not interesting or too simple to be effective and then sometime later those same people see the effect performed live or on a video and are totally fooled by the effect/ method they read sometime earlier. Those same people fall into the same trap months later and the cycle continues. Take time to try the techniques in this volume, watch the effect that these routines have on the people around you and judge them based on that. My interest with actual hypnosis started when I was about 12 years old, a few years before my interest in mentalism. I remember vividly imagining making people go to sleep and mind controlling people to do whole hosts of things. In all honesty my interest probably started from watching a cartoon with a hypnotist in and having unreal expectations of what hypnotists could do. I remember at the time telling my grandma and granddad that I wanted to do hypnosis and I remember my grandma turning her nose up and saying “You shouldn‖t mess with stuff like that”, instead of this detouring me it spurred me on because if she thought hypnosis was this powerful what 12 year old wouldn‖t want to mess with it? I appeased my grandma and didn‖t speak a word of it for the rest of the day. A couple of weeks later my granddad picked my brother and I up for an afternoon out and it was one of the rare occasions that my grandma came along. We went to a quaint little village not far from us called ―Howarth‖. Howarth is a small village that has a series of cobble streets with bookstores and antique shops that sell war memorabilia and the pubs all serve very traditional home cooked

Yorkshire food. Whilst on the subject of food, if you ever get a chance to visit this beautiful little village the food is amazing. As you are wandering up the narrow little streets you can smell the aroma of the home made gravy drifting from the public houses. It is almost as the village has never moved forward in time; ―stuck in a moment‖ is probably the best way to describe the village. Whilst every village around Howarth has moved forward and changed with the times Howarth has always stayed the same. When you enter Howarth it is almost like going into a portal that takes you back in time, the shops are tiny and there are littered with all manner of strange artefacts, the village has several new age shops that stock all types of oracles and the book stores… the bookstores are full of old texts, booklets and books that have been lost and long forgotten about. My grandma was more of a worrier than my granddad, my granddad would have let us run ahead and go through the stores on our own as long as we met him at the top of the street at any given time he had given us to meet him. Whereas my Grandma on the other hand never wanted us out of her eye line. I always hated moving at the slow pace my granddad and grandma moved at, I was 12 and full of life I wanted to run around and explore. My brother and I managed to convince my grandma that everything would be ok and off we ran full pelt racing each other to see who could get to the shops first. I always looked around the book stores for magic books, the old women behind the counter now is but a distant memory I cannot remember how she looked, all I remember is that she was very helpful. Sadly there were no magic books in the store and on the way out I remember building up the courage to ask if there were any hypnosis books. I nervously waited for her answer, was she going to chastise me for asking? Was it a taboo subject? …I waited for what seemed an eternity and her response surprised me, she said she remembered having a few that had been sat there for a long time. She led me over to the section that contained the self-help books and low and behold there were four or five books sat there in front of my face. It was for me like finding a treasure! To give you an insight into how finding these books felt, imagine going on a treasure hunt and finding a treasure chest and then opening that chest and there is a gold light beaming out so brightly that it lures you in. My mind started to race at all the things that I would be able to accomplish after reading these books, but which one to choose? After a moment or so of standing in front of the books in a world of my own, my brother did the thing that siblings are SO good at doing, with one sentence he brought me crashing back down to earth “Grandma said you shouldn‖t mess with things like that”.

How was I going to get one of the books now? Surely he would tell on me. How could I silence him? If I was to purchase a book how would I hide the book? I had to have one of them. I promised my brother that I would give him a pound in return for his silence and picked one of the books – If I remember rightly the book that I chose was the ―A B C book of hypnosis‖ (don‖t quote me on that) I took the book to the woman on the counter to ring it up, the book cost 25p! I hid the book down the back of my trousers and pulled my jumper down to hide the book so that when I met my grandma and granddad they couldn‖t see it. The rest of the day went by so slowly and I feel a little bit ashamed to say this next bit knowing now how much I miss my granddad; I couldn‖t wait to get home and read the book. I got a knot in my stomach and a tear in my eye writing that When it turned dark my Granddad drove us home and I went straight to my bedroom to read the hypnosis book. I didn‖t make an attempt to hide it around my house, you see I grew up with my nan – I never lived with my mum or dad and my nan she never cared for magic, mentalism or hypnosis – She still doesn‖t now. I remember reading the book cover to cover and finding a series of therapy type techniques, I assumed there was something missing from the book as it seemed like a set of instructions instead of a key to opening the hidden dimensions of the human mind. I practiced the scripts and the visualisation techniques from the self-hypnosis sections – They played a fundamental part in my bedtime routine. It wasn‖t until about 6 months later that I successfully hypnotised my first volunteer, the amount of embarrassing moments I endured from failing time and time again over that six months is not even funny. I wish I had back then a series of techniques like the ones that are shared within this volume. I really hope you love the ideas and routines shared in this volume,

Peter Turner - ClubMagic - 2016 P.s In-case you were wondering who won the race to the shops in Howarth between me and my brother it was me. P.P.S – I don‖t think I ever gave him that pound for his silence, I am going to call him up now and make good on my word.

Ambidextrous – Peter Turner - ClubMagic Effect The performer asks the participant to imagine going back in time to the first classroom they attended to hone their penmanship skills. The performer asks the participant which hand they write with to which the participant replies - "my left". The performer continues "Can you write with your right hand?" The participant responds "No, not at all if I did it would look like a child's writing". The performer asks the participant to close his eyes and imagine going back in time and stepping inside of this room, walking up to the front of the class and instead of picking the pen up in his left hand to imagine picking the pen up in his right hand and very shakily writing down the name with his right hand. The performer asks the participant to look around the classroom imagine is favourite teacher standing watching him. The performer then asks the participant to step forward in time to going on his first real dinner date. Imagine that the meal has finished and that he offers to pay the bill. The card machine gets brought out and instead of instinctively reaching forward and pressing the buttons with his left hand he does so with his right hand. The performer again jots something down and after he has finished he asks the participant to imagine coming back to the present day and when he reaches the present day open his eyes. The performer asks the participant the name of the teacher and he turns over the first piece of card he made a note on and it is revealed the performer has successfully divined the name of the teacher! The performer then asks the participant to tell everyone his old pin code, the one he used at that meal, after the participant calls it out the performer turns around to show that again he has successfully managed to deduce the code! The room settles down, he looks at the participant, I want to give you a gift a gift that is going to last a lifetime. You came up here and stated that you were left handed and you couldn't write with your right hand. I had you close your eyes and imagine going back in time

and writing with your right hand and using your right hand your entire time instead of the left. The performer hands the participant a pen and a piece of card - Try write your name with your left hand now and you will see you no longer can. The participant struggles and the writing is a mess. The performer asks the participant to place the pen into his right hand and he will be able to write his name beautifully. The participant tries and to everyone's astonishment he can write it perfectly! The performer takes hold of the participant's wrist looking him square in the eye and says "Look at me, what you have just witnessed goes to show that anything is possible, in a moment you are going to return to your seat and if anyone ever asks you if you were ever left handed you will say no, you will be 100% convinced that you were always right handed. So convinced, that you will imagine that I asked you to imagine being left handed and not right handed. Which the audience of course will tell you is not the case. This has been a positive experience even if you are slightly confused as to what happened". The performer returns the participant to the audience.

Breakdown This effect was born off of the back of/ inspired by an old story that I read years upon years ago (but not the same so don't read the story and think you understand this effect) the story goes as thus During a hypnosis show one volunteer comes forward and it looks like that volunteer is not going to be hypnotisable. It is destined to be a nightmare BUT you have a secret up your sleeve! There is one way to remove yourself from this undesirable situation and it is this; you whisper to your one volunteer that if he plays along, you will give him £50 after the show. After a couple of tame routines, in which the propositioned participant plays along you should now be able to get more people to volunteer and you will be able to bluff your way through your forty minute slot. At the end of the performance, you tell all your subjects that all the suggestions you have given them will be completely cancelled out – except for the initial volunteer.

In front of the audience and in a confident tone of voice, you simply tell him that when he wakes up he will firmly believe that the hypnotist promised him fifty quid to play along and that he was never really hypnotised. The participant rapidly opens his eyes and says, "I did play along, he offered me fifty quid honestly!!" - To which the crowd respond with a huge reaction and round of applause. I first heard of this story as a child, when I heard it I grinned from ear to ear at the sheer cheek of it I instantly started using it on my friends (offering them five pounds) it was fun and I was young. When I started taking a serious interest in hypnosis the story never had the same charm it did when I first read it. The participant left with nothing and it was a cheap way to get what I wanted which is something I did not want. I re-read this story years later and I smiled for nostalgic reasons and always wanted a way to incorporate it into a set in which the participant left with something. This routine is a result of trying to give everyone an effect. There are multiple ways to achieve this effect, I am going to outline the main method that I have used in the past (and will use again as I'm feeling reinspired). The first is the 'almost' real time method. This is going to be utilising a ―oneahead‖ type method. During your set, you propose to get one participant to read the other participants mind. Address one participant - I am going to teach you how to read somebody else. I am not going to tell you out loud what to look for as I don't want everyone knowing what I'm focusing on to get information. This is where you need to have a spectator as mind reader routine in your arsenal - During giving them instructions add onto the end of those instructions, "nod if you are right handed". This is important; you need to know the participant's dominant hand. If they nod follow with - If at any point tonight if I ask you if you are left or right handed state left instead of right, this will enable me to read you like a book, if I ask if you can write with your right hand simply state that you can try but it will be messy. The moment you trick your brain, is the moment I will be able to read you". Lean out.

Ensure that the participant confirms that you didn't tell them what information the other participant is thinking of. They will confirm this is true and then openly state Performer: "I also stated a very simple way into tricking the brain making it possible to get a good read". This will rein firm that you want them to say the opposite of later and if you wanted to push it you could literally follow with Performer: "That is literally all I told you". When they say "yes" that's almost your job done. Let the spectator as mind reader routine play out and then seat the participants let an effect or two pass and then look toward the participant you utilised to read the participant earlier, Performer: "I know you came up earlier but I think you may be great for this. Are you left or right handed?" If they call out left you invite them to participate if however they do not (which shouldn't happen) you have the choice of bringing them up anyway and performing something else or simply saying "oh I thought you were left handed, do we have any left handed volunteers?" Then move into another routine with that person. However we will assume that the person states that they are left handed invite them up onto the stage. The next part of the process is to quiz the participant gently as to whether they can write with their right hand. To which they will respond what you asked them to respond earlier. Note to reader*** such a time delay has occurred that the audience will never even be able to connect the dots to get close to figuring out the method. Plus the question seems so innocent that the audience will take the participant's answer as gospel truth. End of note*** The participant is going to sit next to you (be it on stage, in close up etc.)

This is where you will apply any one of the inductions outlined in this volume. Theatricality think about what you want the induction to look like, how does it fit into the choreography of the overall routine - personally as the participant is going to be seated (preferably behind a table) I would utilise a seated induction. I ask the participant to imagine going back in time to a classroom where they honed their writing skills and imagine writing on the board This piece of information can be any piece of information you desire. This is completely up to you which piece of information you have the participant think of. This is where I feel good prop-less material plays a part as the participant for obvious reasons cannot write something down. One such piece of information might be the participant's star sign for example (Vol #9 has a variety of). The revelation of information is what the participant takes from this routine, whilst simultaneously proving that you were telling the truth when you whispered and thus bringing that full circle. I have found revealing two pieces of information to be the perfect amount of information. I then bring the participant forwards in time to the present day/ time and I am about to move into the kicker - Changing which hand the participant writes with. The beauty of this routine is that the participant could never write with their left hand at all (but the audience believe that they can) - So when the participant tries to write they are not going to be able to anyway! But the most beautiful moment comes when you tell them to put the pen in their right hand and write and they write beautifully (as the participant was always right handed) but to the audience you just changed their dominant hand! This is where the routine comes full circle and you tie up all of the loose ends. The script I have created to tie this up is very remnant of the story I shared at the beginning of the breakdown section of this effect. The performer takes hold of the participant's wrist looking him square in the eye and says "Look at me, what you have just witnessed goes to show that anything is possible, in a moment you are going to return to your seat and if anyone ever asks you if you were ever left handed you will say no, you will be 100% convinced that you were always right handed. So convinced, that you will imagine that I asked you to imagine being left handed and not right handed. Which the audience of course will tell you is not the case. This has been a positive experience even if you are slightly confused as to what happened". The idea is to make this a moment of tension, try to capture the participant's entire attention - retain eye contact and confidently deliver the script while nodding

from time to time. This will if delivered correctly get the participant to nod back, which will seem like (from the audience‖s perspective) that they are hypnotically accepting what you are suggesting. 

You could also utilise pre-show in a very simple but clever way to achieve the same result. Pre-show is I feel a nice solution as you can have the participant write down information that you can reveal during the routine and don't have to rely on prop-less techniques. If you were utilising pre-show you would openly say to the participant the same thing you whispered during the aforementioned live variant.

Robin Hood – Peter Turner - ClubMagic Effect The performer invites the biggest sceptic out of a group take a seat next to him, the performer openly asks the sceptic whether he believes he could ever be hypnotised or have his mind read to which the sceptic laughs and replies that there is no possible way. The performer only asks that the sceptics tries and but a moment later the performer has the sceptic in a trance. After a few words in the sceptic‖s ear the sceptic sinks deeper into a trance. The performer counts from one to five and the sceptic awakens and instantly reaches into his pocket and starts to give the performer his keys and wallet. The performer cheekily with a smile on his face says "the watch too" the sceptic without missing a beat takes his watch off and hands it to the performer the performer snaps his fingers and the sceptic instantly falls back into a trance. The performer has proven he can hypnotise any sceptic at will, he now sets out to prove he can read the sceptic‖s mind. He awakens the sceptic and then reads the sceptic proving that even the biggest sceptic can be read just like anyone else.

Breakdown The methodology of this effect is very much like the aforementioned effect (Ambidextrous). The secret is extremely simple Choose a volunteer whom is purposefully sceptical, all that you ask from them is to listen to what you ask of them and what will be, will be. Address the participant Performer: "Before we go any further, do you believe it is possible to hypnotise you?" Participant: "No". Performer: "Ok well don't worry about that, do you think you I could read you to guess information about you there is no way I could know?"

Participant: "No way!" Note to reader*** these questions are the most important questions in this entire routine as they allow everything to come to fruition. They also set up the entire scene for what the audience are about to see. End of note*** Utilise one of the inductions in this volume to seemingly put the participant into a trance. This is where the beautiful moment takes place, lean into the participant and whisper, Performer: "In a moment I am going to try and read things about you, nod if you are ok with that (the participant nods) I do this by holding your possessions things like keys and your wallet for a few seconds. When I ask you to open your eyes not yet I want you to hand me your things. When I snap my fingers I want you to close your eyes and I will begin to read you. Nod if you understand. (The participant will nod, raise you voice slightly so the audience can hear you) I'm going to count from one to five, when I get to give open your eyes and give me your things. 1...2...3...4...5". The participant will open their eyes and start to give you their possessions. If the audience start to react you are going to apply the "Dunninger modesty ploy". Look toward them and almost stop them reacting while gently saying "you don't need to react" This is a subtle dual reality as the audience think you are being modest whilst the participant believes that you are telling the audience that they don't need to react as nothing has happened as of yet. After the participant has handed you their things, always push it one step further. If you notice they have a watch ask for it. If they haven't give you the phone ask for it, always ask for one more thing. If the participant doesn't have anything more to give you there is a beautiful moment that occurs here from a theatrical point of view. The participant will verbally state that they having nothing left and this is a beautiful moment.

Look at the participant, this is where you are going to hold your fingers in the position to snap them but do not snap. Linger for a few seconds, the idea is to subtly remind the participant that you are about to snap your fingers. As you have told the participant that when you snap they should close their eyes, the moment you do snap your fingers the participant will close their eyes and seemingly go back into a trance. This is the moment that you would move into any type of mind reading routine that you desire, as long as you successfully read the participant everything will seem to come full circle. If you are bold you can openly ask the participant why they gave you their possessions. You will find that the participant's response is something along the lines of - "because you told me to". Which re instils to the audience that you hypnotised the participant. These ideas are simple and straight forward but are routines that served me well gigging in even the worst environments. If you don't like the idea of using a whisper and are flirting with the idea of using this in a stage scenario there is another technique open to your disposal that enables you to give someone instructions in plain sight yet the audience will never hear them! This idea is a very, very old idea which is little known but I can tell you it is beautiful. Whilst reading this technique, think of how powerful this is. Plain sight and sound For this you will need to record your voice, record you saying things such as, "Take a deep breath in, hold it and now breath out. Place your feet together and close your eyes. I am going to count from ten to one, each number I count you will relax more and more... 10...9...8...7...6...5...4...3...2...1." Place this onto a disc of a media stick and take it to the venue that you are performing at. Set it up so that it sounds as similar to your live voice through the microphone as possible. Create a signal with your sound man/ woman so that they are aware when to run the disc. When you invite the participant onto the stage, ask them to take a few steps back while guiding them so that your back is briefly on the audience (I know this

breaks the 'never turn your back on the audience' rule but I think whilst utilising hypnosis it's ok briefly) and your head is slightly over the participant's shoulder. The sound starts to play, mute your mic. When the sound says "take a breath in" lift your arm up as though directing the participant. When it says "put your feet together", point to the participant's feet and when it says "Close your eyes" gently lean the participant's head forward. Say to them off mic (while the sound continues to play out) Performer: "Keep your eyes closed and ignore the sound of my voice playing over the sound system, I want you to..." This is where you give them any instructions you want (such as the ones in the aforementioned routines) the audio is counting down from 10-1 so you have a good amount of time to tell the participant what you want under the guise of this happening. As long as the audience cannot openly see your mouth then this will work amazingly. This is so strong because if the participant tries at any point to suggest that you told them what to do the audience will fight your corner and tell them that they are wrong, the same way that they might at the end of a p.k touch routine. Think about it what can the participant say?

Jedi Mind Push – Peter Turner - ClubMagic Effect The performer stands in front of the participant and has a second participant stand behind the participant to ensure that if the first participant falls he will catch them. The performer places his hand in front of the participant standing roughly a foot away and then pushes the air (never touching the participant) – The participant falls backwards being caught by the second participant. The performer pushes the participant over without ever touching them!

Breakdown This effect is an effect that I have used in a range of situations; it plays out so strong and performed in the right contexts it absolutely kills! I am thinking of filming a series of videos utilising this subtlety as I think it will play out really in the right contexts – Keep your eyes peeled! The preparation for this is the thing that is important; you need to ensure that the participant is standing in a very specific way and that they are not afraid of falling. If I was to do this for video, this would be taken care of before the camera rolls (so all the camera captures is the epic moment that you knock the person over). First things first, the participant MUST trust the person catching them. Have a second participant (I am calling them the second participant for ease of instruction) stand behind the first participant arms extended and stand the first participant with their feet together and get ensure that they are relaxed keeping their legs straight, relaxed to the point that if you swayed them backwards they would fall rigidly into the arms of the second participant. This just ensures that they are comfortable staying rigid and comfortably fall backwards. The secret is simple from here. Without the presentation, if you lean the participant back very slightly and tell them if they feel themselves going backwards to let themselves go wait a few seconds the participant will start to sway and then they will fall backwards. This in itself will not sound impressive, but if you learn to ham up the performance and press on the participant‖s heart then sway them backwards and forwards - step away from the participant a couple of feet and mime holding their heart (you are just holding thin air) wait for the participant to start to

sway and when you see them going backwards push your arm forward as though you are pushing them and they will fall into the arms of the person behind. This will seem to the audience as though you have pushed the participant over when in reality you have just utilised the natural sway and fall of the participant to your advantage. This is physics, when you see it from an audience‖s perspective it looks startling and the participant will always swear that they have experienced the sensation of being pushed over. The important thing here is to understand how to create an interesting premise to fit this type of principle into.

IPI: Instant Pseudo Induction – Peter Turner - ClubMagic This effect perfectly describes Dual Reality. You never tell the subject to close their eyes, but the subject believes you have done so. If you are in a close up situation (which is what I use this in the most frequently) position the participant is facing the audience. If you are on stage then the participant will naturally be facing the audience. You are going to stand facing the participant so essentially your back will be facing the audience. I KNOW, I KNOW THIS BREAKS THE GOLDEN RULE – never turn your back on your audience BUT it is only for a very brief period and if you angle your positioning standing one step to the left of the right of the participant the audience will still be able to see the participant clearly – If you find you cannot do this and you have to stand directly in front of your participant I would become part of the audience (moving as close to them as possible, so you are literally one step in front of them) that way they will be able to see the participant‖s face clearly. Address the participant, Performer: “When you feel your eyes want to close, just keep them closed.” If the participant‖s eyes happen to close right away have the participant keep their eyes closed and place their feet together. This happens in-frequently but due to the nature of some participant‖s they can either A) be totally susceptible and go into a hypnotic trance (which is rare but happens) or B) they can assume that you want them to close their eyes and comply. For the most part they will nod to acknowledge that you have told them when they close their eyes to keep them closed. Address the participant, Performer: “I want you to follow me and copy my actions so that we are essentially mirroring each other”. I place my feet together – The participant will copy, I then place my hands to my side and wiggle my fingers and the participant will naturally follow. This is where I will remind the participant, Performer: “When your eyes happen to close, just keep them closed.” Stop your fingers wiggling and they will stop wiggling their fingers – I then place my hands into my side and the participant will follow. This is where the Dual Reality happens (really pay attention here and read this a few times) the audience hear me say -

Performer “...and just...relax...breathing deeply...staying as you are now until told otherwise.” At the same time as my Jedi waving my hand in-front of the participant‖s face and they seemingly fall asleep. To the audience the participant has gone into a trance, when in reality this is what the participant experiences. As you say to the participant, “...and just” look them dead in the eye and flutter your eyelids and close your eyes… THE PARTICIPANT WILL COPY YOU!!! As you see the participant close their eyes you keep talking saying, “...relax...breathing deeply...staying just as you are now until told otherwise.” Remember what you said to the participant earlier, when your eyes close keep them closed, so they will naturally keep them closed and with the careful scripting when they are closed asking them to stay as they are until directed otherwise ensures that they follow your suggestion. When you see the participant close their eyes this where you wave, so that they cannot copy you as they cannot see you. Imagine this from the audience‖s perspective, they never heard you say “close your eyes” and could not see your eyes, therefore they just saw you wave your hand and the participant goes into a trance. When it comes to asking the participant to open their eyes, imagine that you are waking them from a trance. It is a very simple thing to do, when you are ready for your participant to open their eyes instead of just asking them to do so address the participant, Performer: “I want you to take a deep breath in for me, I am going to count from one to three and as you hear each number you are going to slowly bring yourself back into back into the room opening your eyes and completely relaxing as you do”. When you count from one to three the participant will naturally open their eyes, when they do this ask them to shake themselves off and ensure that they feel great. This is for two reasons, there is nothing wrong with your participant feeling relaxed and great and at the same time the theatrics are all you need to suggest that they really were in a hypnotic trance. I have had people go into trance when using this in the past and have used this as a rapid induction. Some people will genuinely trick themselves into believing they are in a trance, this is nothing to worry about, if you find this has happened simply ask them to open their eyes in the manner described above and everything will be fine.

As you can see this is a very simple yet visual alternative to the ―handshake induction‖ which is also a great way to seemingly place the participant into a trance but is a technique I have not used as much as the IPI induction as the IPI induction suits my performing style greater. Now we have taken a look at the induction section of the routine let‖s take a closer look at the routine.

2 quick, simple but powerful routines Note to reader*** this first effect was something that almost didn't make the cut, not because it isn't a powerful effect, it seriously is, but because of its dangerous nature. I hold no responsibility for the reader‖s actions and accept no responsibility for injury caused as a result of playing with effects like this. End of note***

Flame roulette - Peter Turner - ClubMagic Effect The performer removes two zippo lighters from his pocket placing them upon a table. He asks the participant to choose any of the lighters. The performer explains the idea of mind over matter and that pain is something that can be controlled as long as you learn mind of matter. The performer lights his zippo placing it standing upon the table and then invites the participant to light theirs. The performer extends his palm and asks the participant to check to ensure that there is nothing on his palm. The participant examines the performer's palm and is happy there is nothing unusual. The performer proposes that they both hold their hands over the flame until they can no longer bear to keep them there. Performer: "We will do it at the same time". The performer hovers his hand over the flame the participant follows. The performer slowly lowers his hand onto the flame, the participant copies. The performer closes his eyes, and slows down his breathing keeping his hand over the flame he slowly opens his eyes. He can see that the participant is struggling; the participant then pulls his hand away as he can bear to keep it there no more. The performer keeps his hand over the flame breathing more and more deeply, after 20 or 30 seconds the performer moves his hand. Proving that even pain can be controlled with the power of the mind. The performer will 100% of the time be able to hold his hand over the flame longer than any participant.

Breakdown This type of routine is something that I have tinkered with for such a long time. I have tried everything from blocking the holes on the front of a lighter to trying to create a gimmicked lighter with a cool flame. One method that had limited success was a method outlined in Ormand McGill‖s 'new encyclopaedia of stage hypnosis'. It is suggested if you keep the lighter moving (or your hand) the flame from a match will not burn. This is true (to a degree) with a lighter, you do however have to keep the lighter moving somewhat rapidly. I didn't want to have to keep moving my hand or the lighter. I also didn't want to risk burning myself. After talking with several sources that work outside of magic/ mentalism working rather in special effects and film, they shared with me this solution - it is perfect. This is going to have to be something you purchase but for the effect it is well worth it! 

Fire stunt gel

Take a look at the demo, https://youtu.be/NduDBlwovQs You will see how it works perfectly for what we need. To purchase the gel, visit here http://store.afstunts.com/AF-Playn-with-Fire-HydroGel-p/af-gel.htm I know what you are thinking - I said in the effect description that the participant checked my palm and yet now I am talking about applying gel onto my palm. The participant can check your palm as you are going to apply the gel AFTER the participant has checked. I will detail the mechanics of this in a moment, before I would like to briefly share how I carry the gel. Take a lip balm; remove the content of the tube. Thoroughly wash and dry the tube and then use a wooden take out coffee mixer (or the handle of a tea spoon) to scoop in the gel into the lip balm tube. You have created a mini natural looking, stunt gel dispenser that is light and takes up virtually no pocket space.

One lip balm tube should be enough for three performances. There are two ways in which you can apply the gel to your hand - one is fairly bold, the second would be what I would recommend for TV.

Option#1 When the participant is checking your non dominant palm, your dominant hand is operating under the table the dispenser placing gel onto your fingertips. All the focus will be on the palm of your hand. The move is simple after a few seconds have gone by and you have explained what is about to happen. Stretch your non dominant palm towards the participant while addressing them, Performer: "keep your palm stretched, (tilt your hand slightly toward yourself) you will hold your hand over the flame so it lights this area of your hand". As you say "This area" apply the gel across your hand and you are ready to perform.

Option#2 This option was inspired by an old effect in which a magician with short sleeves places a coin under a handkerchief, the performer asks before he attempts to make the coin vanish for a couple of spectators to check to see that the coin is still there. The spectators both confirm that it is. The magician waves his hand over the handkerchief and then lifts the handkerchief to show that the coin has vanished! His hands and the handkerchief are totally examinable. I used to love performing this effect as a child, I read it in a pocket coin book made by a company called 'Collins' I have not managed to track the book title down or find it on the internet. If anyone manages to locate it, I would love to hear from you. The method for the coin vanish is going to be the same method we will use to apply the gel (some of you may already be ahead of me). During the coin vanish effect, the first person checks to see if it is under the handkerchief and

confirms it is the second person whilst checking if the coin is there removes it and confirms that it is still there. Then ham up the moment the vanish happens and everything is examinable. If I was performing this for television or a medium that was being recorded, I would have the second person who is checking the hand actually applying the gel. It is a ruse that would fly so far under the radar it would go completely unnoticed. The rest of the effect is simple; you ham up the breathing and pseudo relaxation and hold your hand over the flame. Hold it there for a while after the participant. If possible have two wet clothes on hand 'to cool yours and the participant's hand' after the demonstration has taken place. Simply wipe the gel off under the ruse of wetting your hand. I have only played with this live for a very short period of time, I wear black jeans (rarely wearing any other colour) so when I finish I simply wipe my hand on the leg there is very little gel applied and it doesn't leave a mark. If I was performing this more frequently, I would find a better solution. Most tables have napkins. That concludes the first simple effect.

Friction - Peter Turner - ClubMagic Effect The performer places a deck of playing cards onto a table the participant is asked to place their first and middle finger on top of the box and imagine that the box gets heavier, sticking to the table so much so that if the participant tried to push it, it would not move. In fact it would stick so solidly that the box will stay in place but the participant's fingers will slide across the box. The participant attempts to push the box, it locks solidly in place! The participant tries harder to move the box and as the performer suggested the participant's fingers slide across the box. The performer asks the participant to lift their fingers and gently pushes the box proving that it was never stuck and it was simply all in the mind of the participant.

Breakdown This effect looks amazing! It won't work in every location but works all of the time - Let me explain. This is simple science. It depends on a couple of factors, the surface you are attempting this on and the directions you give the participant. First try this for yourself. Place a deck of cards onto a table in the box, take your first and middle fingers and place it upon the deck. To try and describe the location I will reference the back of a bicycle card. There are two angels on the back of a bike deck if you orientate the deck like you might if you were to ribbon spread the deck and place your fingers on the angel closest to you. (This is where you want the participant to place theirs - you will utilise this same position even if the deck is not a bike deck). Press down the cards apply a good amount of strength and whilst applying this strength try push the deck. Depending on the surface the deck shouldn't move! Whenever you decide you want to perform this, simply test the surface briefly in the manner just described. The idea is to use scripting to make it seem like you are controlling the participant's actions. Get the participant to push down on the box while they are pushing down on the box down address the participant, Performer: "I want you to imagine as you push down on the box that it is not a box that you are in-fact pushing down on a weight. A weight that is so heavy you wouldn't be able move it with your fingers alone. Whilst retaining the pressure, try pushing the deck". This is a simple idea that is very throwaway in nature but is strong. With the right amount of language this becomes something that looks incredible and is very interesting as a lead into something that is framed around using the power of the mind.

Mirage – Peter Turner - ClubMagic This effect is more suited to video work; it is simple yet effective and from the audience‖s perspective looks exactly like hypnosis... Even though it's not!

Effect The performer hands the participant an envelope proclaiming that inside is a prediction of things that are about to occur. The performer proposes to try an experiment; he places a ball in the centre of the participant‖s outstretched palm and asks the participant what they are holding... The participant looking a little impatient proclaims that they are holding a red ball. The performer instructs the participant to take a deep breath in and when the participant reaches the height of their inward breath the performer snaps his finger and the participant goes into a trance. The performer talks to the participant for a few seconds and then asks the participant on the count of three to open their eyes. 1...2...3 The participant opens his eyes and the performer points back to ball, Performer: "Looking at what's in your hand, describe what you see now". Participant: "It's a rectangular shape, its blue and it‖s solid". Performer: "Ok, what are you holding in your hand?" Participant: "A Lego brick". Performer: "You're being 100% honest; you're not lying to make me look good?" Participant: "I'm being honest" Performer: "Stare at it and your eyes will start to get heavy". The participants eyes start to get watery, Performer: "If your eyes start to hurt close them and keep them closed". The participant goes back into a trance. Performer: "When I count from one to five open your eyes and you will notice that you are holding a ball and that everything is back to normal". 1...2...3...4...5

The participant opens their eyes and proclaims everything is back to normal. The performer asks the participant to open the envelope - inside it says, 'I will make you see a Lego brick'. The participant freaks out!

Breakdown As mentioned earlier this involves no hypnosis whatsoever - Yet clever pre-show/ dual reality. The participant gets an incredible effect (a bigger one in-fact than the audience). When the participant watches the effect back, it will also be how they remember the effect playing out - Leaving us clean and in a beautiful situation. This effect relies on a few clever moments of actual psychology and directorship to pull off before the camera rolls. Start by having a stack of business cards with different items/ objects on. Address the participant, Performer: "I have an envelope that is going to be important later - Before we get to that, I want you to select anyone of these cards, look at what item or object is on the card and place it back into the stack and mix them back up. Please don't forget what object or item you saw on the card. Later I am going to place this ball into your hands, I'm going to ask you to describe it to me without telling me what it is and then when I ask I want you to tell me it's a ball. This might seem ridiculous but it will help your brain adapt to what is about to come after that. I'm going to get you to close your eyes and re-open them after you have said it's a ball. When you open your eyes and I ask you to describe what is in your hand I don't want you to describe the ball... I want you to describe the object/ item you saw on the card. To quickly reiterate, first describe the ball, tell me what it is close your eyes when I ask, open your eyes and then describe what ever object you saw on the piece of card. Follow what I ask after this moment and when you hear me say THINGS WILL GO BACK TO NORMAL

Freaky Friday – Peter Turner - ClubMagic Note to reader*** this principle long pre-dates my existence on this planet, I first read of this principle within Ormand McGill‖s 'New encyclopaedia of stage hypnosis' and it has subsequently been featured in many other sources. In each instance the write up of this principle is relatively short and lacks a performance of any kind. I have tried to find an interesting and fresh way to apply this premise which I feel takes it to the next level.

Effect A burly man and petite woman are invited to participate in an experiment based on suggestion. The man and woman sit facing each other. They are both asked to stare at the tip of the performer‖s finger. The man and the woman start to slip into a trance and when both participants‖ eyes close the performer starts to suggest they imagine being sat in the other chair looking at themselves. The performer explains that it will almost feel like an out of body experience and when they start to feel this way they are to imagine slowly becoming the other person. The woman is asked to imagine being more burly and strong and the man is asked to imagine that he is dainty and petite. And when they have fully seen themselves changing places open their eyes. The male is asked to relax back into his chair and the female is instructed to press her forefinger into the male participant's forehead. The male is asked to try and sit up and get out of the chair with all his might. The male cannot not stand! The female has managed to hold him into a chair using nothing more than a single finger! The participants are returned to their normal states and then returned to their seats.

Breakdown This is a self-working effect that requires nothing more than chops as a performer to make your audience believe you are utilising hypnosis. The method works as thus Ask the male to scoot forward in the chair so that he is not sat totally back in the chair. Guide the male participant to lie back in the chair so that his head is

rested against the back rest of the chair. Have him relax his legs and lay them out. If you rest your finger against the forehead of the participant and ask him to try sit/ stand up he will not be able to. The reason he will not be able to move is that he needs to be able to lift his head to sit up in the chair or attempt to stand and this will make it impossible. This is the method that we will be employing in this effect. I always felt that the flaw in this routine was that you are hypnotising the participant in the chair. It was too simple and the line back to the method was too linear. One might argue that I am being over analytical but stay with me; it's always nice to have options. I always thought that by utilising a second participant and 'hypnotising' that participant to be strong the process becomes more real and more impossible to backtrack. I also think that visually it is more appealing. The line back to the method in this variant is also blurred simultaneously, making the whole thing a neater package. The participants are going to sit in the chairs facing toward one another. To get them to close their eyes (in a trance like fashion) you have several options. Option #1 The I.P.I induction (described earlier) Option #2 The light / finger method. This is an old technique that is utilised in hypnosis, I came across this technique years ago in a therapy book but it works perfectly and looks visually great in this context. Ask the performers to refrain from moving their heads. Ensure their heads are in a natural position (facing forward, not pointing upwards or down) and ask the participants to stare at the tip of your finger (or you can ask the participant to pretend that you are holding a ball of light) ask the participant to follow the tip of the finger with their eyes. This is where you lift your finger up above the participant's natural line of sight (so they are starting to look up) - Keep raising your finger until the participant has to raise their brow to stare at your finger. The participants eyes will naturally get tired in this position.

Address the participant, Performer: "You will notice that your eyelids start to get heavy, take a deep breath in and slowly let it out and as you do this you will notice your eyelids getting even heavier. If your eyes happen to close, keep them closed". This is an important line; it ensures that the participant keeps their eyes closed. Option #3 Performer: "When I snap my fingers close your eyes and keep them closed". Simply snap your fingers. Option #4 This option is the option that is seen very frequently on the Derren Brown special. It is the handshake interrupt pseudo induction - This pre dates Derren by many, many years (the original source is not known). Address the participant, Performer: "Hi my name is xx" As you say this extend your hand to take the participants (as though you were about to shake their hand). The moment the participant passes you their hand, grab the participant‖s wrist with your spare hand and lift their hand over their eyes whilst simultaneously saying "Close your eyes and relax your head". As you say "relax your head" with the hand you used to shake the participants touch the back of the participant's head and bring their head forward. This all happens very rapidly, practice the above until you have it flowing beautifully if performed correctly this looks visually stunning. Option #5 Flashlight induction - This is very similar to the staring at the fingertip induction, the only difference is that you are going to use a mini led flashlight. If you have ever tried staring into an l.e.d light you know it is difficult. The best kind is the kind that utilises a dim control on it. Set it so that it is not startling bright, but not so dim that you can stare at it. It needs to be inbetween.

Have the participant stare at it, flicker the light in a pattern of repetitions. Use the same scripting as the fingertip induction. The reason that this type of pseudo induction is great, is because if the participant googles what they have seen - Which people might very well do these days it will instantly give credibility to what you are doing when the participant finds information about a 'Flashlight induction'. Once you have induced both participants, you are going to suggest that they are to imagine switching places. The male is asked to imagine being dainty like the female and the female is asked to imagine being strong. Try to create the vision in the audience‖s mind that the participants are mentally changing places. Don‖t rush this process. Take your time, have the participants open their eyes a couple of times and re-close them and imagine what you are suggesting to a deeper degree. When you are ready to move forward simply lay the male into the chair as outlined earlier, have the female place two of her fingers onto the males forehead and direct her to close her eyes and press down onto the male participant‖s forehead. Ask the male participant to try and sit up, he will not be able to! It will look as though the female participant is holding the participant down with just two fingers! When you have demonstrated this impossible looking feat, de-convert the participants. The way to do this is to ―re-induce‖ the participants and ask them to imagine slowly being themselves again. Don‖t overlook the simplicity of this routine, it really is powerful. Imagine this as the introduction to a spectator as mind reader routine, having the female participant think of a word and then letting her take the credit for holding the male down and finishing by having the male reveal the word that the female is thinking of – Truly proving that they have swapped places.

The Try Principle – Peter Turner (Written by Ian Rowland) - ClubMagic Note to reader*** this article was written by Ian Rowland about an effect of mine he had seen and loved. I could have never written this as eloquently as he did. End of note*** As this is my fortieth article for MAGIC magazine, I wanted to bring you something truly special. I urge you to give this item careful attention and consideration. It is one of the most delightful ideas I have ever come across in mentalism, and it‖s new. Not only that, it is very baffling and almost infinitely versatile. When I was first introduced to this remarkable principle, I immediately started using it at every possible opportunity and had a lot of fun in the process. I hope the same will be true for you. This particular spark of genius comes from Peter Turner, who has very kindly given me permission to share it with you. As with all the best ideas in mentalism, it enables you to create truly baffling, impressive, and entertaining effects and yet the secret is charmingly simple. Let‖s start with the effect and the presentation. Imagine you are at an informal social gathering such as a party or a get-together in a bar or coffee shop. The conversation turns to your remarkable mental talents and your friends ask you to show them something. You choose one of those present, let‖s call him Alan, and offer to demonstrate something that you think is quite fascinating. You ask the group to nominate any small item that is easily held or lifted, such as a coffee cup (it doesn‖t matter which item they choose). You start by asking Alan to lift up the cup, and of course he does so with ease. You say you‖ll get back to the cup later. You now take everyone through a little ―mental conditioning‖. You say, “Can I just ask all of you to relax and clear your mind. Now, I‖m thinking of a very famous singer. See if any particular image comes to mind. He had a song about blue suede shoes, long sideburns, white jump suit, played Vegas a lot, starred in some movies too... is there an image in your mind?” Of course, at this point everyone is thinking of Elvis Presley. You continue, “Ten seconds ago, none of you were thinking of Elvis and now all of you are, even though I have never mentioned his name. Why? Because I triggered a series of associations that were already imbedded in your mind. That‖s what this is all about, but we can take it a lot further.”

You turn to address Alan specifically. “Alan, please look back over your life and think of any time when you faced a challenge that you thought was difficult or even impossible. You don‖t have to tell us what it was. It can be something from your childhood, your teenage years, early career... anything at all. Don‖t give us any details, but just nod when you have something in mind.” Alan nods once he has thought of something. “Okay. I‖m going to associate a trigger word with that emotion and that experience, and that word is ―Limit‖. Got it? Now, let‖s get back to this coffee cup. Are you still confident that you can lift it up?” Alan will say he‖s sure that this is so. “Go ahead; lift it up one more time.” Alan lifts the coffee cup and puts it back down again. “Very good. Now, look at me, and I say the word ―Limit‖. Go ahead, try to lift up the cup.” Alan tries to lift up the cup, and this time he is unable to lift it. Everyone watching can see that he is gripping the cup as normal, and doing his very best to lift it with all the strength he can muster... but to no avail. It is exactly as if the cup were securely glued to the table. At this point, you can ask Alan to verify a few things: he really is trying to lift the cup, he is not lying or pretending, and he is not hypnotized. Alan confirms all these things, and he is telling the truth. It should be clear to all present that he is providing sincere, honest responses and not just playing along to make you look good. You do not need to have any physical contact with Alan for this demonstration. It‖s not the sort of effect that relies on a secret cue with your foot under the table or anything similar. You can stand on the other side of the room if you want. You then look at Alan again and say, “No limit. Lift up the coffee up.” Alan grasps the cup and lifts it up with ease. You say, “Alan, let‖s take this same idea but use it with something else.” You then invite the group to suggest any similar, simple action that ought to be quite easy for Alan to perform, such as pushing a spoon across the table, reciting his own name or tearing a piece of paper in half. It can be quite interesting to see what your friends suggest! You then repeat the same pattern as before. First of all, Alan demonstrates that he can perform the task with ease. You then use the trigger word ―Limit‖, and Alan cannot perform the action no matter how hard he tries. Finally, you remove the trigger word and he can perform the task easily.

The secret is beautiful, ingenious and elegantly simple. It all comes down to a very smart bit of what technically counts as pre-show — but please don‖t stop reading, as this is unlike any other pre-show you have ever used. The only requirement is that you can talk to Alan privately for a couple of minutes and then give your demonstration a while later. The interval doesn‖t matter: it can be several minutes later, several hours or even several days! The pre-show goes like this. Let‖s say you happen to have a glass to hand. Say to Alan, “Here‖s something interesting that‖s quite good fun. See that glass? Do you think you could lift it?” Alan will presumably express confidence that he can. You say, “Go on. Try to lift it up.” Alan will reach over and lift up the glass. Using quite a clear, emphatic tone, say, “No. That‖s lifting the glass. That‖s not what I said. I asked you to try to lift the glass.” At this point, Alan may well simply lift the glass again, in which case you go over the point once more: “No, listen carefully. That‖s lifting the glass. What I want you to do is to try to lift the glass.” In my experience, you only need to explain this distinction a couple of times at most before people understand the point. Alan will then reach over, take hold of the glass, and try to lift it without actually lifting it. In other words, he will look and behave exactly as he would if the glass were stuck to the table. As soon as Alan understands this sly verbal distinction, smile and congratulate him. “Great!” you say, “Now you understand the difference. We can have some fun with this later on. When you see what I do, you‖ll be able use the same idea yourself on other occasions. It‖s good fun, it will get everyone guessing, and the thing is I will never ask you to lie for me — I don‖t do that — or say anything except the plain, honest truth.” You are now all set. At any point later on, you can turn to Alan (seemingly at random) to be your test subject, and present the effect as explained above. Alan can sincerely and honestly confirm that he is not hypnotized, he is not pretending or faking, and he really is trying to lift the cup (or whatever else you ask him to do). In my opinion, people can tell when someone is just acting or playing along, or when they are being utterly sincere. It is the participant‖s sincerity, when he assures everyone he really is trying to lift the glass (and he really is), that sells this effect. I suggest that the pre-show demonstration and the first demonstration in front of the group should be similar, such as lifting up a cup or glass. After that, you can use the line, “...let‖s take this same idea but use it with something else”, and apply the same ruse to any other test or demonstration that the group suggests. Alan will understand what you want him to do.

The participant won‖t give you away for a very good reason. When he sees what you do, he will realize that he can use the same idea on other occasions and thus become a master mind manipulator just like you! It is in his interests to keep quiet and leave everyone amazed and entertained. It also helps that at no point do you require him to lie or pretend — he can stick to the honest truth at all times. This tends to foster loyalty. As I expect will be clear, you can dress this effect up in a thousand different ways. I like to use the patter structure I‖ve given here, with the preamble about Elvis and association triggers, just because that‖s my style and I think it helps to ―sell‖ the effect. You don‖t have to follow suit, but I think it‖s a good idea to develop a presentational framing that adds a little credence and weight to the effect. I hope you can see the value of this beautiful secret, and that you will have a lot of fun with it. All credit for this principle goes to Peter Turner, although in this article I have used some additional thoughts by Karl Scott.

Positive actions and words speak loudly – Peter Turner - ClubMagic This routine is something of which I am particularly proud. It incorporates a lot of different techniques to achieve the end result, but I promise the end result is worth all of the practice.

Effect The performer is sitting with a participant and asks her to think about a question pertaining to a particular situation that is occurring in her life at the moment to which she would like an answer. The performer then talks to the participant. After working out exactly how she thinks, the performer guesses her star sign, and proceeds to tell her about herself. After he has built a rapport with the participant, the performer answers the question in the strangest of ways that really proves that actions and words can make all the difference. Breakdown This routine is essentially a Q+A routine with a difference: instead of answering the question verbally, you are going to get the participant to answer the question for themselves using a series of hypnotic actions. (This is still ambiguous I know.) I promise all will make sense in a moment. There are a few factors you need to understand when performing this routine. The first is the most important element of Q+A: the most important element to the participant is not the question, it is the answer to the question. I tend to find that the most important element to the performer is proving that they actually deduced the question. In all honesty this doesn‖t really matter. The thing that is important is making the participant believe you know what the question is, and giving them an answer that fits the situation that they are in currently. Once I understood this, I then realised that most situations in life can be resolved. There are not very many situations we get into in life that we cannot get out of in some way. I am not saying ALL—that is very important to point out here—as there are some situations in life where there is not an easy resolution. Anyway, I am going off on random tangents, but I think this tangent will later prove to be important.

This got me thinking: if I could imply that I knew the answer to the question and then throw out a stock line or apply a cold reading style technique, maybe I could make the participant believe that I answered their question. I did it like this for some time, never actually giving anyone any advice (as I am not qualified to do that), but just trying to answer their question. I then realised this was a waste to the participant, as they were still in the same situation they were in to start with and all I had proved (to them at least) is that I had somehow read them. Then I realised, I do have a power. To a participant that genuinely believes in me, whatever I say is going to have a “white coat syndrome” effect. If they buy into the fact that I have some power (even if I claim I haven‖t), which does occur as their beliefs will always be their beliefs, then my words hold a high relevance. This got my brain ticking and I wondered to myself how I could use this positively in a question-and-answer scenario. I found out through trial and error something that I am sure is not new in thinking (but hopefully my take on it is). I should give the power back to the participant; I should use my words to make them believe in themselves. Often most people just want to hear from someone else that they are strong willed and that they have the power to move mountains should they so wish. In any question-and-answer scenario I found that I could simply just remind them that they had the power to do anything that they wish, or resolve any situation with some clear thinking and willpower. Obviously this doesn‖t read as anything exciting or ground breaking, but when you realise how I make them realise this, I think you will understand the power of this. Now that you know my thought process up until this point, let‖s take a look at the full performance and then break it into sections (I am going to streamline the star sign section for ease of reading).

Full performance Performer: “Hello, Jess. Thank you for joining me. I really do appreciate it. How are you?” Jess: “I am great, thank you. How are you?” Performer: “I am great, thanks. I would like to get to know you, Jess. Just so I can get a feel for you as a person, what is it that you do for a living?” Jess: “I am an administrative clerk.”

Performer: “Obviously that sort of role requires you to be headstrong and decisive and to be the sort of person that would be trusted with a lot of responsibility.” Jess: “Yeah, that‖s right.” Performer: “I bet it can be overwhelming at times, the amount of pressure others put on you, and I bet it feels like you are almost doing everyone else‖s work.” Jess: “It really does.” Performer: “I want to share with you something interesting, Jess. I very rarely do this, but I feel you are the sort of person that would really understand this and take nothing but positive things from it.” Jess: “Okay.” Performer: “No matter how individualistic we believe we are as people, and no matter how alone we feel from time to time, there is one thing that connects us all. Do you know what that is, Jess?” Jess: “No.” Performer: “The fact is that every single one of us has one stress or situation going on in our lives that we push so far to the back of our minds we pretend it is almost non-existent. That‖s what we do as people: we try to hide it and to pretend it is not there. “I would like to give you a gift, Jess, one that you will take with you and hopefully remember for the rest of your life. Before I can give you this gift, I would like you to do something for me. “I want you to think of a scenario that is going on in your life right now and to think of a question you could ask me surrounding that scenario. An example of that might be: ―Will I meet the man of my dreams?‖ Or, ―I am struggling with xx at the moment. How do I resolve it?‖ “Please don‖t think of anything health-related or anything to do with someone passing, as I really am not able to answer those questions. Take a few seconds to think about it. I am never going to ask you to say this question out loud, but I am going to answer this question. “The answer I give you to this question, you will completely understand. This way it protects your privacy as no one else here will know the question you would like to ask me. “Do you have a question in mind?” Jess: “I do.”

Performer: “Now before I even attempt to give you an answer to the question, let me at least prove that I am getting to know you somewhat. “I feel that you are a very intuitive person…” (The performer continues to read the participant.) Performer: “There is really only one star sign that could represent you. You are an Aquarius, right?” Jess: “I am!” Performer: “Now that I feel I know you a little better I think I am ready to answer the question. Have you ever heard the expression: ―a problem shared is a problem halved‖?” Jess: “I have.” Performer: “Well, as you know, my job is to read thoughts, and whilst you have not said anything out loud, I hope you seek some comfort in knowing I am reading you loud and clearly. I understand your problem and I have been in this type of scenario before. “I know you have been doubting yourself recently, almost feeling like you have to paint on a smile. I want to remind you of a few things; these few things will completely answer your question. “I have in the past been in a place where I felt so low, like the weight of the world was on my shoulders, that I didn‖t feel like going outside to face the world in the morning. I have felt that I just couldn‖t get around to solving my problems and most definitely could not see solutions. It was only in hindsight that I realised that most actions stem from a thought. “Negative thoughts create negative and null actions. Let me show you what I mean. “Can I please borrow your hand?” Jess passes the performer her hand. The performer pushes Jess‖ hand onto the table top. Performer: “I want you to think of the feelings I am talking about right now. I want you to, in your mind; put yourself into a scenario where you felt like this. “You will notice the moment you start to do this that your hand will become heavier. The more negative the thought, the heavier and heavier it becomes. Give me a nod when you feel your hand getting heavier.” Jess nods.

Performer: “We can often get so bogged down by negative thought that we end up not being able to do anything at all. Give me a nod when you just know your hand is stuck solid.” Jess nods. Performer: “With these negative thoughts in mind, Jess, try to lift your hand and you will find you cannot. Just try to lift it.” Jess tries to lift her hand from the table and it is stuck solid. Performer: “The harder you try with negative thoughts in mind the harder it is to do anything at all.” Jess tries harder to lift her hand to no avail. Performer: “Relax from trying, Jess, or you will strain yourself; your hand is going to remain locked to the table. I want to show you something. I now want you to think of something positive that you have going on in your life, something that gives you a feeling of happiness. Take a few seconds, close your eyes and really imagine how this makes you feel on the inside. When in Rome “When you can fully feel the warm feeling, open your eyes.” Jess opens her eyes. Performer: “With these positive thoughts you should feel you can do anything. Positive thoughts help us feel on top of the world. They make us want to get out of bed in the morning and make it a pleasure to walk out of the door and to take in a breath of fresh air. With these new thoughts in mind, try lifting your hand and seeing what happens now.” Jess is very easily able to lift her hand from the table! Performer: “That goes to show you just how strong positive thought is. I would like to go a step farther with your permission, Jess.” Jess: “That is fine with me.” Performer: “I would like to share with you the power of words. I have shown you that it is often negative thoughts that can affect the way that we act. “It is more often than not the things that we say that affect the way that others act. You can make or break someone else‖s day just by the exchange of a few words. I am of the belief that if you have nothing positive to say, you shouldn‖t say it all. “I would like you to metaphorically take a look at yourself and to make a judgement. Think of something you don‖t like about yourself.

“I would like you to let these words reverberate around your mind. In a moment I am going to have you try to say these words and I am going to use positive will to stop you. You will notice whilst these negative words float around your mind they create negative thoughts. Just like your hand became stuck to the table a few moments ago, your words will get stuck in your mouth, and no matter how hard you try to say these negative words, you won‖t be able to get the words out of your mouth. “You can feel yourself becoming tongue tied the more you think about these words. “Try and say these thoughts.” Jess tries to speak, and no matter how hard she tries the words won‖t come out of her mouth. She tries harder and harder, and the more she tries the more her mouth becomes stuck solid. Performer: “Relax for a second, Jess. Don‖t panic, take a deep breath in and, whilst relaxing, think of one of your strong qualities. Think of one thing you love the most about yourself. “Let this reverberate around your head for a few seconds. You will notice that positive words create positive thoughts. I am going to ask you to say whatever it is you are thinking of out loud for me. I want you to be confident when you say it. “Give me a nod when you are ready Jess.” Jess nods. The performer smiles like he knows something that everyone else does not. Performer: “Jess, when you are ready say what it is you have to say and don‖t worry about anyone else.” Jess: “I am a strong-minded and reliable person.” Performer: “I want you to shout that for me, Jess, at the top of your voice. Don‖t worry about anyone else.” Jess: “I AM A STRONG-MINDED AND RELIABLE PERSON!” Performer: “Perfect! Jess, I know you are about to approach a crossroads in your life where you are about to make a very important decision. If you take into account how strong you are as a person and approach that decision with positive thought and you use your words positively, you have the power to overcome any situation life throws at you. “The answer to your question is simple, Jess. It‖s you.” The performer leans in and hugs Jess.

FIN I hope the ending of this routine made the hairs stand up on the back of your neck. I am a massive believer in showing a process, and if you answer a question, answering it verbally is fine, but isn‖t it a little bit more exciting when you use their actions to really hammer home your point? This routine will take a lot of work and is not something that is going to happen every single time, but with the right participant and approaching this with the right frame of mind, you can make this happen a good majority of the time. I will provide an “out” for this routine for the people that are worried about this failing. I never worry about anything failing. I feel that the moment I worry something is going to fail in life, which is the moment things often go to shit. I think the moral of this routine really does apply within mentalism as well: “Positive thoughts create positive actions, and the words we say really do affect the way that someone else acts.” Let‖s break this down into sections to make the process of learning this easier. I will start by going through the performance almost like a director and pointing out the bits of relevance. Also, when I get to the star sign section I will point out the system that I use (there are three main divinations that I use). Performer: “Hello, Jess. Thank you for joining me. I really do appreciate it. How are you?” Jess: “I am fine, thank you. And yourself?” The notes you will see in bold are the bits in the performance where I see a particular relevance. You will notice that I open by thanking Jess for her time and asking her how she is. I find this is something that is ultimately missing from a good chunk of performance: social niceties. Going out of your way to become acquainted properly with your participant takes only a second but makes a massive difference in building rapport. That is something that is needed massively in this routine. Performer: “I am great, thanks for asking. Jess, just so I can get a feel for you as a person, what is it that you do for a living?” Jess: “I am an administrative clerk.” Performer: “Obviously that sort of role requires you to be headstrong and decisive and be the sort of person that would be trusted with a lot of responsibility.” Jess: “Yeah, that‖s right.”

Performer: “I bet it can be overwhelming at times, the amount of pressure others put on you, and I bet it feels like you are almost doing everyone else‖s work.” Jess: “It really does.” You will notice that I ask the participant what they do for a living and then, based on their answer, make a judgement. I would call this a trademark in my work. There is a reason why I do this. A few years ago I was filming a pilot with a television company in Leeds and we went out for a day on the streets. Back then I didn‖t have an iota of the knowledge I have now, and it really showed when I was working on camera. There was a director/producer that worked with me called Paul Stead. He was a man that didn‖t mince his words; if he didn‖t like something, you were the first person to know about it. He kept saying to me time and time again, talk to the person and ask them why they are in town. Try to find something out about them before just moving straight into a routine. At the time I couldn‖t understand what relevance this had to anything until I started to watch videos of me performing. I realised that all I cared about was showcasing the effect and didn‖t seem to have a care for my participants. The pilot was a flop and the material on there was terrible. I was young, I was naïve and I hadn‖t learnt some of the life lessons I have learnt now. You may wonder why I am telling you this. I always try to share a small part of me in each book so that the reader (you) gets to know a small part about me. The first thing about me that people get to learn is that I am constantly refining myself; when something is bad I take it on board and actively try to better myself. I know I am not perfect and I have a hell of a lot to learn. This was one lesson that took me nearly a year to learn, and I didn‖t learn it till I started working as a consultant. I understood when I started watching other people perform as Paul suggested. The participant was more willing to do whatever it is you wanted them to do and to take it seriously if you treated them like human beings. I think now I may overcompensate sometimes (who knows?). But it really is a valid point. Ask them how they are; ask them what they do for a living. This leads me to throw out a small line about their job (which is really tailor-made) that suggests I know things about them and implies that whatever they tell me will lead me to know a little more about them. Performer: “I want to share with you something interesting, Jess. I very rarely do this but I feel you are the sort of person that would really understand this and take nothing but positive things from it.”

I have employed a very simple yet very smart line here: “I rarely do this, but I feel you are the sort of person that will really understand this.” It suggests that this is something that very few people will ever get to experience and it also implies that the participant is perfect for this. It is essential you make them believe that they are essential for this sort of routine as it really helps later on. You also let them know it will be positive. I will explain why this line is important later on. Jess: “Okay.” Performer: “No matter how individualistic we believe we are as people and no matter how alone we feel from time to time, there is one thing that connects us all. Do you know what that is, Jess?” Jess: “No.” Performer: “The fact is that every single one of us has one stress or situation going on in our lives that we push so far to the back of our minds we pretend it is almost non-existent. That‖s what we do as people: we try to hide it and to pretend it is not there. “I would like to give you a gift, Jess, one that you will take with you and hopefully remember for the rest of your life. Before I can give you this gift, I would like you to do something for me. “I want you to think of a scenario that is going on in your life right now and to think of a question you could ask me surrounding that scenario. An example of that might be: ―Will I meet the man of my dreams?‖ Or, ―I am struggling with xx at the moment. How do I resolve it?‖ “Please don‖t think of anything health-related or anything to do with someone passing, as I really am not able to answer those questions. Take a few seconds to think about it. I am never going to ask you to say this question out loud, but I am going to answer this question. “The answer I give you to this question, you will completely understand. This way it protects your privacy as no one else here will know the question you would like to ask me. “Do you have a question in mind?” Jess: “I do.” Performer: “Now before I even attempt to give you an answer to the question, let me at least prove that I am getting to know you somewhat. “I feel that you are a very intuitive person…” (The performer continues to read the participant.)

Performer: “There is really only one star sign that could represent you. You are an Aquarius, right?” Jess: “I am!” ***Note to reader For a multitude of different ways to deduce the star sign refer to the ―zodiac mentalism‖ volume in this series. End of note*** Performer: “Now that I feel I know you a little better I think I am ready to answer the question. Have you ever heard the expression: ―a problem shared is a problem halved‖?” Jess: “I have.” Performer: “Well, as you know, my job is to read thoughts, and whilst you have not said anything out loud, I hope you seek some comfort in knowing I am reading you loud and clearly. I understand your problem and I have been in this type of scenario before.” This is, I feel, a beautiful piece of scripting because if the participant genuinely believes you are reading their thoughts, then it will comfort them to know you have read the question from them and that you empathise. I also suggest in my scripting here that I have been in this scenario before. I do this for two reasons: one, it suggests I can actually see the scenario they are in; if not, why would I mention it; and two, it suggests that I have been in a similar situation and therefore I have a right to be able to answer the question and talk about it without them feeling uncomfortable. Again, this is rapport building. Performer: “I know you have been doubting yourself recently, almost feeling like you have to paint on a smile. I want to remind you of a few things; these few things will completely answer your question.” Try to get some sort of reaction here. I don‖t mean a reaction like a wow or a reaction to the effect; I mean a confirmation, some sign, that they agree with what you are saying. Performer: “I have in the past been in a place where I felt so low, like the weight of the world was on my shoulders, that I didn‖t feel like going outside to face the world in the morning. I have felt that I just couldn‖t get around to solving my problems and most definitely could not see solutions. It was only in hindsight that I realised that most actions stem from a thought. “Negative thoughts create negative and null actions. Let me show you what I mean.”

This is a slight linguistic dual reality as the audience/witnesses will understand that as you are reading the participant and that is what they are experiencing (and it might well be). To the participant if it is, they will accept it as so; if not they will take it as a statement of how you have felt in the past and nothing more. It helps them to sympathise with you and makes them more suggestible to what is about to come. Performer: “Can I please borrow your hand?” Jess passes the performer her hand. The performer pushes Jess‖ hand onto the table top. Performer: “I want you to think of the feelings I have just been talking about. I want you in your mind to put yourself into a scenario where you felt like this. “You will notice the moment you start to do this that your hand will become heavier. The more negative the thought, the heavier and heavier it becomes. Give me a nod when you feel your hand getting heavier.” Jess nods. This is a classic “hand stick,” but it has a premise and a purpose. The idea of sticking someone‖s hand to the table seems like a daunting thing to someone who has never done it. If there is any time you are going to trust me it has to be here. It is self-working (well, to a degree); all it requires is trust in yourself and getting the participant to confirm that they feel it getting heavier. This is not set up as a challenge, so there is no reason for the participant to try and go against you at this point. Just follow the scripts I have provided and you will find this will work. If it doesn‖t the first time, don‖t be disheartened. Keep trying it; it will I promise! Performer: “We can often get so bogged down by negative thought that we end up not being able to do anything at all. Give me a nod when you just know your hand is stuck solid.” Jess nods. You are practically asking the participant to give you confirmation that they cannot move their hand, that it really is stuck solidly. When they do this proceed. Performer: “With these negative thoughts in mind, Jess, try to lift your hand and you will find you cannot. Just try to lift it.” This is the bold moment, if the participant has given you the nod to let you know they are not going to move their hand. They should not move it. That is the real secret here: trust in yourself and your participant management skills.

Jess tries to lift her hand from the table and it is stuck solidly to the table. Performer: “The harder you try with negative thoughts in mind, the harder it is to do anything at all.” Jess tries harder to lift her hand to no avail. It is essentially your words that are ensuring the participant‖s hand is stuck to the table. This sentence reinforces the suggestion, and if in the scenario where the participant is playing along (I have had this happen), they know not to lift it. Performer: “Relax from trying, Jess, or you will strain yourself; your hand is going to remain locked to the table. I want to show you something. I now want you to think of something positive that you have going on in your life, something that gives you a feeling of happiness. Take a few seconds, close your eyes and really imagine how this makes you feel on the inside. “When you can fully feel the warm feeling, open your eyes.” Jess opens her eyes. This is the bit where you need to be clever linguistically. You need to suggest to everyone else that they could damage themselves should they persist in trying to lift their arm and at the same time ensure that the participant keeps their hand on the table after they have relaxed it. We don‖t want them prematurely lifting up their arm and ruining the next bit of the effect. You will notice I apply the “Confirmation Principle” when I ask the participant to open their eyes when they imagine how a positive thought makes them feel. This is very clever because once you ask the participant to close their eyes, they have to open them at some point. Even if the participant doesn‖t get a feeling, when there are people watching them they will feel inclined to open them at some point, confirming to everyone else that they must have felt something. Performer: “With these positive thoughts you should feel you can do anything. Positive thoughts help us feel on top of the world. They make us want to get out of bed in the morning and make it a pleasure to walk out of the door and to take in a breath of fresh air. With these new thoughts in mind, try lifting your hand and seeing what happens now.” Jess is very easily able to lift her hand from the table! There are a few clever bits of scripting here, some for the benefit of the participant and some for the benefit of the audience/witnesses. The most important word in the scripting above is the word “now.” The reason the word “now” is so

important is that is suggests that there is a difference from a moment ago (even though there is not). Performer: “That goes to show you just how strong positive thought is. I would like to go a step farther with your permission, Jess.” Jess: “That is fine with me.” Again, here I am applying a “Matrix moment,” where the participant gets the choice to continue. I have never had a participant say they would not like to continue. The choice is purely theatrical and if you do get a No, then just move straight into the ending of the routine, skipping the “Preventing the participant from speaking” phase. I find it also helps in making the participant more suggestive, as you have told them you are going to be “upping” what happens, and when they agree to it, it is almost like them accepting that something bigger is going to happen before it happens. Performer: “I would like to share with you the power of words. I have shown you that it is often negative thoughts that can affect the way that we act. “It is more often than not the things that we say that affect the way that others act. You can make or break someone else‖s day just by the exchange of a few words. I am of the belief that if you have nothing positive to say, you shouldn‖t say it all.” I am going to cut in here because this is essential to the method. With this last line, “If you have nothing positive to say then you shouldn‖t say it at all,” you are practically suggesting to them what is about to happen. You are telling them it goes against your beliefs and the last thing they are going to want to do in a moment is to go against what it is that you believe in. This should stop them from speaking as it is easier to say nothing at all. Performer: “I would like you to metaphorically take a look at yourself and to make a judgement. Think of something you don‖t like about yourself. “I would like you to let these words reverberate around your mind. In a moment I am going to have you try to say these words and I am going to use positive will to stop you. You will notice whilst these negative words float around your mind they create negative thoughts. Just like your hand became stuck to the table a few moments ago, your words will get stuck in your mouth, and no matter how hard you try to say these negative words, you won‖t be able to get the words out of your mouth. “You can feel yourself becoming tongue tied the more you think about these words. “Try and say these thoughts.”

Essentially you are reminding them about the hand, reminding them that the hand got stuck and letting them know that this is no different—it is just occurring in a different place. Jess tries to speak and no matter how hard she tries the words won‖t come out of her mouth. She tries harder and harder, and the more she tries the more her mouth becomes stuck solid. Performer: “Relax for a second, Jess. Don‖t panic, take a deep breath in and, whilst relaxing, think of one of your strong qualities. Think of one thing you love the most about yourself. “Let this reverberate around your head for a few seconds. You will notice that positive words create positive thoughts. I am going to ask you to say whatever it is you are thinking of out loud for me. I want you to be confident when you say it. “Give me a nod when you are ready, Jess.” Jess nods. This is important. You do not want the participant to say they are ready out loud! This would totally destroy this bit of the routine. I ask them to make an action (a nod) when they are ready to talk. This prevents them from having to say anything out loud. The performer smiles like he knows something that everyone else does not. Performer: “Jess, when you are ready, say what it is you have to say and don‖t worry about anyone else.” Jess: “I am a strong-minded and reliable person.” The first time the participant says this out loud they are likely to just say it. Smile at them when they say it out loud, almost like you are proud of them for saying this out loud. Performer: “I want you to shout that for me, Jess, at the top of your voice. Don‖t worry about anyone else.” Jess: “I AM A STRONG-MINDED AND RELIABLE PERSON!” This is the hardest bit of the routine in my opinion, getting them to shout this out loud for the world to hear. When they get this off of their chest, trust me, they will feel amazing! Performer: “Perfect! Jess, I know you are about to approach a crossroads in your life where you are about to make a very important decision.

“I want to let you know that if you take into account how strong you are as a person, and approach that decision with positive thought, and you use your words positively in whatever situation you find yourself in, you have the power to overcome any situation life throws at you and to achieve anything that you set your mind to. “The answer to your question is simple, Jess. It‖s you.” The performer leans in and hugs Jess. I have found (as many performers have witnessed) that whenever I give an emotional reading or perform a piece that evokes a feeling afterward, a female will be the one that leans in and hugs me, not me hugging her. I feel that is a sure sign that they really have appreciated your time.

SPEECHLESS – Brandon Queen OBSERVATIONS This effect has several different applications and performance presentations. While the effect is very simple and basic, it takes a skilled and confident performer to properly execute it and to make it play big. This effect and the routines that accompany it are best suited for a close up, impromptu situation, but could be adapted for stage. I have kept this routine under my belt for a very long time, during which I have only shared it with a select number of friends and peers. This is actually something I had wanted to keep to myself, but a few years ago, my friend Jay Noblezada coincidentally released a very similar effect he calls the “Sith Choke” and shared it with the hypnosis community. Although our methods and routinesare quite different, there are definite similarities between them that have compelled me to release my routine and method to the mentalism community, and if this kind of material interests you, I highly suggest looking into Jay‖s ideas on this. Speechless is just one of the many presentational ideas that can be used in conjunction with the underlying method. This effect was originally published in my book titled PHATHOM under the name, “PSYCHO DYSPHAGIA”. Dysphagia is the medical term for the symptom of having difficulty swallowing and Psycho meaning Mental also coming from the portmanteau “Psychokinesis.” Speechless is one of the strongest, hard-hitting effects I‖ve come up with. It‖s simple in methodology, quick to perform and leaves a lasting impression. It does take a very bold and confident performer to execute flawlessly and consistently, so please don‖t be discouraged if you‖re not getting the results you are after immediately. It has taken me years of performance, trial and error to find the right pace, wording and even identifying the ideal participants for this routine. You do not need to know hypnosis to perform this effect, but I will tell you that confidence is key. It‖s not just the words you say, but it‖s all in the timing and pacing, and the entire delivery that yields the best results. As you read along, you will learn in detail how and why this works, and you will also learn several presentational ideas that this method can be applied to. Again, many of you will get this down your first try and many of you may have to try this several times until you can make it work for you. Like anything great, you must work hard to have the results you desire, so don‖t let negative thoughts and failures discourage you from performing at your full potential. The origin of this idea was a childhood prank / body magic trick that my friends and I used to use on each other in the playground, along with the invisible thread through hand trick and rising arms trick. It wasn‖t until about 7 years ago, when an old friend of mine reminded me of the gag at a bar, that I (immediately) started thinking of ways to apply it to mentalism. By adding what I have learned through my experience and education in hypnosis and performance art, I‖ve taken a very simple body magic effect and turned it into a killer routine.

MODUS OPERANDI There are several different methods that we can use to make this particular effect work. Each of the methods can work either individually or separately. The methods can be grouped into two categories: primary and secondary methods. The primary methods rely fully on physiological phenomena, whilst the secondary methods rely on suggestion. By teaming the suggestion methods with the physiological ones and vice versa, the likelihood of either one of them working is tipped in our favor. There is a motor pattern that naturally occurs during deglutition (the act of swallowing) and it consists of three parts. Those three parts can be labeled (in order) in the following manner: an oral preparatory phase, a pharyngeal phase and an esophageal phase. We are only interested in the oral preparatory phase, as the two latter phases are both involuntary and extend far beyond the scope of this effect. There are over 25 different muscles that are engaged in the throat within the first (oral preparatory) phase of swallowing. In order to cause a significant delay to a participant‖s voluntary motor responses, we are going to temporarily disable his or her relevant throat muscles by implementing a series of techniques that will interrupt the participant‖s central pattern generator (CPG). This will be achieved through the simple action of lightly rubbing his or her throat. This physical method alone will delay the participant‖s swallow by a few seconds. When coupled with suggestion, this delay can be prolonged and you will be able to repeat the effect without touching anyone.

PHYSIOLOGICAL METHODS THE TOUCH When performing this effect (and let us assume from here on in that you are performing it with a male participant) you are going to be lightly touching his throat. It is very important to understand exactly where to touch and where not to touch, as well as how much pressure to apply. You are not going to just overtly touch his throat; instead you will cover the move by telling him to focus all of his attention on that area and then touch his throat as you naturally gesture toward it. “In a moment you‖re going to feel a strange sensation in your throat. It may feel a bit uncomfortable at first, but I assure you that it is not dangerous. Go ahead and take a deep breath in through your nose and let it all out through your mouth. I want you to focus all your attention on your throat, because in a moment you‖re going to notice a slight tingling sensation, right about here.” This is where you touch their throat and then continue by delivering the following suggestion, “Now try to swallow.” The manner in which you touch the participant‖s throat and exactly where you touch it are quite important, so allow me to elaborate. There are two locations that I have found to be particularly successful for this, but the effectiveness of each location will depend on the type of person you are working with. Regardless of the location you choose to use

on an individual, you are going to do it with a very gentle and light touch with the back of your index finger. Imagine making a hook with your right index finger and then relaxing it. It‖s a similar action to what you would use if you were petting a small bird. The back of the finger is going to rub down, and then up just once. You‖re going to be rubbing your participant‖s cricoids cartilage area. That is the area just below the laryngeal prominence (Adam‖s apple) and the jugular notch. Rubbing on this area will achieve two things. First, because you‖re dealing with a sensitive area, once you touch it a person‖s natural reaction will be to defensively tense up. If the person you do this to appears to be completely open and comfortable with you touching his throat and he does not flinch or hesitate, you should take it as a sign that this may not work on him because he is too relaxed. Having mentioned that, it is important to have built up a certain level of trust, before touching the participant to begin with. The second thing this touch achieves is to generate the sensation of having just swallowed, within the spectator, thus rendering it more difficult for him to swallow again immediately thereafter. The other location you can touch is around the mylohyoid and geniohyoid muscles, which are located directly beneath the chin. You will be rubbing these just once. Start at the edge of the participant‖s chin and move your finger back, underneath his chin. Stop before you reach his Adam‖s apple. This move is more of a horizontal motion, whereas the first motion described was a vertical one. When you touch this spot, you can apply a little bit more pressure than you can for the previous touch. This method actually serves to lift the tongue in the mouth, simulating the first phase of a swallow. Again, by triggering the sensation of swallowing for the participant, it becomes more difficult for him to swallow again immediately after.

DOUBLE DEGLUTITION We can experience rhythmic swallowing movements (basically a train of closely spaced swallows) when we drink water. As this is a daily occurrence, it would be easy to assume that we could mimic this action at any time, however unless you are applying repetitive stimulation to your superior laryngeal nerve with a nerve probe, it‖s damn near impossible to swallow twice in a row. Luckily, we can exploit this natural paradox within this effect. You can use this method alone when repeating the routine, or use it in conjunction with the touch method. “In a moment you‖re not going to be able to swallow. The harder you try the more difficult it will seem to be. You can swallow easily now, right?” This is where you get them to swallow, seemingly in order to prove that it‖s an easy thing to do. In actual fact you are setting them up to fail when they try it the next time around.

LOOKING UP Try swallowing whilst looking straight up. It‖s extremely difficult, bordering on impossible. This physiological ruse works very much like the stuck eyes trick that is commonly used in hypnosis and we are going to use it to our advantage. In order for this to work you must instruct your participant to look up slightly. He should be made to look up enough that you can touch his throat, but also enough that the tilt of his head makes it a bit more difficult for him to swallow. “Go ahead and stand right there, with your feet together and hands by your side. Take a deep breath in through your nose and exhale out through your mouth. Excellent, now go ahead and look right here (have him focus on your finger, which is positioned in such a way he has to look up) and focus on this spot”

BACK BONE This method is very strange. It seems to work better than the touch method; however it can be very uncomfortable for the participant as well. Again, this is one of those things that one might learn in the playground at school, but I didn‖t discover it until about six years ago when a friend shared it with me after I performed the touch version on him. I do not recommend using this method on anyone who is sensitive to having pressure applied on their back. You could potentially make them feel quite uncomfortable if you press too hard. I don‖t know exactly why or how this particular method works, all I know is that it does. Essentially what is involved is to firmly run your knuckle down your participant‖s spine, starting from the top and stopping somewhere around the middle. That is the way it was demonstrated to me, however it is important to mention that this does work without the need to push too hard. This will work if you apply even a sleight bit of pressure. You need to be able to perform this move in such a way that the audience is never made aware that it happened. In order to achieve this, you must position the participant with his body facing toward the audience and then stand beside him looking toward his profile (your chest pointing at his shoulder). One of your hands will then be held in front of the participant while the other hand is held behind him. Neither hand should be touching the participant at this point. With the hand that is held in front of the participant, you are going to gesture upward and then downward with your palm up. It is during the second half (the downwards part) of this motion, that the hand held behind the participant will contact his spine and perform the dirty work. “Go ahead and take a deep breath in,” (both hands move up in unison) “now exhale through your mouth.” The hidden hand takes advantage of this moment and drags its knuckle along the participant‖s back (not too hard) whilst the visible hand moves down at the same pace and gestures for the participant to exhale.

SUGGESTION METHODS DRY MOUTH As I mentioned earlier, it is extremely difficult for someone to swallow twice in a row without drinking water. The drier your mouth is, the more difficult it is to swallow. It logically follows then, that we can make it more difficult for someone to swallow by convincing them that their mouth is dry. If someone has an open and suggestible personality, various physiological responses can occur as a result of the suggestions that have been delivered to them. For instance, a hypnotized subject who believes she is in a sauna will actually begin to sweat. A person, who believes that his mouth is dry, will actually begin to develop a dry mouth. By simply suggesting to your participants that a dry mouth is a common side effect of the process, many of the more suggestible ones will actually convince themselves that their mouths are becoming drier.

THE STRUGGLE You explain to your participant that soon, he won‖t be able to swallow. You attempt to swallow as a part of your explanation, acting as if it‖s a struggle to do so. The simple fact that he has watched you struggle to swallow sends subconscious suggestions to your participant about what he is about to feel and experience and increases the chance that he will actually experience those things.

CONFIDENCE It is very important to go into this routine displaying full conviction. Your participants‖ expectations will drop the second you doubt yourself or reveal a sense of uncertainty. Of course, the opposite is also true. If you walk into the situation with the mentality that this WILL work no matter what, your participants will sense your confidence and their expectancy will increase, making them more likely to experience an extreme case of temporary dysphagia. This method alone, has brought me plenty of success with this effect, generally for people who have just experienced a moment of dysphagia induced by another method, or for those who have just witnessed somebody else experience dysphagia first.

DIFFICULTIES There are a few potential difficulties that could cause this effect to fail, though it is at least quite easy to try again should that happen. Thankfully, we have layers of methods that we can combine to make this effect work. It is also worth mentioning that certain body types will react differently from others when treated with the same physical methods. Here are some of the difficulties you could encounter, as well as various methods by which you can overcome them.

SLENDER NECKS People with huge Adam‖s apples tend to have long necks and you can literally feel and see all the little muscles in their throats. This is a characteristic usually found in tall people or really skinny people and one that makes it more difficult to implement the touch method on someone. The first reason is that their Adam‖s apples can sometimes get in the way of the rub and the second is that you are forced to use less pressure on the rub because their throats are more sensitive. The best approach to use on one of these people is to rub the M&G muscles beneath his or her chin.

CORPULENT NECKS These people can sometimes be difficult to perform this on because they tend to have thicker skin and more meat on their necks that they don‖t really feel anything in that area. Rubbing on the cricoid cartilage of these people is more likely to work than on people with slender necks, but sometimes neither touch method will work. It is in this situation that I will usually perform the backbone method, because these people tend to be larger and you can usually press a bit harder on their backs with less chance of injuring them. I find this to be the most sufficient method to use on people with these body types.

FAKERS These are typically the alpha male types or overly confident females who want to heckle you and intentionally resist you. They do this thing where, when you have them try to swallow they will move their neck like a bird, dipping their head down forward and then up again in a fluid motion, as if they were demonstrating an exaggerated swallow. They will generally follow this by saying something along the lines of, “see, I can swallow.” I am most likely to receive this reaction when using the hypnosis presentation (described in the ―Presentations‖ section) because when I do perform this routine in a hypnosis context, I intentionally set it up as a challenge. When I encounter these types of reactions, I usually just move on to something else.

PRESENTATIONS Over the years, I have come up with several different presentations for this routine. Not so surprisingly, the first one I came up with was the “Force Choke” – the choke that Darth Vader uses in Star Wars. My favorite presentation to perform by far is “SPEECHLESS.” I often like to skip all of the patter, build-up and suggestion, and go straight for the kill. I suggest that you try all of these presentations and figure out which one works best for you and your persona.

This effect is extremely powerful and very fun. It would be a shame if you didn‖t try it at least once. I have here a collection of presentations that I have come up with using this method and a few ideas given to me by friends. Although this product demonstrates and advertises SPEECHLESS, you are not limited to just that presentation or type of performance. Now that you have watched, read and understood the basic principle behind how and why this works, (rendering someone from swallowing) let‖s see how we can use it in a performance context.

FORCE CHOKE This routine is inspired entirely by Star Wars and was the very first routine I came up with that used this technique. The premise is very simple – I am showing off a skill. There isn‖t much depth to this presentation, but it is extremely entertaining all the same. This presentation works best for Star Wars fans, or at least for people who are somewhat familiar with Darth Vader. “Have you ever seen the movie Star Wars? Do you remember how Darth Vader would choke people without touching them? Well I‖m going to try that same thing on you. Don‖t worry, I‖ll just do it very lightly. In fact, I won‖t actually choke you; I‖ll just make it so you can‖t swallow. Go and stand right there with your feet together and take a deep breath in through your nose. Great. You can swallow easily now, right? Good. You‖re going to feel a strange sensation right about here.”(Perform touch move) “Ready?” This is the moment that I take a few steps back and make a choking gesture with my hand like Darth Vader. I just use my thumb and index finger and act as if I they are trying to squish something. I watch for my participant‖s reactions and stop making the gesture just before he looks like he‖s about to gain control of the swallow. At that moment I create the illusion that I‖ve released him from my grip, by relaxing my finger and thumb.

HYPNOSIS Often times when I‖m performing hypnosis, I‖ll encounter someone who claims that they cannot be hypnotized. This is the perfect opportunity to perform this routine. When someone sets me up for a challenge, I don‖t ever feel like I need to prove myself or show off. Preferably, I will choose to perform for those who are willing to participate and are already enjoying what I‖m doing. Having said that, this is one routine that I will always use if someone challenges me and I feel like shutting them up. “There is a common belief that when somebody is hypnotized, the hypnotist can control that person‖s mind and make them do whatever they want them to do. The reason so many people believe this to be true is that it IS true. Hypnosis can and will allow people to control one another. If you don‖t believe me, let me show you. Do you feel like you have complete control over your own motor functions?

Try to swallow. You notice it‖s easy and normal. Now watch this.”(Perform the touch method and then snap your fingers) “Try to swallow. The more you try to swallow the more difficult it becomes” (snap fingers again) “There. Now you can swallow again.” Usually after performing this, the participant is ready and primed for real hypnosis. At that point I‖ll typically make his hand stick to a table or wall and continue with other hypnosis demonstrations from there.

SPEECHLESS This not only is the featured effect demonstrated in this download, but it is also my absolute favorite to perform. When I perform this, I don‖t usually present it as an effect or any type of formal presentation; I also don‖t give any forewarning that I‖m going to do it. I almost always use this when I‖m in a conversation with someone and the topic of hypnosis or mentalism comes up, or more preferably I immediately follow this effect after performing LACUNA on one of the other spectators. There are a couple ways of going about executing this particular routine. There is a more advanced approach which is quicker and to the point, and then there is an easier approach which takes a little longer to get to the conclusion. The advanced way of performing this, (and by advanced I mean experienced) is to do this on a whim, unexpectedly by interrupting your participant while in a conversation about hypnosis, mentalism or simply about the demonstrations you just performed. I don‖t recommend performing this as the very first thing you do. There needs to be expectations built up. I‖m not referring to expectations that they are going to be hypnotized or forget their name per se, but expectations and belief in YOUR ability as a mystery performer. They need to understand and believe that what you say is going to happen WILL happen. The way to do this is to PROVE it. Demonstrate your abilities as a magician/mentalist or a hypnotist first. For best results, I highly suggest performing LACUNA prior to SPEECHLESS because it demonstrates mind reading AND hypnosis in the same routine. The best part about LACUNA is that you don‖t need to know any hypnosis at all to perform it. After performing something like Lacuna it will cause your spectators to start talking about the effect. It‖s in this moment that you have facilitated a dialogue about memory and hypnosis, which is the perfect segue to SPEECHLESS. As I‖m talking to my participant, I‖ll just stop mid-sentence and say, “Do you remember that one time you completely forgot how to swallow?” As I say that, I‖ll touch his throat. Immediately after I‖ll follow up with, “just like that time you completely forgot your name” whilst simultaneously using my finger to tap the center of his forehead and making a pop noise with my tongue and or lips. The reason why this particular way of executing speechless is advanced and takes experience is because it‖s relying more on suggestion, as oppose to all the various physical methods previously mentioned in this PDF. This is where knowing hypnosis can greatly improve your success.

I build up their expectations and their belief in hypnotic phenomena. Once I feel that they are primed, I use a pattern interrupt. A pattern interrupt in this context is where in the middle of conversation, you bombard them with bizarre questions and physical touches. You‖re essentially overloading their thinking process unexpectedly, then giving them the suggestion of forgetting their name, which in theory and in application opens their mind to suggestion during that moment of confusion and distraction. Also, remember that during this time, after you‖ve performed either Lacuna or another effect that elicits conversation around your abilities, make sure to direct that conversation into memory. Not giving them enough time to think or react throws them off completely and for a brief moment, also allows me to bypass their critical mind. After I perform the touch move and suggest that they have forgotten their name, the fact that they actually can‖t swallow loops the suggestion of name amnesia, giving it more credence. It‖s a very linear process and again, takes a lot of confidence to pull off. A less advanced way to perform this routine is to artificially facilitate a conversation revolving around memory. Again it‖s quite essential that you have performed at least one other effect prior to performing Speechless, and let‖s assume that the effect went exactly as planned and you didn‖t mess it up. Just start the conversation by asking the question, “Have you ever forgotten something important that you knew you shouldn‖t forget, like misplacing your sunglasses and realizing that they were on your head the entire time?” Let them tell you about it. Let the conversation just flow naturally and keep that dialogue going. Let them recall that time they forgot something important because it will help them remember that feeling which will then make it easier for them to feel it again in a moment. Whenever you‖re ready to perform Speechless and you feel the conversation has gone well, you ask them another question, which is quite difficult to answer. “Have you ever forgotten how to walk or speak? Like can you imagine what that would feel like if you forgot how to swallow right now?” At this moment they will be thinking and imagining what that would feel like. Sometimes they get a bit freaked out because they imagined it a too well and they don‖t want that to happen to them. This is a good sign because it means that they believe it will and can happen, and also they‖ve just imagined it. Make them feel comfortable about the experience, because sometimes people will pull away as you‖re making the “gesture”. To help aid in building the anticipation and expectation that something is going to happen, use a process or ritual that progressively builds. For example you can ask them to take a deep breath in through their nose, and out through their mouth, or you can ask them to extend their arms out by their side like an airplane and look up, then slowly have their arms drift down towards the floor. The more ridiculous the process is, the more anticipation you build. Just be mindful that you don‖t want to make the process comedic, or else it won‖t have the same effect.

Just before executing the move, instruct your participant to breathe in and out of their nose, then as you do the move say, “Just focus all your attention right about here” (you then make the gesture touching their throat) “Try to swallow! You find it‖s impossible, just as impossible as it is to remember your own name.” As you say the word “name” either make a snap with your fingers or tap their forehead or some random weird gesture that signifies the moment. I know it may sound strange, but it helps the participant believe that something is actually happening. Banachek speaks about this in his book PSYCHOLOGICAL SUBTLETIES in which he calls the “Witchdoctor Effect”. At this point you are kind of left with two options. If you notice the suggestion has been fully taken on board, then you can just watch them struggle to say their own name. Give them time and space to respond and speak. They‖ll find that they can‖t remember their name, or say it, (depending on the suggestion you give them). The other option is if you notice they are fighting the suggestion and it may not work on them, then instead of giving them that time and space to respond, you keep bombarding them with more suggestions, as if you‖re speaking over them, not giving them much of a chance to respond. It would sound something like this: “…only as quickly as you forget your name! (snap/tap forehead) and the more you think of it, you just can‖t remember it, it‖s like it‖s right at the tip of your tongue but you just can‖t say it.. You want to say it, but you know you can‖t, oh wait there it is right there!” It‖s at this moment when you say, “it‖s right there!” that you make another “hypnotic gesture” such as tapping their forehead or snapping to denote the moment their name comes back to them. What you‖re actually doing is timing the moment they begin to speak. More times than not when in this situation, the participant will be waiting for you to shut up so they can tell you that they didn‖t forget their name. Just as they finally decide to speak over you, you act as if in that moment you gave them their name back. This looks great to everyone watching, and the person can try to deny not forgetting his own name, but everyone just saw. Also, worst-case scenario, you made them forget how to swallow. You still get an effect out of it. One of several important reasons to perform something prior to Speechless is that it helps you gauge who the best participant for this routine is going to be. You want to select the person that had the best reaction to the other effects you performed first. Essentially you are sort of unconsciously conditioning them to buy into the belief that you can and will do exactly as you say. So select your participants wisely and carefully. Also don‖t be afraid to try this on someone you think it WON‖T work on, just so you can experience how to deal with this kind of failure. It‖s important to experience both success and failure within magic, so that when it comes to performing when it really counts, you know exactly how to remedy the situation.

There are many layers that act together to make this particular routine possible. This doesn‖t work with everyone, which is why getting a sense for your audience is important, but remember It‖s well suited for use with people who are extremely interested in you and the magic, hypnosis, or mind reading that you have performed for them previously. If you are struggling or having difficulty performing this routine, just watch the video performances. Every performance was done immediately after performing LACUNA. That is why you see the same people. Take note in how I‖m performing the routine, and how the participants are reacting. You can learn a whole lot just by watching, and emulating. At no point did I hypnotize any of these people. I‖m by no means a great performer, and if I can pull this off using the exact methods I‖ve outlined here, then I trust that you‖ll be able to do the same with ease.

JUMPING PULSE My close friend, Paul Shirley, shared this idea with me. Since the moment I originally showed him how to perform the Psycho Dysphagia technique, Paul has been performing this routine for just about anybody he can get his grip on and I am very grateful that he has given me permission to share his take on the effect here. Paul‖s rendition makes use of Bill Cushman‖s Jumping Pulse and if you are already familiar with Cushman‖s routine, you will immediately understand how it is applied here. I can‖t explain how Cushman‖s Jumping Pulse works here; however, I can explain how I use it with Psycho Dysphagia. Once the participant has experienced his pulse jumping around from finger to finger, I ask him to imagine and feel his pulse slowly moving up his arm and then across his chest. I then suggest to him a feeling of tightness in his chest and tell him to notice that the tightness is moving up toward his throat. It is as I ask him to imagine the tightness moving up toward his throat that I use the touch technique, disguised as a gesture. I then lay the suggestions on thick and cause him to feel a lump in his throat. At this point, he cannot swallow and just before I sense that he is about to regain control of his swallow, I will synchronize an abrupt snap of the fingers with a jolt to his shoulder (delivered by my hand) serving to release him from the choke.

HYPNOSIS INDUCTION When I am performing hypnosis, I like to use “Psycho Dysphagia” as a waking suggestion or “set piece.” I will start with magnetic fingers and frame it as their body‖s physical response to a focused thought. I then ask a participant to focus his attention and awareness toward his throat. “In a moment you‖re going to feel your throat begin to tense up and it‖s going to get tighter and tighter. You‖ll find that for a few brief moments you won‖t be able to swallow. Instead of fighting it, just allow it to happen. When you feel that pressure

begin to release, you can allow every muscle and nerve in your body to relax and be completely open and ready for any suggestions. Don‖t speak or say anything, just nod your head once you‖ve lost the sensation of swallowing. Go ahead and close your eyes. When I click my fingers, you―re going to feel your mouth start to get really dry. You―ll notice that this begins with your tongue starting to feel uncomfortable, almost as if you―ve forgotten how to use it. As you swallow right now you―ll hear a crackling sound in your ear, that―s how you know this is working.” At this point, I perform either the touch maneuver or the spine technique and wait for him to nod. Once he has nodded, I continue: “Now, as you feel that sensation in your throat you‖ll begin to notice a wave of warm energy surging from your throat, down to your feet and allowing you to become more and more relaxed.” From this point I will take him deeper into a hypnotic state and continue to loop all of his physiological responses to hypnotic phenomena, building each suggestion upon the last. For more information and education on hypnosis, I highly suggest checking out any and all products from Head Hacking. Their book REALITY IS PLASTIC is by far the best introductory book on hypnosis I‖ve ever read.

DRINK UP This idea was actually given to me by another good friend of mine, Paul Vigil. I shared my method with him at Luke Jermay‖s first workshop in Las Vegas. Paul suggested that the routine be prefaced with the participant taking a drink of water, in order to prove that he can properly swallow. Then, he suggested that the participant be directed to take another sip of water, but instead of being instructed to swallow, he should be instructed to hold the liquid in his mouth. It is at this point that Paul suggested performing the touch maneuver and watching the participant struggle to swallow the liquid. I‖ve performed this for people and sometimes they end up spitting the liquid out. I don‖t do this often, but it‖s definitely entertaining and something worth trying.

KEY FOB When I attended Mind-Vention 2012, I was in the dealers‖ room and noticed that pretty much every single vendor was selling some sort of electronic item that used a little remote to control something. I thought it would be funny to convince people that I had just purchased a new gimmick that had been designed to choke people. My stunt-prop was a not-so-futuristic key fob, with a little LED light built in.

Throughout the convention I would explain my new gimmick to people, perform the touch move and point the key fob at their throat. After doing this a few times, I realized that people were really freaking out!! I also told them that the product was still going through a beta testing period and that I was unsure of any longterm damage. After the first performance, all I had to do was point the light at the throat of a subject who had already experienced the ―choking‖ effect and it would work. There is so much suggestion built into this method that it practically works itself. After using the key fob, I started considering other possible gimmicks and tools that I could use to supposedly induce this choke. It would be fun to create a contraption that looked like it came from a sci-fi movie and to use it to choke people. Power balance bracelets and interesting rings worn by participants also came to mind, as it would be interesting to convince participants that their bracelets or rings were able to give them (or take away) full conscious control over their bodies.

SPEECHLESS – Additional ideas/ commentary Anthony Jacquin The first person I saw do this effect was Jay Noblezada. I believe Brandon Queen had already been doing the effect but understand they created it independently of each other. They have different methods for creating the initial feeling, that is then associated with the first squeeze. I find this effect can quickly escalate from dual reality into a full-blown suggestion effect. In this sense it is like doing the effect where a participant cannot push the performer over. Before they push I always suggest, ―Look at me, you will be as weak as a kitten this time.‖ Often they are! They simply have no power in their push, allowing me to not be reliant on body mechanics. With the choke, you will soon sense if they are responding to the suggestions, and can then extend the effect or move it into other energetic effects. I prefer to do the entire effect with their eyes closed. However, if they are suggestible you can also do it eyes open, at a distance. It is the closest thing to real Sith control. At the first virtual squeeze I try to get a few beats out of it, PK Touch style, ―You can feel that right, nod if you can.‖ ―Excellent, point to where you can feel that.‖ Then I suggest ―Good, it is going to get even more intense,‖ and mime a tighter squeeze. ―Again, you can feel that right?‖ nodding my head, they respond positively. I then change my hand position to more of a force push than a choke position as I ask this question, ―Tell me, in a word or two what that feels like.‖

As they answer I adjust my hand position to initiate I am causing that. If it is sharp, I point, if it is a tickle, I tickle, if pressure, I push. At this point I get into the gulp phase, encouraging them quickly, ―Try and gulp again, it will be almost impossible this time.‖ ―You may even struggle to take a breath!‖ I obviously do not prolong this phase. One attempt is enough. Alternatively, tell them they will struggle to say their name. I then touch them on the chest as I say ―Open your eyes, it‖s all gone, all gone, everything back to normal, pretty strange right.‖

Everyone knows – James Brown - ClubMagic The effect for one person is simple …. everyone knows my thought… for everyone else its just solid mindreading. Start by saying that you are looking for someone who is willing to completely let go for an experiment in telepathy. Select your volunteer accordingly. The key to what follows is compliance. Ascertain a word from a spectator using whichever method you are most sure will leave you knowing the word and them BELIEVING you couldn‖t. I tend to use a good impression or peek device. If you have the opportunity to achieve this all ―pre-show‖ then thats a lovely bonus. Separate them from the rest of the audience and perform a good theatrical looking hypnotic induction on them. Remember, what you are interested in here primarily is their compliance. You want to look them in the eye, change the intensity of the moment by being full of confident certainly about what is to follow. Show your clear intent. Extend your hand for theirs and as they take it give it a gentle pull saying “sleep” with that same controlled confidence. Remember, we just want compliance. This should look as good as it can so, if you are able (not just physically but also with the wits to comprehend the safety aspects) take them down to the floor, or at least back into a chair. Give them further instructions to both keep their eyes closed but also suggest to the audience a more hypnotic situation than may actually be. “you can keep your eyes closed relaxing deeper into this feeling with everything I say” Turn to audience and explaining that “our conscious thoughts are believed to be the barrier to the true potential of the human mind, this trance like state alters the alpha brainwaves allowing access to subconscious connections” Or any other plausible bullshit your imagination can conjure Turn back to the subject. “You may speak loudly and clear…. do you have a word in your mind… [Yes] does anyone else know what that word is? [NO] Did I give you a particular word to say before the show? [NO] Unbeknown to the subject, take out a pad… “I want you to project that image now, project it out like a sign big and clear -

concentrate on the word now….” “Now I think I can see it” Write the word on the pad “I want everyone else to see it too” Show them. “I think thats everyone” Put board away and now ―wake up‖ the subject. Simply say: “Take a moment to come back to normal in every single way, feeling quite refreshed and open your eyes…. feel good?” Say this with the best beaming smile you can muster. Reinforce the situation with questions… “How are you feeling? “Its a weird experience isn‖t it?” “Throughout that experience you were focusing on a word, have you told anyone here what that word is?” [NO] This is a key moment in the belief of the spectator “….but you do remember projecting that word out?” [YES] “I think i got that loud and clear… but this isn‖t about my abilities its about yours. So (turning to the audience) if you know the word please shout it out on count of three… 1,2,3, “…….” This will destroy. Take your bow and catch the fainting women. Now, and this is quite important. If the spectator has an existing set of beliefs it is eminently possible that they will take on the role of someone who is actually hypnotised. Don‖t worry. Simply understand that they are just following the suggestions you‖ve given them so well their imaginations have allowed them to perceive it as real. Just follow the routine as it is… the outcome for both the hypnotised and the ―just being compliant‖ are identical! All you need to do is throw yourself into the role completely. Yes there are safer ways to go with this effect but it really is worth taking the plunge and going for it… This is where the real magic lies after all.

James Brown - ClubMagic P.S. If you want to learn more about the power of suggestion and how it can and will benefit ever area of your magic and mentalism stroll on over to www.powa.academy… there‖s even a free little trick there to get your feet wet.

When the Sky Was Opened – Robert Watkins “Is there no way out of the Mind?” - Sylvia Plath

Effect The performer puts a participant into a hypnotic trance. He asks the participant to think of the name of their best friend from grade school. The performer quite literally steals this thought from the participant‖s mind to the point where the participant is seen to have forgotten their friend‖s name! The thought has vanished from their mind. The performer reminds the participant who this person was by revealing the name.

Method This is probably my favourite routine in this book. The title refers to an episode of “The Twilight Zone”, one of my absolute favourite television shows. Watch the episode of the same name and you will understand how it influenced the following presentation, as I wouldn‖t want to ruin it for you if you haven‖t seen it. This routine took the most time and work to create. It all started with a philosophical question concerning Mentalism. A question I want to ask you right now: Why do we assume that when we steal a thought from a participant‖s mind that the thought would be ―copied‖ and exist in their mind AND ours simultaneously? Imagine the Mind as being like a candy jar with one piece of candy inside (representing a thought), if you took that piece of candy out of the jar, it would no longer be there, right? In the same way, I wanted to create an effect that would exemplify this in presentation. My thinking was to have a participant think of something, you steal this thought and show that it is no longer in their mind – via an amnesia type effect – then you reveal this thought and in the process, remind them what this thought was! I experimented with many different ideas to bring about the 'Amnesia' using trickery and deception and they all failed to give the results that I wanted. I finally decided that the only way to make this work was with genuine hypnotic suggestion. It was something that I had no real experience with at the time, and was always afraid of trying out before. But because this idea was so fascinating to me, I had to try it. Once I decided on using real hypnotic techniques, I created a script with a system of 'outs' that gave me more confidence to take this and work it in the real world. The next week I went out with my friend Richard Torres to get some video. I performed the routine four times, and it worked beautifully every single time. Since then, it has not failed me.

The combination of suggestions, deception, and outs, as well as selecting the correct participants, gave me enough confidence to pull this off, and it has NOT failed me since. You may not believe me until you try this out yourself. There is no reason not to try, as the outs are strategically placed within the structure of the routine, so you will always be performing with a safety net. If a person with no prior experience performing hypnosis can achieve this, you will be able to, as well. I strongly recommend you do, as I see this routine as an excellent introduction and 'way in' for you to perform other hypnotic tests with the same spectators. Here is the explanation.

Getting the Name As with the previous routine, I use the “Severance” technique to get a name of the participant‖s best friend from grade school. Once this peek this

again, the rest of the audience does not know that the participant is thinking of friend and is unaware that you have this information stashed away. After I get my and rip the paper up, explaining that I want to “Try something different”, I give line of scripting:

Performer: “There is a reason for everything I do. Even if it doesn‖t seem to make sense in the beginning, there is a reason. All I ask is that you follow my instructions carefully, and trust me – then you will experience something amazing!” I then go into a simple suggestibility test. I do a “Hand Stick”.

The Hand Stick It is important to point out that before I even consider doing anything like this, I like to get a feel for the participants that I‖m working with in order to determine if I want to try this sort of stuff out with them. I want to give you all the information I can to make sure you can take this material out in the real world and work it for yourself. I look for compliance and whoever is the most attentive within the group I perform for and choose those to participate in routines that rely on hypnotic language to work. Once you‖ve performed this effect and see it work, you will feel a certain power with this. There are two other qualifications I always look for in a participant before I try this out. The first is their belief in my credibility. They have to believe that I am doing the real thing. If they look at me as if I am just a magician doing tricks, this sort of thing may not work. In order to establish more credibility for myself, I perform some effects that are geared toward creating belief at the very beginning of my set, before I even start with the “Severance” technique. Effects where the presentation is ―body language reading‖ are good because they are very believable to the average person. Basically, you will get a ―feel‖ for when your participant‖s believe in your abilities. They will also show it.

The second qualification is the participant‖s enthusiasm about my material. If they show an active interest to participate, they are more likely to do what you want them to do and even play along, if needs be. There is a fine line though, in certain situations there may be someone who shows too much enthusiasm and would not be a good fit for effects of this nature. The real secret to successfully performing this style of material is to go out and do it and to learn by trial and error (not that you need to worry so much because this routine is structured in such a way, as to insure success). Now that you have an understanding of what I am looking for in a participant, once you feel you have a participant who meets these qualifications for yourself, you will then do the “Severance” technique and move on to the “Hand Stick”. I use this as a suggestibility test of sorts. There are sure fire ways to perform this first phase, as well as what comes after using pseudo hypnosis techniques. Fraser will chime in with his personal approach to performing the illusion of trance. This is something I always have in the back of my mind when performing this routine as something I can fall back on to ensure the effect is always successful. With Fraser's approach the illusion of trance and the successful outcome of hypnotic tests is always maintained, without the need for any actual hypnotic phenomenon needing to take place. The best part of how Fraser approaches this subject is that the participant is also fooled into believing they were under the performer's hypnotic influence, as well as the audience at large. In order to perform the “Hand Stick”, I ask the participant to place their hand on a table in front of them (or a flat surface next to them, anywhere to place their hand will do). I then ask them to stare at the tip of their middle finger, take a deep breath in and out. Performer: “I want you to keep staring at this particular spot. Focus only on this spot, and concentrate completely. As you focus on this spot, and listen to the sound of my voice, you will notice your body becomes very relaxed. The only part of your body that becomes tense is your arm and hand. I want you to imagine your hand is getting heavier and heavier and heavier (touching the participant's hand everytime you say ―heavier‖). As you are imagining this, you will start to feel that it is beginning to feel heavier, yes?” Delivered with confidence, this scripting should cause your participant‖s hand to actually feel heavier. This is true suggestion, and once they have started taking these suggestions on, they will reinforce it within their own minds, themselves. They will let you know if they are truly feeling this. Once they let you know they feel their hand getting heavier, continue: Performer: “And it just keeps getting heavier and heavier. Every time I touch the back of your hand, it gets ten times heavier. To the point that if you tried to lift it, you find you can't. Nod your head when you feel your hand is too heavy to lift”.

This line of scripting is very interesting because it sounds like you are challenging them to lift their hand, but in reality you are getting them to agree that it is in fact, getting so heavy that they can‖t lift it without actually having them try and lift their hand, just yet!

FRASER‖S COMMENTS: A nice line here is: “Nod your head when you feel your hand is too heavy to lift”. What this does is get the spectator to commit to the idea that their hand is too heavy to lift, before you actually ask them to try to do so. Once they 'nod' they not only let you know they are now 'imagining' they will not be able to lift their hand, they also confirm that this is the true situation, for themselves. What this means is that when you ask the spectator to try to lift their hand – they have already convinced themselves that they are not going to be able to – meaning they will act as if they are not able to lift their hand when it comes to asking them to try and do so. This scripting also builds anticipation – a very powerful tool in suggestion. Once they nod their head, you now know that they will not be able to lift it. Now it is time to genuinely test this out. Performer: “And it just continues to get heavy. When you know that you cannot lift your hand – try and lift it” This line works the same way as the previous line. It is asking them to only try and lift it when they know that they can‖t! It‖s a very devious line of scripting and hypnotists use language structures like this all of the time. The entire time that you are doing this “Hand Stick” procedure, you are watching and observing your subject and really studying them to see how well these suggestions are being taken on. Any time you feel a subject shows any hesitation or scepticism, just keep pacing and leading the suggestions. Keep reinforcing each suggestion until they show genuine reactions and give you confirmation that your words are becoming their reality. If you ever have a completely non-compliant subject – this routine will not work on them. But that is the purpose of this test. If they cannot pass this test, then they will likely not experience the 'Amnesia' later on. But the beautiful thing is that you always have their friends name to fall back on! In the event that you run into a subject that cannot experience the “Hand Stick”, simply change the effect you are going for. Here is how you would utilize the 'out' and change tracks, mid-performance. Use this line of scripting: Performer: “Now that I have got to know a little more how you think, I want you to imagine you are going back in time to grade school…” Now you will just do the original “Severance” presentation, ultimately revealing the name (while the rest of the audience doesn‖t know it was written down).

Think about the layers of deception that are always at work and working in our favour, within the way we structure these effects! If the participant does show signs of struggle when trying to lift their hand then we continue with the effect as planned and you will now test the “Hand Stick” suggestion further: Performer: “And the more you try and lift your hand, the heavier it gets”. You don‖t need to test it as robustly as this if you prefer not to. Once I have seen a genuine struggle to lift the hand, they will usually be very perplexed and amazed at how ―stuck‖ their hand is! You can now break the spell by saying: Performer: “Now look, once I touch your hand everything is back to normal! You have always been able to lift your hand!” Here you touch their hand and it lifts. Now you have completed your suggestibility test. You will be amazed the first time you try this and it works. Remember proper selection of your participant, and confidence in your delivery are the two main ingredients to getting this effect to work. You are now in the perfect position to build on this initial suggestion and try other hypnotic tests. If you succeed in the “Hand Stick” test, this will boost your confidence to move on to the next level. The spectator will also be more likely to move along with you and follow the suggestions which follow, now that you were successful with the first test. This is known as pacing and leading. Providing you don't jump too far or too quickly, in terms of the believability of what it is you want the spectator to imagine as true, they will follow right along with you and your suggestions – allowing you to successfully perform each of the hypnotic tests, within the routine. Our next step or test is the induction.

The Induction This induction is the same exact method and procedure as explained earlier in “Introjection”. Go read that section if you haven‖t already. It is really a ―pseudo induction‖ but will usually be taken on as a true induction by your subject (especially after you have already performed the 'Hand Stick' routine. Your participant is in a suggestible state already and will now follow along with your suggestions as if what you are doing is real hypnosis). The purpose of this induction is to get your subject to close their eyes as well as to facilitate the “Witch Doctor Effect” . FRASER COMMENTS: This is a good place to move onto a slight tangent before continuing on with the routine, in order to explain the subtle difference between actual hypnotic phenomenon and pseudo trance or the illusion of hypnosis, occurring within this effect.

Usually, you would start your hypnotic set with what is known as an induction. This is a smaller effect of hypnotic suggestibility to see how well the spectator is going to respond to your suggestions in much larger, more difficult tests of hypnotic phenomena. It also allows the spectator to become comfortable and get used to following your suggestions. If you perform these smaller tests with a larger group of people then you can see who is responding best to your suggestions and use this spectator in the tests which follow or if working one on one, simply choose to abandon the later tests and simply do something else. Watkins has decided to place this induction after the initial hand stick effect and instead have the hand stick effect act as the actual induction and suggestibility test. This leaves the induction which follows slightly redundant, in the sense of how it would typically be used. However, it doesn't mean it is not useful. Not only does it add to the overall performance, theatrically – it at the same time, continues to build on the previous hand stick suggestion and the believability that what you are doing is genuine hypnotic influence, in your participant. This will help sustain the belief, to everyone concerned, that what you are doing is hypnosis and this will in turn, help ensure the suggestion for the participant to forget a name which follows, will take place. Due to the language and outward appearance of what you as the performer are seen to do, often when performing pseudo hypnotic feats, the participant will believe that they are in an altered state and some hypnotists would argue that they truly are, in such cases. However, I believe it does not really matter if they are in any actual altered state or not. If it looks as though the participant is in an altered state then this means that they are, period. If you give what sound like suggestions for your participants but instead deliver these as direct instructions (I.e. for the spectator to close their eyes) and perform actions which indirectly suggest a performance of hypnosis (I.e. you snap your fingers and they open their eyes again – which in itself, indirectly suggests they were under some strange influence before and that you are able to get them to do things by simply snapping your fingers) and you act as if what you are doing is hypnotic control, then the outward appearance of what you do and the hypnotic context you give your performance, will convince everyone involved that what they are seeing is in fact, the performance of actual hypnosis. Even the participant will be fooled into believing they were in an altered state or were compelled to follow your 'suggestions', in this way. It may be the illusion of trance only, that is created by your words and actions but this won't matter, as the participant will be fooled by the outward appearance of the performance itself and believe they were hypnotised or in some sort of altered state, even if they weren't.

If you act as if it is so; it will be seen to be so by everyone involved – both the participant and audience will be fooled along the same lines. This is a very subtle use of the Dual Reality ploy, where any slight difference in perception between the participant and audience members is reconciled by the outward appearance and illusion created. Therefore, all of these scripts can be considered as having a real hypnotic affect on your participant or as working because of the illusion your words and actions create. Sometimes you will want to deliver your instructions as more indirect suggestion and other times when wanting to play it a little safer, you will want to give direct instructions to your participant. In either case, it is a matter of simply shifting your own perception. If you want to perform what Watkins has already taught with no fear of failure, then I suggest you simply change your beliefs and attitude towards what you do and imagine the suggestions you give will be understood as mere instructions for the spectator to follow. If you are still unsure how effective your suggestions will be then simply change these more indirect directions or suggestions to direct commands. Then allow how the performance looks outwardly and how you act, to do the work for you and frame the natural compliance of the participant as well as your direct instructions, as being brought about by hypnosis. In my opinion, there is little to no difference between performing actual hypnosis using suggestion and giving more direct instructions when performing pseudo trance illusions. The only difference is your confidence in the method and your abilities to get others to do what you want. If you believe what you are doing has a true power, then it will be seen as so. Whether you believe this comes through the illusion of the outward appearance of what you do or a phenomena labelled hypnosis, is not really important. You will still get the same results. The added benefit of falling back on more direct language is that it makes your presentations more sure fire! As soon as your subject has closed his eyes and bowed his head you will immediately go into the 'deepening' of this hypnotic state: Performer: “That‖s right you are just drifting and flowing and relaxing with the experience. Listening to the sound of my voice and sinking deeper into this relaxed state. I am now going to start counting backwards from 3 to 0. As I do this, you are going to imagine walking down a staircase, going deeper and deeper into this very relaxed place, allowing your subconscious to take over your mind where everything you imagine becomes reality. 3…2…1…and 0” . This is hypnotic language that suggests a deepening of trance. Whatever your beliefs in hypnosis – this stuff works. I was sceptical before actually going out and trying this. I have proven for myself that hypnosis is a real thing. Once you have completed the deepening phase, you are now going to get into the 'Amnesia' phase. Here is my (loose) script that I use to accomplish it:

Performer: “Now you have reached the bottom of this staircase. I want you to imagine seeing a chalkboard in front of you. Written on it, is the name of your best friend from grade school. I want you to imagine taking an eraser and erasing this name from the chalkboard. By doing so, you are erasing this name completely from your mind. To the point that it no longer exists in your mind. To the point that if I were to ask you what this name was, you would not be able to answer me because it is no longer there. Just like your hand got stuck to the table, this name disappears from your mind. Because the only way I am going to be able to pick up on this thought, is if you completely erase this name from your mind so that it can appear in my mind. Nod your head when you have completely erased this name from your mind.” This script is very important. It works in the same way the previous hand stick does. They will tell you when they have essentially imagined that the name no longer exists in their mind and they can therefore, not recall it. The following subtlety is something that I discovered while performing this effect. This subtlety is a little addition that reinforces for the rest of the audience that this name is just now being thought of, in this moment (even though it was written earlier. See “Severance”). When you give the line, “Written on it, is the name of your best friend from grade school”, you are going to deliver that line as if the idea for them to think of this name was spur of the moment. Your demeanour has to be as though the instruction to think of their best friend from grade school was just a random idea on your part that you just thought of. The cool thing about this, is the fact that your subject has his eyes closed. So he cannot argue or object to your demeanour, which implies that this is the first time you thought about asking them to think of this particular name. Even though the “Severance” billet asked them to think of this name earlier. Watch the video entitled “When the Sky Was opened” on my YouTube channel, to see exactly what I am talking about, as it is hard to describe in words alone. Anyway, the suggestion to erase this thought from their mind is very strong for a number of reasons. I could just easily tell you just to give the script with confidence and it will work. But I want to explain to you why this works, so you can understand the deep and abstract principles for yourself, and apply these to your own creation of routines.

Reminding Your Participant of Their Friend No one really agrees on exactly why suggestion works. There are countless theories out there. I believe the script above really works well because we have an added bonus on our side: The desire of the participant for the performer to reveal their best friend‖s name. By giving the line,

“Because the only way I am going to be able to pick up on this thought, is if you completely erase this name from your mind so that it can appear in my mind” you are actually encouraging their desire to cooperate, because they want to see where this is going. Once they have nodded their head in agreement that this name has completely vanished from their mind, you have another chance to use an 'out'. This is the out that will give you the most confidence to try this routine, as there is no chance of anything leading to complete failure. Here is how. As I said, this is your last opportunity to use an out that will insure this routine‖s success. This last phase of the effect is structured to where it cannot fail. Think about this: if you wake your participant up after giving the script above, and ask them to say their friend‖s name, there is a good chance that they will not be able to respond. But what happens if they do respond? You have nowhere to go. If they openly say this name, the effect will be destroyed because now you have nothing to reveal. Here is how you can strategically take care of this situation, to where even if they do say the name, you will still have a reveal to fall back on. Once they have nodded their head, confirming that they have erased the name from their mind, you will now take out a pen and paper and write the name down (remember their eyes are still closed and they appear to be in a trance). Due to the fact you have directly told them to erase the name from their mind, you will always get this nod of their head and confirmation that they have done so. So regardless, of whether they have in fact, forgotten the name or not does not make a difference to the outward appearance of the effect. It will always look to those watching, as if the spectator has temporarily erased the name from their mind and that it must have then entered yours, in order for you to accurately guess this name and write it down. The name should be written down as though you are picking up on the name at the same time they are erasing the name from their own mind. Once you have this written down, place it to the side face down. Now when you wake up your participant, if they say the name and the 'Amnesia' portion of the effect did not work for them (which it will most of the time) you will still have the name revealed on the paper and the presentation will remain the same. The spectator will not visibly be unable to say the name when the 'Amnesia' fails. However, only you will know that this potential larger outcome of the effect is missing. To everyone else, it will still appear as if the name was erased from the mind of the spectator and this is how you were able to write down the name. This is a subtle use of the Dual Reality ploy.

You will always have this false perception and the illusion of 'Amnesia' to fall back on. Even when the spectator is able to recall the name they may still reason that they must have actually erased the name from their mind when you directed them to do so, due to the fact they will be working with the logic of the premise. That in order for you to read their mind their thought would have to first be erased from theirs. You having written down the name is proof that this name was in fact erased from their mind and travelled into yours! The use of hypnotic language is simply to allow for this bigger outcome of effect to play out, most of the time. Here is how I wake up the participant (after I have written down and committed to the name): Performer: “I am now going to snap my fingers and you will open your eyes. I will ask you a question and you will NOT be able to answer. You will be able to answer any other question I ask but you will not be able to say this name.” You then snap your fingers and they ―wake up‖. Performer: “You will be able to answer any other question I ask you. Where are you from? (The subject responds) and what was the name of your friend from grade school?” You should ask the question as if you have 'Amnesia' yourself. Ask it as if you are forgetting something as well. This is an empathetic reinforcement. You should also say “What WAS your friend‖s name” not “What IS your friend‖s name”. This is hypnotic language, as it implies that the friend‖s name is no longer there. Watch as your participant struggles to say it! It‖s amazing when this works because you will be astonished at your participant‖s genuine befuddlement. They will look really confused and perplexed that they cannot say (or maybe not even remember) their best friend‖s name! FRASER COMMENTS: Here Watkins is using an aspect of my pseudo trance work. He is using a direct command and literally telling the participant what it is he wants them to do, using direct language disguised as suggestion – that they will NOT be able to say the name BUT will only be able to answer questions not pertaining to the thought of name. He then allows the context of the hypnotic performance to re-frame this direct command as suggestion. This ensures you get the result you want, no matter how hypnotised your participant actually is. As long as they are compliant – as far as being a good participant who wants to follow along to ensure the successful outcome of the effect – then they don't have to be hypnotised for this to work. The spectator may only believe they were unable to say the name and not think that it was erased from their mind. This doesn't matter from the perspective of everyone watching because even if this were the case, and the spectator says that the name was on the tip of their tongue – it will still appear to be missing to some degree, as they would logically be able to say the name if they could fully recall it, in their conscious mind.

Having said this, spectators will usually just go with the easiest explanation for what has seemingly happened and believe that they were perhaps hypnotized to forgot the name! It is the strength of the illusion and the context provided by the performance itself, which ultimately convinces the spectator. Once you see them struggling, it‖s very important to watch them carefully. If at any point, they look like they are about to say something, immediately re-enforce the suggestion by saying: Performer: “It‖s almost like it‖s on the tip of your tongue, and the harder you try and say it, the more difficult it becomes”. If they start to move their lips to say the name you can touch them on their forehead and act as if you have just given them the name back! I don‖t leave my subject in this state for very long. Just long enough to prove to everyone watching that this name is gone from their mind. Once I feel that the point has been made I bring the name back by saying: Performer: “Here, let me remind you who this person is”. I then tap on their forehead (just like I tapped their hand to ―unstick it‖) and say: Performer: “Everything is back to normal now, you can say your friend‖s name now. What was the name of your best friend from grade school?” This line in itself suggests that they couldn't remember the name before, even if they were simply following your directions not to say the name. The illusion is still maintained. They answer. Now you will explain to them that while they were erasing the name from their mind, you wrote something down on a piece of paper sitting next to them this entire time. When they turn it over, the name will be written because you wrote it earlier while their eyes were closed. The effect has reached its conclusion and you are always able to end successfully with the reveal of the name. I hope you see the beauty of this routine, as it has so many layers of deception that it is nearly impossible for an audience to even think about methods. I believe this routine really exemplifies my philosophy of mentalism summed up in a phrase I use: A Magician never reveals his secret, but a Mentalist never lets you know he even has one.

SUGGESTION - THE HEART OF HYPNOTISM ANTHONY JACQUIN “HYPNOSIS IS A JEWEL IN THE CROWN OF SUGGESTION; NOT THE OTHER WAY AROUND.” ANTHONY JACQUIN • Theoretically I have moved from a state-based view of hypnosis, to a special-process view, and now settled on a hard cognitive-behavioural view of hypnotism. This view suggests that ―sleep‖, ―trance‖ and ―deeper‖ are just suggestions; no different to ―magnets‖, ―lighter‖ and ―stuck.‖ They are not a prerequisite for acceptance of the suggestions that follow. They are an aesthetic choice. The ONLY defining characteristic of hypnosis is ―the classic suggestion effect.‖ This is a subjective sense of non-volition in relation to your behaviour. I suggest you suggest the classic suggestion effect when you are suggesting.

“SUGGESTION RULES HYPNOTISM.” HIPPOLYTE BERNHEIM 1840-1919 • Bernheim was the first to explicitly state that ALL hypnotic phenomena can be produced by suggestion in the absence of hypnosis. Known for his dictum, “There is no hypnosis; there is only suggestion”, yet he still maintained that hypnosis was a specific condition of enhanced suggestibility brought about by nonvoluntary ideo-dynamic action of appropriate suggestions.

“ALL BEHAVIORS SEEN IN HYPNOSIS CAN ALSO BE OBTAINED WITHOUT HYPNOSIS. “ CLARK HULL • Clark Hull (1884-1952) released the landmark text, ―Hypnosis and Suggestibility‖ in 1933. This was the first major book to compile the results of laboratory experiments in hypnosis, and the first to apply the techniques and standards of modern experimental psychology. One of the first things learned through his research was this: • “The only thing which characterizes hypnosis as such and which gives any justification for calling it a "state" is its generalized hypersuggestibility. That is, an increase in suggestibility takes place upon entering the hypnotic trance. The difference between the hypnotic and normal state is therefore quantitative rather than qualitative. No phenomenon whatever can be produced in hypnosis that cannot be produced to lesser degrees by suggestions given in the normal waking condition. The essence of hypnosis lies in the fact of change in suggestibility.” • These data suggest that suggestion, rather than hypnosis, is the fundamental phenomenon on which we should focus.

“SUBJECTIVE RESPONSES DO NOT DEPEND ON INDUCTION” THEODORE X. BARBER • In 1969 Barber went further still and demonstrated that all of the observed effects of hypnosis, including the increase in suggestibility that was observed following a hypnotic induction, could be duplicated by non-hypnotic procedures, to the same degree. • His ―Barber Suggestibility Scale‖ included a measure of subjective or experiential response to suggestion, as well as a measure of behavioural response. Thus, Barber was able to demonstrate that the subjective responses to suggestion did not depend on the induction of a hypnotic trance.

EXPECTATION AIDS SUGGESTION THE WORK OF YOUNG AND COOPER IN 1972 SHOWED 75% OF THE SUBJECTS WHO EXPECTED AMNESIA EXPERIENCED IT, WHEREAS NONE OF THOSE WHO DID NOT EXPECT AMNESIA EXPERIENCED IT.

THIS SUGGESTS THAT EXPECTANCY IS A KEY FACTOR IN MAKING PEOPLE RESPOND TO SUGGESTION.

SUGGESTION SHOULD BE OUR FOCUS WHAT MADE HYPNOSIS INTERESTING IS SEEMINGLY STRANGE RESPONSES TO SUGGESTIONS SUC H AS ANALGESIA, AMNESIA, AGE REGRESSION, NON-VOLITIONAL M O V E M E N T S , A N D

P O S I T I V E

A N D

N E G A T I V E

HALLUCINATIONS.

WE NOW KNOW THESE RESPONSES DO NOT REQUIRE HYPNOSIS FOR THEIR PRODUCTION, THEREFORE THE FOCUS OF INVESTIGATION SHOULD BE ON THE BROADER TOPIC OF SUGGESTION AND ITS EFFECTS. UNDERSTANDING SUGGESTION GIVES US A CLEARER UNDERSTANDING OF HYPNOSIS, AND ALSO PLACEBO, COMPLIANCE AND INTERROGATIVE YIELDING.

THE CLASSIC SUGGESTION EFFECT THE SUBJECTIVE EXPERIENCE OF AUTOMATICITY OR INVOLUNTARINESS ACCOMPANYING RESPONSES TO SUGGESTION IS KNOWN AS THE CLASSIC SUGGESTION EFFECT. BEHAVIOURAL COMPLIANCE WOULD NOT BE EXPERIENCED AS A SUCCESSFUL HYPNOTIC RESPONSE. IT WOULD FEEL LIKE A ―DOING‖, RATHER THAN A ―HAPPENING‖. THE EXPERIENCE OF AUTOMATICITY OR NON-VOLITION IS NORMALLY PART OF THE COMMUNICATED SUGGESTION EFFECT. IT IS ALSO A CULTURAL SUGGESTION WITH REGARD TO HYPNOSIS. ACCEPTING A SUGGESTION THEREFORE, MEANS COMING TO EXPECT THAT THE SUGGESTED EVENT WILL OCCUR AUTOMATICALLY.

Etymology of the word Suggestion [FROM ANGLO-FRENCH AND OLD FRENCH SUGGESTION, HINT, TEMPTATION, FROM LATIN SUGGESTIONEM NOMINATIVE SUGGESTION, AN ADDITION, INTIMATION, NOUN OF ACTION FROM SUGGESTUS, PAST PARTICIPLE OF suggerere BRING UP, BRING UNDER, LAY BENEATH, FURNISH, AFFORD, SUPPLY, PROMPT FROM SUB + GERERE, BRING, CARRY, LATIN IS FROM HEAP UP, BUILD, BRING FORWARD AN IDEA.] - HypnoSatsang

WHAT IS A SUGGESTION? A SUGGESTION IS A COMMUNICATION INDICATING THAT AN INDIVIDUAL WILL EXPERIENCE A PARTICULAR RESPONSE. IT DIFFERS FROM AN INSTRUCTION OR A COMMAND IN THAT THE RESPONSE IS TO OCCUR NON-VOLITIONALLY, RATHER THAN BE EMITTED INTENTIONALLY. - HypnoSatsang

VARIETIES OF SUGGESTIONS LABEL SUGGESTIONS: PROCESS SUGGESTIONS: PRESTIGE SUGGESTIONS: OUTCOME SUGGESTIONS: COMBATIVE SUGGESTIONS: EXPERIENCE SUGGESTIONS: PRESTIGE SUGGESTIONS: DIRECT SUGGESTIONS. INDIRECT SUGGESTIONS: POST HYPNOTIC SUGGESTIONS: EMBEDDED SUGGESTIONS: CLASSIC SUGGESTION SUGGESTIONS: NOCEBO SUGGESTIONS: PLACEBO SUGGESTIONS: NONVERBAL SUGGESTIONS: VACUUM SUGGESTIONS… “HYPNOTIC SUGGESTIONS ARE TRANSLATED INTO BEHAVIOUR WHEN THE PERSON BEING HYPNOTISED ENGAGES IN TWO FUNDAMENTAL COGNITIVE PROCESSES, NAMELY, (A) SUSTAINING AND ELABORATING UPON SUGGESTED IDEAS AND (B) DISREGARDING OTHER DISTRACTING INTERNAL AND EXTERNAL STIMULUS INTRUSIONS. HYPNOTIC BEHAVIOURS ARE IDENTICAL TO OTHER COMPLEX SOCIAL BEHAVIOURS ARISING FROM ABILITY, EXPECTANCY, ATTRIBUTION AND BELIEF. THEY ARE CHARACTERISED BY NONVOLITIONAL RESPONSES. ” — Spanos and Barber (1969; 1974)

HYPNOTICALLY SKILFUL “WHAT DOES A GOOD SUBJECT SEEM TO KNOW AND DO? • Understands hypnosis is an active, collaborative effort. • Is engaged, participates, uses their imagination. • Open to becoming absorbed in processes, ideas and suggestions. • Is open to experimenting with different response strategies. • Has a positive hypnotic mind-set. Believes they are capable. Expectant about benefits. Patient. Optimistic about results. Holds a positive self-image about participating. • Is indifferent about other passing thoughts and feelings. • Notices changes in ongoing experience and indulges in them. • Attributes the effect to the hypnotist, or the process. • Can be at ease even when experiencing nonvolitional responses.

INVOLVEMENT CREATE CURIOSITY AND ENCOURAGE COMMITMENT • Creating atmosphere - Music. Lighting. Artwork. Aroma. Use of space. Pace. Hands-on experience. • Increasing participation - Questions, written declarations, visualisation, lists, games, set piece exercises, yes, role-play.

• Maintaining attention - Keep things short. Use questions, provide innovative information, quotes, change mediums, make them feel important, keep moving, avoid detail. Speak to the crocodile - not interested in the unchanging or the detail. • Ask question - Gain immediate involvement, guide the conversation, set the pace, clarify statements and objections, determine beliefs, attitudes and values, to slow you down, to establish needs and show sincerity. Questions prompt automatic answers and stimulate our thinking response. Right answers encourage people. • Tell stories - Compelling storytelling automatically creates attention and involvement. Stories should underscore your main points to increase impact. Stories persuade better than facts. They simplify the complex, they trigger emotions, persuade indirectly, demonstrate who you are. Tap into hope, faith, inspiration and innermost feelings to move people. • Repackage; don‖t repeat - Things grow on us. Repeated exposure to ideas or concepts will make them more favourable. • Build suspense - We are curious about the unknown. It draws our attention, keeps us involved and motivated to listen. We want completion, finality, closure, resolution. Pique interest and they stay tuned. • Generate competition - Limit the opportunity, let them know they are special, challenge them to go further. • Engage the senses - Visual, auditory, touch. Engage them all. Encourage people to attend to them, to be sensitive.

INCREASE EXPECTANCY CREATING SELF-FULFILLING HAPPENINGS • Assumptions - What expectations are your assumptions about hypnosis, yourself, your service, your show, your subject creating? How can you best communicate with assumptions? e.g In a short while from now… • Expectations of others affect behaviour - How does your subject or your audience think you think of them, what do they think you expect of them? e.g Please remain quiet for this part. Do we have a deal, OK? • Presuppositions - What can you presuppose to be true? How is that communicated? e.g You have all the resources you need. • Placebo suggestions - How will the experience be experienced, what will it‖s secondary effect be? e.g After being hypnotised most people feel… • Time - Bind happenings in with time expectations. Be specific or as vague as necessary regarding what, where and when. e.g When your hand touches your head… • Reputation expectations - Get people to follow through with phrases like ―You are the kind of person who… You‖ve already impressed me with your ability to….I liked the fact that you…

• Use embedded commands - Repeat key phrases and messages, sow seeds, germinate later. Pepper. Punctuate. e.g How will you feel when you leave here today and quit smoking forever? • Pace and lead - This is the key language skill to master.

ENHANCING HYPNOTIC SUGGESTIBILITY THE SOCIO-COGNITIVE WAY • Responding to hypnosis depends more on the abilities, attitudes, anticipations and expectancies of the subject than it does the skill of the hypnotist. So attend to the following: • Develop rapport and a therapeutic alliance. • Understand the subject‖s motives and agenda, plans, wishes, expectancies. • Identify personal connotations that hypnosis has, including conflict and ambivalence about experiencing it. • Dispel myths and misconceptions and create positive treatment expectancies and response sets. • Assess subject‖s stream of awareness and internal dialogue during hypnosis. • Assist the subject in how to interpret suggestions and to adopt lenient criteria for passing suggestions. • Motivate involvement in hypnosis and encourage the use of the imagination and attention to sense alterations in experiences and responses. • Devise suggestions and hypnotic communications that are tailored to the subject‖s dynamics that minimise resistance and increase perceived control during hypnosis.

VARIABLES THAT MEDIATE SUGGESTION UPTAKE BE PERMISSIVE. PRESENT AND RESPECT CHOICES, OFTEN IN THE FORM OF DOUBLE-BINDS, SO THAT EITHER CHOICE PROMOTES IMPROVEMENT. ENCOURAGE SUCCESS BY BEGINNING WITH EASY TASKS THAT THE CLIENT IS ALMOST CERTAIN TO ACCOMPLISH. DEFINE TASKS SO THAT FAILURE IS IMPOSSIBLE. EVALUATE PERFORMANCES AT ANY LEVEL AS INDICATIONS OF SUCCESS. STRUCTURE EXPECTATIONS SO THAT EVEN SMALL IMPROVEMENTS ARE SEEN AS SIGNIFICANT BEGINNINGS. BE ALERT TO RANDOM FLUCTUATIONS AND CAPITALISE ON THOSE THAT OCCUR IN A DESIRED DIRECTION. PREPARE CLIENTS FOR SET-BACKS BY LABELLING THEM IN ADVANCE AS INEVITABLE, TEMPORARY, AND USEFUL LEARNING OPPORTUNITIES.

THESE PRACTICES, WHICH HAVE EVOLVED FROM CLINICAL AND EXPERIMENTAL HYPNOSIS, CAN BE USED TO MAXIMIZE EXPECTANCY EFFECTS IN NONHYPNOTIC PSYCHOTHERAPY AS WELL. “SUGGESTION ISN‖T JUST EVERYTHING, IT‖S THE ONLY THING” — Anthony Jacquin

ANTHONY JACQUIN: THE SET PIECE - MAKING THE MICRO MACRO “AN ENGINEER OF EXPERIENCE WOULD NEED ONLY TO BE ABLE TO ALTER OR UPSET THE COUNTER- INTUITIVELY TENUOUS HOLD THAT PEOPLE HAVE ON FAMILIAR REALITY. CONSCIOUSLY TAKING A ROLE IN THE PROCESS MEANS THAT THE SMALL PERCEPTIONS, MEANINGS, CONTEXTS AND NARRATIVES THAT MAKE UP THE OSTENSIBLY STABLE WORLD IN WHICH ONE LIVES DAY- TO- DAY BECOME THE TOOLS AND BUILDING BLOCKS TO BUILD ANOTHER WORLD ENTIRELY.” — Aaron Alexander

FOR THE CLOSEST THING TO REAL MAGIC AIM TO MEET ALEXANDER‖S THREE RULES It feels right. It causes astonishment, mystery and fascination. It works right. Demonstrations, methods and explanations are consistent. It sits right. It does not use false or patronising explanations. It avoids narrow tropes and explanations.

THE SUMMONING OF POWERS PRESENCE, SUGGESTION AND CAUTION Keep effect and intrigue at a level where the audience feel it and respond to it but feel they sensed it for themselves. Imply what you want them to believe in a way that is unintentional. Create presence and meaning through subtlety and implication. Behave like you believe in it with an understanding of how. Be a guide into a realm of wonder that shines through, now and again, if circumstances are right.

REFRAME YOUR RETICENCE ETHICAL SUBTERFUGE Am I fooling them? You are doing what you are purporting to do; using suggestion to affect their ongoing experience. This will likely lead them to associate their experience with you, your process, or their own special skills. Am I being dishonest? No. You are doing what you are purporting to do. The fact that you have knowledge of body mechanics, quirks of perception, socialpsychological and cognitive-behavioural strategies, and utilise these things to increase chances of a satisfying demonstration, is what you do. Isn‖t it a bit silly? It is fun, it is collaborative, it is playful, it is disarming, it is contagious, it can be massively profound. Silly is an aesthetic choice. What if it doesn‖t work? Most times it does. Sometimes it doesn‖t. So what? The objective result will almost always be achieved. That can be satisfying and provide evidence of it ―working.‖ Your interest is the subjective experience. If that isn‖t achieved to your satisfaction, it goes unnoticed. If nothing happens at all, now you know. Either provide more training, get new people or do something else.

EYE LOCK THE EYES HAVE IT… Physiological Method - Place finger on top of their head a couple of inches back from their natural hairline. ―Close your eyes, and roll them back as if you were trying to look up at this spot where my finger is. Keep your eyes on that spot, however you imagine it is fine, and as you continue to look at it, imagine your eyes are stuck and there is nothing you can do to open them. Look at that spot and try to open them. Now stop trying and relax.‖ Elman Method - ―Close your eyes for me. Allow the muscles in and around the eyes to relax. Now I would like you to pretend and imagine, that every muscle in and around the eye is so completely relaxed, that if you were to hold onto that relaxation, they just wouldn‖t work. That‖s it, let every muscle nerve and fibre, in and around your eyes be so relaxed, they just won‖t work, and when they feel that relaxed, test them. Good now stop testing.‖ Adapted Elman Handshake Method - ―Please look here right underneath my eye. Keep your eyes on that spot. I am going to shake your hand three times. The first time your eyes will begin to feel tired, the second time, they will feel heavier still and the third time your eyes will close. Look, that‖s it, I shake your hand once, and you can notice your eyes, just keep them on that spot, that‖s it, the second

time heavier still, that‖s right, and the their time eyes close now, so heavy now, they are just too heavy to open, heavy as if shut, locked, stuck. When you really feel that, test them, try and open your eyes and fond they feel so relaxed, so heavy, they just won‖t work.‖ Cobra-fixation Method - Move your fingertips in an inverted T shape. Left, right, left, up, down, left, right left…‖I‖d like you to begin by fixing your eyes on the tip of my finger. Don‖t close your eyes yet. As you follow my finger your eyes are going to want to close, just try to keep them there, that‖s it, heavier and heavier and any time it is easier, your eyes will close, automatically. That‖s it, relaxed, so relaxed, the even the effort it would take to try to open them seems to be too much effort to bother making. When you are certain they are that relaxed, that heavy, try and open them and find you cannot.

THE JUMPING PULSE MY APPROACH TO BILL CUSHMANN‖S EFFECT FROM ―SUGGESTIBILITIES.‖ Make a tight fist, as tight as you can and look at it, concentrate on it, how it looks, how it feels. Notice how even though I said as tight as you can, you can squeeze a bit more, dig your nails in, grip with your thumb, you may even feel the skin stretching on the back of your hand. Now everyone knows we have a pulse in our wrist and a pulse in our thumb. Any nurse will tell you not take a pulse with your thumb in case you get a false reading. So now I would like you to keep that fist as a fist, but let go of the tension, so it looks like a fist to me but, you can feel it relax. Now I would like you to imagine you could feel a pulse in the palm of your hand. And when you feel it, let me know. Almost as if you were holding something and could feel it‖s pulse, expanding and contracting. Excellent. Now in a moment I am going to click my fingers and you will feel that pulse in your index finger, so concentrate on your index finger and feel it now. Now in a moment I will click again and it will be as if it jumps to your little finger, you will feel it there. Now I will click again and it will come back to your palm. Keep it there.

Now I would like you to keep it there as consciously you make a guess about where it might jump to next. When I click which finger ill it jump to. Now keep it in the palm and wait until I click. Did you guess correctly? *Yes **No *Excellent this shows us your conscious and unconscious minds are perfectly synchronised and you are ready to be hypnotised. **Excellent your unconscious has already assumed more responsibility and you are ready to be hypnotised.

MAGNETIC FINGERS / HANDS / FOOT Fingers - Can you put your hands out in front of you. Clasp them together, palms together, thumbs crossed on top. Now bend your elbows, like you are making desperate prayer. Put your first fingers up an inch apart. Now look at the gap between them, because in a moment they will touch, just like magnets being pulled together, they are already moving, look, the closer they get the stronger that force becomes. When they touch, allow your eyes to close, only as quickly as you are ready to begin / relax / go into hypnosis / make the necessary changes…Now take a nice slow deep breath, then breathe out as you open your eyes. Excellent that shows me you can concentrate. Hands - Now, in a moment I will ask you to concentrate just like you did on your fingers, only this time I want you to really use your imagination, so in a moment I will ask you to close your eyes. I‖ll ask you to place your hands out in front of you like this, to close your eyes and imagine you have two powerful magnets strapped to the palms of your hands, pulling them together. When they touch, your head can simply fall forward as you relax. OK, so place your hands out in front of you; look at the space between those hands, get a clear picture of your hands stuck out there; now close your eyes and imagine you have two powerful magnets strapped to the palms of your hands, pulling them together. They are already starting to go; imagine that magnetic force is getting stronger; the closer they get the stronger it becomes. I know it is difficult to tell exactly when they are going to touch, but I can assure you they are going to touch, just like when as a child playing with magnets you felt that magnetic attraction, pulling those hands together. Now let your hands drop down as your head drops forward onto your chest and relax. Excellent. Now open your eyes. You have a powerful imagination.

Foot - Take a step forward for me. Easy right. Now take another step, and look down at your foot, concentrate on that spot where your big toe is and imagine your foot is stuck to the floor. Imagine there is nothing you can do about it an try and lift it. Notice how difficult that is, it is stuck, try in vain to lift it as it becomes more and more stuck. Now when I click my fingers you can of course unstick it.

HYPNOTIC GLUE FIST / HAND / CHAIR Fist - Make a fist, squeeze tight, feel your nails digging into your palm, your thumb tightening and the skin stretching on the back of your hand. As you do imagine your your whole hand is becoming stuck in that position, as if it is covered in superglue and is setting into place. Imagine that and that as it locks into position, there is nothing you can do about it, it will not open. Continue to imagine that and try and open it. Hand - Place your hand on the table, push it into the table and as you do imagine it is becoming stuck to the table. Imagine that, imagine it is stuck as if superglued, and imagine that table is superglued to the floor, so that lifting that hand would be as difficult as lifting that entire table. Continue to imagine that and try and lift it. Chair - OK, sit comfortably back in the chair, have your feet out in front of you flat on the floor. Clasp your hands together like this and look at the tip of my finger. As you look right here, you can relax and imagine you can become so relaxed as you look, that if you hold onto that relaxation, you just won‖t be able to stand up as if stuck to the chair. Imagine that, becoming so heavy in that chair, so relaxed, as if your back stuck to the chair, as if your feet are stuck to the floor, just for a time imagine you cannot get up, it is just too much effort to bother making and then try to stand up and find you are stuck fast. ANTHONY JACQUIN: INDUCTION - THE HYPNOTIC RITUAL "CERTAIN PEOPLE PREFER PARTICULAR INDUCTIONS. IN STUDIES SOME EXPRESSED STRONG PREFERENCES FOR A TRADITIONAL RELAXATION INDUCTION, OTHER PEOPLE PREFERRED A SENSORY AWARENESS INDUCTION THAT FOCUSED ON SUBTLE CHANGES IN BODY SENSATIONS AND IMAGINATIVE EXPERIENCES, AND STILL OTHER PEOPLE PREFERRED AN INDUCTION COMPOSED OF SUGGESTIONS FOR POSITIVE EXPERIENCES, ENJOYMENT, ENERGY AND INNER STRENGTH. ALTHOUGH THERE WERE DEFINITE” DIFFERENCES AMONG STUDENTS IN TERMS OF THEIR PREFERENCES AND SATISFACTION, THERE WERE NO DIFFERENCES ACROSS THE INDUCTIONS IN TERMS OF HOW THEY FARED ON A SUBSEQUENT TEST OF SUGGESTIBILITY." — Lynn, Kirsch and Rhue 1996

RITUAL THE SACRED ACT Induction is a ritual. Ritual is a sacred action. Ritualisation of daily life adds sharpness to experience. Rituals begin with a delineation of a space. The space is empty. We begin in silence. Actions, speech, interpretations, empathic reflections, a relationship, dramatic or artistic activity adorn the space. All these are adornments upon emptiness. Space is room to grow.

INDUCTIONS VARIABLES WORTH CONSIDERING Although no particular induction is better than another in terms of how the subject will fare on a subsequent test of suggestibility, it is worth considering your subject‖s unique attitudes, preferences, abilities and expectations as well as their condition. Some of these variables might have an impact on how well they respond to the task you are presenting them with. Often the pre-hypnosis discussion will yield useful information that will help The Hypnotist in refining their induction for best effect without necessarily changing it altogether. Be sensitive to the following variables and flex your approach accordingly: Attitude. What is the subject‖s attitude? Do they think their role is to challenge, participate, or be entirely passive? Preferences. Have they expressed a preference for relaxation? Do they fear giving up control? Abilities. Do they have the ability to think, visualise, fantasise and absorb themselves Expectations. What do they expect? Have they experienced hypnosis before? Condition. Does their condition prime them for or prevent them from doing certain things?

THE HANDSHAKE BANDLER STYLE Look at your hand. Look at the lines. Look at one spot. As that hand moves towards your face, your eyes will begin to change focus, and as you notice your eyes… Close your eyes and sleep.

GROUP HANDSHAKE INDUCTION INTO LAUGHTER Put your and out in front of you as if you were about to shake my hand, then lift it up like this, up above your eye-line, about 12 inches away from your face and look at your hand. Look at your hand, look at the lines, look at one spot. As you look at it, that hand will begin moving toward your face, just like your hand is a magnet and your head is a powerful magnet. You will all get there at different speeds, just imagine it is magnetised, it is moving, it is happening all by itself As it gets closer you are going to enjoy a growing sense of well-being, an unusual sense of well-being, in fact this is going to start to seem funny to you. It may put a smile on your face, that‖s right, that smile turns into a grin and that grin turns into a laughter and when your hand touches your head, or you just feel ready, allow your eyes to close, only as quickly as…

CONVERSATIONAL CALL AND RESPONSE The truth is, I don‖t need you to tell me anything, I don‖t need to read your mind. It is just an opportunity to connect via this space between us, to experience something new. Imagine this space is a live connecting space, even as I am saying this, I‖m guessing there is a part of you hearing these words, that has almost sat up with attention. If you recognise that part of you responding, please put your hand in the air like this…(have them lift their hand, loosely in front of them or place it with fingertips very lightly on the table.

Now if that part is willing to find a voice right now, I‖d like it to move that hand.

SKYPE INDUCTION IDEO KEYBOARD Place your hand on the keyboard, so that the fingertip of your middle finger is on a particular key. This key can represent “yes”. It doesn‖t have to be ―y‖. Please press that key for me consciously. Now what is useful to me, is to establish a line of communication, so your unconscious can be respected and understood. So if it is willing, I‖d like your unconscious to move that finger and press that key. Do not press it consciously, you will feel it press or twitch, all by itself. If that is a signal from the unconscious, I‖d like it to press that again.

"BE ARTFULLY VAGUE ABOUT WHAT, WHEN, WHERE, HOW AND SOMETIMES WHO." — Anthony Jacquin INSTANT HALLUCINATIONS THE MOTHER OF ALL DOGS Highly hypnotisable people do not have a special imagination. They can respond to suggestion without an induction. They can respond to hallucinations genuinely, without the hallucination needing to appear ―real.‖ For example if the hypnotist suggests they are invisible, it may be that the participant can still see them in some way, yet it still feels like an object is floating. Typically in performance, we ask them about it, but not about it‖s quality or realness. Hallucinations can be semi-transparent, they could be barely there at all, or they may be vivid. It doesn‖t matter. It just needs to be experienced as a happening rather than a doing. Then they can report on it with surprise and wonder. I often use this as an opener. In this example, the picturing of the loved one and the moving of them is normally experienced as ―a doing‖, however the dog phase normally does something that surprises them, that they respond to such as looking at them or looking hungry. This is experienced as ―a happening.‖ This is what I am encouraging. Their emotional response is a happening. Standing a few feet away, I raise my right hand and say ―Picture the person who is dearest to you on the planet, up here. See them there, enjoy that.

Moving my left hand from that space over to my left, I say ―Now move them over here. Leave them there. Pointing down to my right hand side I say ―Now tell me, what size and breed of dog is that there?‖ Imagine it is twice as big? And you have the snacks. I look over their shoulder and say ―Now imagine the mother of all dogs, 6 ft tall is standing behind you leaning in towards your ear.‖ I point at their solar plexus and say ―Tell what‖s that feeling there now?‖ I then use that feeling to stick their hand to their leg or feet to the floor or them to the chair. ―Now send that feeling down through your body, into your legs, into the feet as you stick to the chair now. Imagine that, imagine there is nothing you can do about it and try to stand- up?‖ Then I can work up the chain of phenomena in any way I please.

The Trance Force Pad – Kenton Knepper Effect The performer asks a participant her name. The performer writes her name down on a pad of paper and shows it to all present. Waving his hands in front of the participant‖s eyes the performer exclaims, “Now, please, what does that say!” The person cannot say her name, or goes temporarily blind and sees nothing. Then the performer helps the participant into a deeper trance state, and is given a way to do this on her own at home too. I must go into detail now, and combine the effect and method somewhat together. You‖ll see why soon enough. The performer writes the participant‖s name down on a pad of paper and shows it to all present. Waving his hands in front of the participant‖s eyes the performer exclaims “Now, please, what does that say!” The participant laughs, seems confused and says nothing, or claims that nothing is there. “You cannot see anything there, can you? How strange. This is different – rather confusing? You are not just playing along, now are you?” “No! Nothing is THERE.” “She cannot see what the rest of you so clearly could see… but watch audience… I snap my fingers…Since you cannot read your name here, I will darken it in, tracing over and over it… deepening it… deeper and deeper… and now you can see your name… you can see it deeper NOW can‖t you?” “Yes.” “Yes, that‖s right. Now you can see it, as we deepen your name deeper… and below your name, which now you can see, we write the next part…” On the paper the participant now sees the performer write:

Jenn Trance Note that the name is darker as it has been re-written several times. It is also usually much more messy or scattered in appearance than the words that follow the name. Both scattered and darker appearances are subtle symbolic suggestions about how the person should feel. You do not say these things of course. They are subconscious hints. “Now, can you read these now? Say your name first. That‖s right. Now what‖s supporting that – what‖s below you there? TRANCE, yes, that‖s right. Good. Now let‖s relax and go on a little further.” The performer tears off the first sheet and puts it into his pocket. On the new top sheet he writes:

Trance Deeper “Follow along now. Say the first word – do that please.” “Trance.” “That‖s right. Now keep following and say what‖s below that now… what‖s there now?” “Deeper.” “That‖s right. Yes. Excellent. Now we go deeper still...” The performer tears off this sheet of paper. On the following page he writes this…

Deeper S t i l l “Now as we go deeper, please slowly read the first word” “Deeper.” “More slowly.” “Deeepeeerrrr…” “That‖s right. Now, what is yet below that? Say it please now.” “Still, I mean, stiiiilllllll!” “That‖s right. Now that leaves us with one last stage to go.” The performer tears off this page and puts it in his pocket with the rest. “I put this with the rest. Now we have this simply…” The performer writes “STILL” on the new page, and nothing else. “Do that now, just for a moment and relax. It‖s all right, all right to close your eyes for just a moment and take a small mental breather now. Let me tell you why I have done this for you tonight. By taking just a few short moments, you have been taught how to relax yourself at any time that you need. You have been given a simple way to calm down, relax, get a new perspective, become re-energized and re-engaged with a new attitude and insight any time you wish. All you need do is remember our time together here, and follow as we have just done in your daily living.” “You don‖t need to write anything down physically. Write it down in your mind‖s eye. You can close your eyes. At times where it is impractical to close your eyes, you need not do so. See in your mind the pad of paper. In your mind you will see you writing your

name and tracing over it again and again. See yourself deepening your own name. Once you see yourself doing that – or just imagine it in your mind if you don‖t really see it perse – imagine yourself writing the word TRANCE slowly and clearly under your name.” “When you can imagine that surely, imagine yourself tearing off this sheet and placing it writing side down on a table in your mind. Then on a new sheet continue to write just as we did here tonight. Write the word TRANCE again and then under it, DEEPER.” “Imagine this clearly and surely. Imagine it in your mind as if you are actually writing it out longhand. See yourself taking the time to really write everything out, and then tear off the paper and put it on the table with the rest. Remember you do not need to really see – just imagine it in your mind in whatever way you happen to do that.” “Now see the next page and imagine yourself writing in your mind DEEPER yet again and underneath that the word STILL. Once you have imagined that slowly, imagine tearing off this sheet and write on the next sheet the word STILL all by itself. Imagine that word on the page alone. Then sense how you have relaxed yourself at some level. Close your eyes if you wish, or if you cannot, just breathe and sense yourself as being far more relaxed than before.” “When you are ready to return to your daily matters, simply take the pages and put them in your pocket in your mind. Be sure to take them with you, so that you can imagine them in your pocket, and have access to them in your mind, anytime you need throughout your day.” “Here now are your papers as reminders. They flow naturally one from the other so you need not struggle recalling what to do, unless you are suddenly in a very deep state of relaxation of course. You can repeat this over and over in your mind, anytime you wish. After imagining the word STILL, begin again with your name. But be careful because the more you do this the more deeply an altered state you achieve, and we don‖t want you nodding out at work!” “Just keep in mind YOUR NAME and under it TRANCE. Then TRANCE followed underneath it by DEEPER. Then DEEPER is followed underneath it by STILL. STILL is followed only by STILL. That‖s NAME, TRANCE, TRANCE, DEEPER, DEEPER STILL, STILL. Just recall NAME, TRANCE, DEEPER, STILL. Then pick up the papers and put them in your purse, wallet or pocket in your mind, when you are ready to face the world with new vigor again. NAME, TRANCE, DEEPER, STILL. That‖s it.” “If you forget, it‖s all in my book.” Well, that‖s the tag line I use because it is mine to put into my own public book. But you get the idea. You might offer a reminder session after the show, in fact. Method: I have described in detail the worst-case situation. At worst you give a person a very interesting, simple yet reliable tool, for their own self-relaxation, after they have had some odd visual hypnotic experience. Every time they use the tool you have given them, they at least subconsciously think of you. That‖s not bad for a handout that

costs you a few sheets of paper only. At best, the effect to the audience and to the person is that the person seems to forget her own name, and can‖t even say it! Ages ago I used an old piece of apparatus called “Add-A-Number”. This was a marketed item. By pulling on a pencil that had a cord attached to the pad, the top sheet would be secretly pulled away inside the pad. This meant that whatever was written on the top sheet of the pad would vanish. It was commonly used to switch a set of three digits numbers for another set, on the second page below. These have been hard to find, but Vernet makes a close-up or stand-up version in leather that is not too expensive. This size is perfect for small groups and more intimate gatherings. It may be used on stage with some on stage helpers seeing and verifying what is written, while the special spectator does not. Students of Wonder Words and Ericksonian hypnotic methods will need not much explanation. Every word said suggests something more than it sounds on the surface. The ways the words are written on the pad are suggestions in and of themselves. The words are indirect suggestions more than they are conscious affirmations. Affirmations can focus the conscious mind, but in an altered state we want to engage the subconscious mind. Indirection in writing is one of the ways I do that. You will notice for instance that when I write the word “still” I write it as: S t i l l I have the letters separated from each other, to suggest space and thereby more stillness. I do not mention this. Rather it is a suggestion implied by the way the word is written. I make brief mentions of how the word below “supports” or “underlies” the word above, such as their name. I say, “Put these with the rest” to suggest “rest” in the sense of “rest and relaxation”. Setting papers on the table in their mind is also about “rest”. Taking papers with them in their mind is to hint that they have easy access to relaxation now, when they need. These are all suggestions of course, not direct commands. If you read the script a few times you will discover many more. As far as using this tool in real life, I have been using a variation of it since my teens. This version is simple and anyone can do it. Please note the importance of never insisting that the person actually see anything in their mind, but rather imagine it vividly. Some people have trouble seeing things mentally, but most everyone can imagine things; even so-called crazy people (that‖s a clinical term) can do that. On the mundane physical level, the effect could not be easier. You clearly write their name on the AddA-Number or Vernet Forcing Pad and show it around to all but the participant. As you turn and gesture to the participant, you secretly pull on the cord and pencil, causing the sheet with her name on it to disappear. When you ask her to say aloud what is written, and show her the pad, she‖ll see nothing. If you are a student of suggestion, you might do as I do here and go straight into an induction based on this pattern interrupt. The person assumes she will be saying her name out loud. She will often take a breath in just as you begin to show the pad to her in preparation for this. Her surprise at seeing a blank pad changes her breathing.

She may laugh, or just generally look confused. It is at this instant that you do a pattern interrupt suggestion, if you are so trained. If not, just go into the spiel as I have written it. Say it in your own natural wording of course. Nothing destroys an altered state more than people trying to say things that are unnatural to them. Milton Erickson spoke in ways that seemed to match up with who he was. I say things in ways that sound like “me” and these change given the circumstance. What is natural for me in one setting may be different in another situation. There is little worse in messing up a trance state than hearing NLPer-speak from a person who was trained to speak in a language unique to NLP. Commonality and naturalism is behind real altered states and Ericksonian methodology. Don‖t let anyone try and tell you that they are experts and the key to gaining rapport is to sound otherworldly and unnatural. That‖s the antithesis to creating a bond with others. Sound like you. My outlines are guides only and that‖s why I try and focus on principles, rather than Hypno-speak. Take my words as patterns, and then say it in your own natural way. The person seeing the blank sheet on the pad has only a few likely responses. They will say nothing and look confused, or they will say that they see nothing. “There‖s nothing there”. You adjust your patter accordingly. Either the effect is that they cannot see what others clearly have seen, or they cannot say their name. Be cautious with the “cannot see” presentation. You do not want to suggest in any manner at all that they might be going blind. Remember people might be a little suggestible at this point. You don‖t want to lob garbage into an open mind. So I think it is best to add the word “temporarily” to any suggestion, just to be on the safe side. “You cannot see your own name – don‖t worry – this is a temporary condition only”. Snap your fingers and then continue on with the script in your own wording. Never say, “Ha! I have made you blind!” Don‖t say that, unless you know some attorneys you want to make wealthy. Insist that any condition is only temporary, including their relaxation. Suggestion is powerful – ask any advertiser. You don‖t want to be glib about tossing suggestions around, even if it is all a trick. To end this effect, tell the person that they have complete control now over their experiences and relaxation. No matter what happened, it is gone now, save for their ability to relax anytime they need, and when it is appropriate. Turn all responsibility over to them to use or not use as they see fit. In more formal performances I may use the pad effect as an introduction into other Kentonism trance-illusion material. This can be simply one piece among many. The bonus of teaching others a unique and simple way to relax and have them remember you in their daily lives however is something worth bringing up when you can. Additional Lessons: I mentioned how a person might breathe in one portion of this effect. Breathing is a traditional way of gaining rapport and creating altered states. If you can see how a person is breathing, and breathe in and out along with them at their same pace, you often gain easy rapport with that person.

Less discussed is the symbolic act of breathing. I use that in an unusual manner. Here is a simple set of rules to keep in mind to accept suggestion via breathing: Begin speaking when the person begins to breathe out or exhales. This will help to relax them. Breathing out is a sign of relaxation. Speaking as they breathe out links your voice and what you say to the idea of relaxing. This is a physical event being linked at an unconscious level. The person does not know you speak only when he or she is breathing out. But they soon have a sense of being at ease with you and relaxed around you, as you speak only when they exhale. Conversely, speaking when a person breathes in or inhales tends to suggest alertness. When you want to help a person have more energy, feel more alive, or have them begin to come out of a relaxed state of mind, speak to them on their inhale breath. We inhale too when we are surprised or shocked. To help intensify a surprise or shock, we try to time that surprise so it occurs when a person is taking a breath in. We also breathe in ourselves just at the moment and at the rate the person we are surprising breathes in. After a good surprise, all of us tend to hold our breath for a moment. Again, you can help be sure a person holds their breath a little longer by breathing in when they do (secretly) and then holding your own breath for a few beats. They will often follow suit, especially in a surprising moment such as we have in the Trance Force Pad effect. Finally breathe out as you say, “It‖s fine to relax, just relax, that‖s right” as you breathe out or exhale. Do this casually, and the person will follow suit. Keep in mind that suggestion is a hint, not an obvious, conscious act. When I speak of doing such things, they should always be performed just below the person‖s conscious awareness. If you do this obviously, it may seem to be a joke. If during the Trance Force Pad the person happens to laugh, you can laugh gently and smile slightly too as you say, “Yes, it‖s confusing and laughter is a great way to relax deeper naturally”. This simple sentence is really rather secretly complex, as Wonder Words students will note. But if you don‖t know how it works, you don‖t need to know. Just say it and move on with the trick as already described. Another Page and A Sure Thing Here is one more presentation I have used with the Trance Pad set-up. I‖ll assume you are using the type that has a pencil or pen attached on a cord to the pad holder. Do the entire sequence right up through when the paper is switched out, but the participant does not yet know the page is blank. Swing the pencil as it dangles on the string and say, “Relax, just relax” in time with the pencil swinging back and forth. Allow just a few swings of the pencil on the cord. Then without warning, snap your fingers, grab the pencil and turn the pad to the participant as you say: “Say now what is on the pad out loud!”

You will understand that the word “now” here implies several things, and to the participant seems to suggest not only that she should try and say her name now, but also that “now” something has happened. When she sees the paper as blank, this will make sense to the participant, regardless of which relaxation level she is at currently. Pause for a beat, maybe two, so as to not give the person a chance to say anything. Then quickly turn the pad towards yourself, or snap the cover of the pad closed, if it has one. Immediately follow this action by saying: “That‖s right. We‖ll try something more difficult now you are relaxed.” Open the pad up if it were closed, and secretly write their name again, just as you did the first time. Do not let anyone know that you are in truth writing the name again. Under this write a playing card that you will force on the participant. “I will make a little prediction based on this state of mind.” Set the pad aside so the writing does not show. The pad is in full view and not out of their eyesight ever. That is important. Force the card on the person. Now go into a reading or a trance-based card revelation (see Card Color Trance to follow) and name their card. I tell them I was able to do this because they were… “…In just enough of a trance state for me to influence you… I‖ll prove it. Look, I wrote the card down ahead of time!” The sneaky, subtle indirection here is that she will see her name on the pad now, along with the name of the card. This completes the illusion that she simply forgot or could not see her name previously, although it was clearly written there. The method is very difficult to backtrack at this point, and it is almost easier to accept the idea that you used some sort of trance, rather than to try and figure out how you could have made all of this happen physically. The Vernet pads are a bit like an Out To Lunch pad. You can have the person sign the top page before it is switched, and the signature will remain at the bottom of the pad even after the page is made to go blank. This is not really needed with the second variation just described. In fact, this second variation is perhaps more convincing, as that selling point is indirect and subtle rather than a blatant signature. Other devices may be used to switch the top sheet for another blank sheet, naturally. But I prefer to use a device in which the pad remains in full view, and the cover to it is never closed until after the participant sees the pad is blank. Otherwise, no matter how psychologically sound, the audience can go back to a time when you closed the book and imagine you may have then switched the paper in some way. You could use an Out To Lunch device, but again the trouble is that something happens, some moment of action people can recall, which might lead them away from a “trance” explanation and to a simpler, more physical one. Minds tend to take the easier solution if given such. Performed as I describe it, the “easier” way is to accept a trance state as the simplest and most logical explanation. Other methods may be used providing that the

device you employ must seem to be exactly the same – without any change (such as closing the pad or tearing off a page) or motion. Card handlers may consider using a top change, double lift or other sleights to make something written on one page or business card turn out to be blank. However, many who have tried variations on this old idea of mine missed the fact that you need to be sure it appears that you do nothing at all. The page in question (or other item) should not be maneuvered or handled. It should seem to be in full and fair view at all times, to make the trance forgetfulness seem the most viable explanation. This is a strong bit of business whether used with a card force, or when teaching a simple relaxation invention. It is quite convincing to the person involved as well as to the audience at large.

SYMPATHY FOR THE DEVIL – Paul Vigil INTRODUCTION It started out one evening with a phone call from Bill Goodwin; he had a very interesting principle and thought I may be able put a presentation to it. This devious and very counter-intuitive principle, DEALFLIPDROPCUT, was conceived by Howard Adams and described in a set of notes entitled OICUFESP, 1980. Around the same time John Thompson had given me a handful of Paul Curry‖s material to review. It was a fusion of having both of these gentlemen‖s material before mewhich synergized into the following routine. The sympathetic arrangement of values and suits plot was originated by Herbert Milton. His routine first appears as “Sympathetic Clubs,” Greater Magic, Hilliard, 1938, in the Card Stars section of Nate Leipzig‖s. My introduction to the plot was years ago reading the routine “Sympathetic Thirteen”, described by Lewis Ganson as a pet effect of Nate Leipzig‖s, in Dai Vernon‖s Tribute to Nate Leipzig, 1964. Many notable versions exist by such luminaries as Derek Dingle, Larry Jennings, Jörg Alexander and James Swain. Let‖s go over the main principle used here. I think this will be easiest to grasp if you take an Ace through Ten of any suit and put them in sequential order; for this trial run it will not matter if they are ascending or descending, it will work either way. The principle originally called for the cards to be dealt, flipped, dropped and cut; hence the title. For this routine we are only going to use part of that sequence, specifically the DEALFLIPDROP portion; excluding the CUT part throughout. This is going to fool you the first time, just do it for yourself. Start with the 10 cards face down and deal a few, one at a time, to the table in a pile (this can be any amount you wish). When you are done flip the remaining cards over, so they are face up, and drop them onto the tabled cards. As you can see, you have created a break in the sequence at a completely free choice.

Pick up the pile again and begin to repeat the process by first dealing some cards to the table; as before, this can be any amount you wish. You can see this process is literally mixing the cards in every direction, including face up and face down. After you have dealt some cards, take what is left and flip them over. Finish by dropping them on top of those tabled. Go through the procedure a third time; once again executing the DEALFLIPDROP sequence; totally and completely mixing the cards in every possible way. Are you done? If not, I‖ll wait. OK then, how many of you can tell the order those cards are in right now? No one could, right? That would be impossible. Well, I can. Do tell, you say? Check this out, they‖re in the exact same order that you began with! The only thing that has been varied is some of the cards‖ orientation. This routine was an exercise to see just how deeply I could bury this principle. Play with this and I am sure you‖ll agree on just how devious and counterintuitive it can be.

SETUP The order of the deck will be predetermined by your final prediction, whether it‖s a phone number, combination lock, calendar date, dictionary etc. I have a cell phone number with no duplicates in it; which is perfect, since you can only have any number used twice in a deck, with Jokers being used for a zero. If I wanted the ending order to be 3-2-1-4-5-6-9-8-7-0 the cards would be placed, from the top down, in this order X X (these can be any mates), 3H 3D, 2S 2C, AC AS, 4D 4H, 5H 5D, 6D 6H, 9C 9S, 8S 8C, 7H 7D, Joker, Joker, followed by about 10 more pairs of mates (in any random order), leaving about a dozen mixed cards on the face. Since the cards remain in the same order you can have these come out as any type of prediction you want, simply use the amount of cards that correlate with your predicted numbers.

Handling this with a phone number revelations will be either 7 or 10. of between 16 (when using 7 digits, including the area code) to around

here works well because the amount of This gives you a buffer on their initial cut two X cards on the top plus 7 x 2) or 22 (if 42.

Placing the cards into separate wine glasses slightly to your left and right creates a beautiful framing of the effect. A breast pocket silk handkerchief for covering one of the glasses; while this is not crucial to the workings it is preferred for the presentation. The following example will follow a cell phone variant as the final prediction. This idea is from Luke Jermay‖s Wall and Bridges, 1998. For this, seal your cell phone into an envelope and have the cards stacked accordingly.

PERFORMANCE A “target” envelope is set aside prominently in your performing area. “If everything turns out as I expect this will be very relevant when we get to the end… “Proving or disproving the issue at hand, which is – do we really have a free choice in the decisions we make? “I would like us to examine this question that scholars and philosophers have asked for centuries. “In other words, are our lives controlled by fate and is there anything we can do to alter its course? “Let‖s try a brief experiment that may bring these questions to life.” (These latter lines, as well as some others in this presentation, are from Rick Maue‖s awesome routine FATE, 2005; while having nothing in common with this effect, for those not familiar, it does have my highest recommendation). Remove the cards from their box and begin with a few false shuffles and cuts. “You don‖t know the order of these cards, do you?” Take the deck face up and spread the bottom dozen cards very wide between the hands, showing their random and mixed nature. The spectator answers, of course, “No.” Close the spread and table the deck facedown on the table. “There is no way that you could.

“Really, with what I‖m about to show you, it wouldn‖t matter if I knew their order either. “For those who are mathematically inclined; because of the shuffles, you know that the cards have probably never been in this order before, nor will they ever be in this order again. “I‖d like to show you a piece of synchronicity. In case you don‖t know... that‖s a coincidence which I control.” (These wonderful lines are from the brilliant Dan Harlan). “Let me have you start off by cutting about half of the cards to here.” Mime cutting some cards off the deck and setting them to the side. The spectator, Alex, reaches over and does just that. “Perfect! He will have to cut 22 or more cards here if you are following this variation and utilizing an area code with the phone prediction. This offers much leeway, as the needed bank runs from 22 to around 42 cards that can be safely cut into. “How many cards would you say you cut there?” The spectator answers, “I don‖t know, maybe about… 28.” “Well, I can tell you exactly how many you cut, do you want to know?” They will usually respond with, “How many?” Retort, “Exactly as many as I wanted you to! “Should we find out?” The spectator replies in the affirmative along with a slight chuckle. The cut off cards are counted off the top, facedown to the table; thus reversing their order. “1, 2, 3, 4, 5… 24, 25, 26 and 27!” “Perfect! That‖s about half. “See, as I said - ―Exactly as many as I wanted you to.‖ “Mark my words. I know that sounds ridiculous right now, but when all is said and done I will prove myself correct. “To tell you the truth, I am not concerned with how many cards you cut. “You see, we are going to play a little game and I don‖t want you to accuse me of not playing fair.

“What is important here is that we have an even amount of cards to play with.” If an even amount of cards has initially been cut you will not need the following incidental. “You‖ve cut off 27 here. “So, you now get to make another very important decision, to make this pile an even amount, do you want to take a card away or add one to your pile?” Notice here that whether they have cut an even or odd amount you will end up with a pile of cards that is mated. If they take one away it gets rid of the stranger on top, or if one is added from the top of the talon, since the pile was reversed during the count, a mated pair is created on top of their cut off pile. Let the Alex decide and then respond with, “Ha! Funny, that is exactly what I thought you would say!” All this is doing is setting up red herrings; bombarding the spectators with trivial details and inconsequential choices which at each step seem important. If an odd amount of cards was cut either add or subtract a card according to their wishes Either way you now have the needed pile of mates complete, all accomplished through their free decisions. Set the rest of the talon aside as you will not be using it throughout. Pick up the mated pile, face down, in dealing position and start to deal the cards into two piles, to your left and right, on the table. “Usually when you play a game the cards would be dealt back and forth. As you can see I am dealing them left and right because you are going to make yet another very important decision.” As you finish the deal ask, “Before you decide which pile you would like to play “the game” with, I want you to know that this isn‖t a trick question. “Whichever pile you touch is the one you get to play with and, as with your previous decision(s), you have a 100% totally free choice” Finish by nudging either one of the two piles a little closer toward them, making them feel as if this is the pile you want them to choose. (This touch is from John Born). As before, all of this is ―smoke‖ to get people focused on the details that are seemingly very important, but really will have no effect on the proceedings.

As soon as they touch one exclaim, “Excellent! I knew that you were going to pick that one. “You can just leave your pile there, on the table, for a moment. “Please, let me explain what you are about to do next. “First you, Alex, are going to get a chance to mix the cards.” Take the pile of cards they didn‖t choose, facedown, in dealing position. “To do that, I want you to take the cards and deal like this…” Deal 4 or 5 cards facedown to the table while you say, “And just deal them down like this…until you feel happy. “And I‖m not happy until you‖re happy. “Just go, until whenever you want to… and then stop. “Wherever you decide to stop, I want you to take whatever is left, flip them over and then drop them on top. “Easy… right? But, Alex, we won‖t stop there… oh, no no, because then I want you to hand the cards to Ben.” Pick up your cards again (without turning them over) in dealing grip and explain, “Ben, I then want you to do the same thing and just deal down until you feel you want to stop. “Then take whatever‖s left, turn them over and drop the rest on top.” Deal about 3 or 4 more cards down to the table, turn the rest over and drop them on top; explaining and putting actions to words. “And then we will let you, Chris, mix them too.” Pick up your pile by its outer short edge (farthest from you) letting them pivot so that the short edge which was closest to you goes into the glass first. This will allow you to control the final revelation, for dramatic purposes, by having the last card‖s face toward you and its back to the audience. Notice that you have explained the DEALFLIPDROP procedure twice, but in a moment their pile will go through this process at least thrice (Alex, Ben & Chris). “I will not touch these again,” take out a pocket silk and cover the cards in the glass, “and neither will you.” While this covering of the cards is not crucial to the workings of the effect, I do believe that it is necessary. Why? Because it will allow a moment for the magic to occur; if these cards are not covered, even for a moment, I feel the

effect becomes more of a coincidence and less a display of some kind of power you may have. Let Alex pick up his chosen pile and begin the sequence. As he is dealing the cards down address the rest of your audience, “Notice I did not ask for his favorite number from one to ten for the amount of cards he should deal.” This is just an inside mentalism joke for myself and other magicians. Once Alex has finished the dealing, turned the remainder over and placed the rest on top ask him if he, “felt that was a free choice?” He will usually reply that it was. Continue, “Do you have any idea the order these cards are in right now? After he replies in the negative say, “Then, by your discretion and out of my hands, the order is now completely random. “Let‖s take it further.” Have Alex pass the cards or have Ben pick them up off the table. Important Point: it does not matter if the cards get turned over here in their passing of hands; just make sure you remember the number of times the pile is turned over. In the beginning, to practice the routine, you can eliminate this from happening by passing the pile from helper to helper; keeping it parallel to the table as you move along. Later, when you are more comfortable with its mechanics, you can adopt the completely hands off presentation. To Ben, “Just start dealing. At some point you will feel like stopping and, as Alex did, just take whatever is left, turn them over and put them on top. “This will allow you to mix the cards into an order of your choosing.” As Ben goes through the procedure say to the others present, “Notice I am not having him roll dice, even imaginary ones, for his number… or anything like that.” When Ben finishes ask him if he feels good about his deal and then have him hand the cards to Chris. “So go ahead Chris; just start dealing. Anytime you want to, just stop.” To the rest watching say, “Notice I am not asking him to deal a card for each letter of his mother‖s maiden name or anything like that.

“And as you can see this is not only mixing the cards this way, but that way too.” Move your hands back and forth; miming the opening and closing of a small jar, being held by its top and bottom, to accentuate the cards topsy-turvy nature. A main portion of this routine‖s structure is that if people believe only a small portion of what you are telling them then big obstacles are placed in their path to a solution. After Chris has finished with the instructions turn to those present, “If there is anybody here who doesn‖t feel like these cards are mixed, speak now or forever hold your peace.” Here is a very interesting point; by excluding the CUT of the DEALFLIPDROPCUT this procedure can be done ad infinitum. It doesn‖t matter how many times the sequence is executed since the needed outcome will always be easily reached by an invisible subtlety. What is important is to pay attention to how many times the sequence is executed. Here I have explained it with three spectators included in the mixing. This is usually how I perform it, but occasionally someone will want to have a second take at it or another will want to mix the cards. Let‖s deal with the each scenario separately. Per our example, if the procedure is performed 3 times with their pile (and it has not been flopped over in its handling between the spectators), the cards will need to be placed into their glass with the top card remaining oriented toward your audience (away from yourself). This is done by placing the cards into the other wine glass by lifting the inner short edge (that nearest you), we‖ll call this ODD. The mnemonic here is ODD=OUT; referencing the top cards final position in the glass. If they choose to go through the sequence 4 times then the packet will have to be placed into the glass the opposite from above. To orient the cards correctly with the aforementioned invisible subtlety, take the pile by the outer short edge (furthest from you) and place it into the glass; thus placing the card which was at the bottom of the tabled pile now closest toward the audience; let‖s call this EVEN. The mnemonic being EVEN=IN, since the procedure was performed an even number of times the top card should face in. Thinking of their pile as either ODD or EVEN makes it easy to keep track of its orientation. Understand that however many times they‖ve gone through the procedure effects this binary as does the pile being flopped over in its travel from one spectator to another; with either of these actions switching the pile back and forth from ODD to EVEN and vice versa.

There are many way to conceptualize this (0/1, Yes/No, Off/On etc.), but the ODD/EVEN affords an easily integrated mnemonic with OUT/IN. Notice that Odd and Out begin with the letter “O” while eveN and iN end in the letter “N”, creating an easy aid for the top cards final resting point in the glass. (This memory link comes from Raj Madhok). This may sound complicated, but after a few trial runs you will see how the pile can only end up in one of two ways; with only one orientation being correct. As said before, even though I will do my best to control this, I don‖t make a big deal out of the pile‖s orientation while they are passing it around and/or dealing. If you resort to saying, “No, don‖t do that. Keep the cards this way…” or anything along these lines, I personally feel you lose the vibe of the choices being free. Best to make your instructions clear in the beginning and afterwards the only haphazard that can occur would be this flopping of the packet; which becomes inconsequential during the pickup. That is part of the beauty of this; in that you never touch anything, they make all the decisions and yet the outcome is always achieved. While not difficult, the lesson here is that you must be alert to the number of times the packet is turned over while being handled and to not forget the amount of times the DEALFLIPDROP has been applied. It‖s simply that either of these two actions changes the state of the cards. Picking their pile up by the inner or outer short edge to orient the packet correctly was a big breakthrough for me. When I first started playing with this I had a small dot placed on the side of my glass‖ upper base with a marker. This way I could see which way their pile ended up and then when taking the silk off I could spin the glass underneath by the stem to get the correct sequence in play. I think you will agree that the pickup, by using either the inner or outer edge of the packet, is much more subtle and deceptive to undetectably align their pile correctly. Plus the time misdirection since your own pile of cards were placed affords little to retro-analyze with; making this move virtually invisible in the routine‖s structure. Pick up their pile, by the needed edge, and place the cards in the empty wine glass. Recap, “Now my opening question to you was a simple one. It deals with the choices that we were all a part of a moment ago. Simply put, do you believe that each one of us is truly in control of our lives? Do we make the decisions that actually determine what happens to us?

“Before you decide, maybe you should ask yourself a few more questions. For example, is it possible that everything that we experience has already been predetermined, and we are simply programmed by something like fate? Or, if fate doesn‖t control what occurs in our lives, is it possible that others can influence our choices in such a way that they can actually control what we do? “In truth, both possibilities are a bit frightening – and yet, I would like to show you something that I find completely fascinating, and certainly a bit unnerving. “I need not remind you that I have not touched these cards (referring to yours), in the glass, under the silk, in the dark…” Remove the silk and take the two cards nearest your audience from the glasses with one in each hand. The two cards will be matching in color and value, let‖s assume they are the Seven of Hearts and the Seven of Diamonds. “When we began the cards were shuffled and I let you cut them wherever you wanted. At that time you thought you had a free choice, but then I told you that you had cut exactly where I wanted you to; and you thought that was a joke at the time. “If I turn over these two cards and they are, let‖s say, Red; that would be a pretty strong coincidence, but really only 50/50. “If I turn them over and they are both, let‖s say, red sevens that would be even better, right?” Turn both cards over, at chest level, and show they are perfect mates! Table both cards face up, one in front of each glass, then take the next two cards from the glasses; again, one in each hand. If applicable, “And if you remember correctly, I then asked if you wanted me to add some cards or take some away.” Turn the two cards over, show a flawless match and then set these two cards onto the previously tabled mates. “Then I dealt the cards out and gave you yet another decision.” Again, take the two outer cards from the glasses and show they correspond. “I told you that you could play with either pile, but that you picked the exact one I wanted you to.” Set them down onto the others. Repeat…

A line I really like a lot is reserved for the moment when two cards are pulled up and they are opposed in their orientation with one facing you and the other facing the audience, “Oh, a mistake?” Turn whichever card is facing the audience toward you, so the audience is seeing the backs of both cards. Let out a sigh, “No…” show they are suitably associated, “perfect!” There will be a contingency here of lines to use, since the spectator‖s initial cut will determine how many pairs of cards are in the wine glasses to be revealed. Here is a sample of some that I use; revealing a match as each phrase is spoken. “Then I let you mix them Alex, in whatever order you wished.” “And I let you, Ben, do the same thing.” “Is it possible to control other‖s actions?” “There‖s a harmonious pair.” “And look, behind the red/black X‖s (say red 8‖s), the two red/black X‖s (the two black 3‖s).” “You don‖t feel you were influenced in anyway, do you?” “Chris, you had a chance to mix them too.” “Could this be a coincidence?” “Sometimes the stars do align.” When the cards are exhausted and only the final mates remain pickup both of the wineglasses by the stems. Since we were able to control our pile the last card is facing us, but if need be spin their glass so that both cards face you. Reserving this line for last, “Or, maybe I am a Master Magician.” Slowly begin to spin the glasses by the stems, lifting both hands up and out then finish by bringing both cards‖ faces simultaneously toward the audience. You are now in an applause position; accept it. Leave these last two cards in the glasses as a nice visual reminder to what has transpired (this is why the extra set of mates were added on top of your needed stack). The audience will think the effect is over and now we are really going to hit them with the hammer.

“How many choices do we make that are really ours? “In truth, even though it appears that everything that has happened was predetermined, please understand that it is statistically possible that all of this occurred by mere chance – although that would be highly unlikely. “This is a little unsettling isn‖t it? “While you ponder this, please allow me to mention one final thing… “Should we try something really crazy? “Could I ask you to make another decision?” Turn the two piles of cards facedown. “And now that you know the name of the game… try not to let me influence you with your choice, OK? “Which pile would you like to use?” As before, this is a totally free choice that doesn‖t matter; both piles of cards are in the same order. Respond to their answer with, “That is exactly the pile I thought you would choose!” Remove the pile that was not chosen and place it face down on top of the talon previously set aside. Ask, “Does anyone in the room have a cell phone that gets reception in here?” Remember, you should also check your phone‖s reception before performance to make sure the call will go through. Point to someone you have never met before; this lack of information will be used as a callback later. “You sir, have we ever met before? No, good and nobody else has approached you to help me out? No, they haven‖t, excellent.” Ask a few questions, but do not ask his name. Take the chosen pile into dealing position. “Let‖s push the envelope and mix them one more time, strictly for the skeptics.” With the cards held facedown deal the top card to the table. Begin to deal the next and ask someone who hasn‖t yet been involved “Would you like me to deal this card, or switch it for the next one?”

Let‖s say they reply with, “Switch it for the next card.” Take the top card and slip it under the next, then pickup both and drop them onto the previously tabled card. This is Paul Curry‖s wonderful Swindle Switch; you are doing nothing more than reversing the cards as you deal; which will, in the guise of another shuffle, bring your prediction from the bottom to the top of the face down pile. Continue to deal through the packet in this way until it is expired, allowing others to have the cards switch whenever they choose. “One by one, as I deal out these cards out, in the order you all have all helped put them in, whichever number is on the card is the number you dial into your phone, OK?” Leaving it tabled, square the pile and start to deal off the top, from your right to left, face up across the table; this makes it easy on the spectators, as it leaves the prediction to be read from their left to right. Deal 7-10 cards across, depending on whether you‖ve included the area code or not. As each card is dealt have them dial the numbers as they are shown. “Let me know when you have enough numbers entered to make a call, OK?” Once enough cards are down, set whatever is left aside with all the others. “One question before you hit SEND. In a moment I will have a complete stranger on the other end of a call. Do you think it would be possible to tell you, out of the millions –maybe billions - of phones in the world, the name of the person who will answer on the other end of that line? “Go ahead and send the call along. Once it‖s ringing hand the phone to me. “You aren‖t going to believe this. “Please, everyone, give me some silence so that I can concentrate…” Everyone anticipates you are going to name the unknown recipient of the call; and you will, in a roundabout way, deliver. You previously stated that you would have a complete stranger on the line and asked if it was possible that you could know the name of the person who will answer. Of course you know this person‖s name, it‖s you, but there is a twist… The target envelope set aside earlier now starts to ring! I had played with the idea of using a cell phone prediction for years. Ultimately, I ended up buying another line just so I could have a number dedicated to effects; it would be terrible to be doing a routine such as this and

have your phone ring prematurely. (The wide selection of personalized ring tones today can make this moment even more interesting; this tip is from Joey Burton). Look completely surprised. Hurriedly hand the spectator their phone back. Reach over and rip the “target” envelope open with gusto. There are many roads you can take here to an ending that is humorous, serious or in between. I like to answer the phone with, “Hello. “I am sorry, but I cannot speak with you right now. “I am in the middle of a show, but let me tell you; what‖s funny/strange/crazy is I just told everyone here that I would have a complete stranger on the end of a call in a moment.” See why you didn‖t ask their name previously? “Who is this? Well, nice to meet you (spectator‖s name). “Would it be OK if I called you back? Thanks. “Oh, by the way, how did you get this number?” As this line is delivered look out to your audience and smile. Hang the phone up to address everyone, “Well, that was weird. “Any questions…?” Finish by recapping the overall effect, “If there is one thing our science and philosophies have agreed upon, it‖s that all things are in someway connected. “And even further - that all things are one; at some higher level of existence. “I am just a conduit. “You see, no matter how dissimilar things look, they are ALL linked; somehow, someway. “What was complete chaos on one level is beautiful order on another. “And that‖s really the essence of magic; that there are no boundaries. Those are the illusion; which really means - nothing is impossible. “Thank you all for being here tonight, allowing yourself and your choices for this grand moment to unfold.”

ALTERNATIVE HANDLINGS A different use for a Joker comes from Patrick Redford - instead of having them as a match use only one and stack it with an X card; later, at its revelation, you can feign success by exclaiming, “Everyone knows that Jokers are wild!” From Luke Jermay: At the point where the cards have been shown sympathetic, having been removed and placed in front of their respective glasses, take the two piles and faro shuffle them into each other; recreating the mated condition, and follow with some false shuffles. Now take the top two cards of this combined pile and table them facedown, one each to your left and right. Ask a spectator to choose either. Whichever card they choose turn face up; being mates it doesn‖t matter what their decision is. Repeat this process with the next two cards, having them choose one and then turning it face up. Continue by building two columns of cards for a nice display of your prediction.

THANKS (In alphabetical order) Alain Nu Allan Ackerman Armando Lucero Bill Goodwin Dai Vernon Dan Harlan Darren Hart Eugene Burger Herbert Milton Howard Adams Joey Burton John Born John & Pam Thompson Lee Asher

Luke Jermay Michael Weber Nate Leipzig Patrick Redford Paul Curry Raj Madhok Rick Maue & Steve Fearson Hats off to you all…

FURTHER SOURCES Derek Dingle, Sympathetic Cards, The Complete Works of Derek Dingle, 1982 Larry Jennings, L.J. On Leipzig‖s Sympathetic Cards, The Classic Magic of Larry Jennings, 1986 Jörg Alexander, The Sympathetic Ten, The Book or Don‖t Forget To Point, 1998 James Swain, Sympathetic Thirteen, 21st Century Card Magic, 1999 Paul Curry, World‖s Beyond, 2002

Sympathy for the devil (updated script) – Paul Vigil "In truth, even though it appears that everything that has happened was predetermined; please understand that it is statistically possible that all of this occurred by mere chance - although that would be highly unlikely." "But let's try something even statistically more impossible." "Can I ask you to make another decision?" (They oblige). (Turning and addressing the audience; as if having a sudden realization), "But

before we do, is there anyone in this room who has a cell phone that gets

reception here? If you would, please pull it out and turn it on." "If there is one thing our science and philosophies have agreed upon, it‖s that all things are in someway connected and, even further, that all things are one; at some higher level of existence." (Returning to your spectator), "Now at this point, you know the name of the game...

try not to let me influence you with your choice, OK?" "Which pile would you like to use?" Respond to their answer with, "That is exactly the pile I thought you would

choose!" (Go through the mixing, the switching and the dealing, having the spectator with the phone dial the number as each card is dealt).

"Let me know when you have enough digits to make a phone number." (When they have the full number, quickly switch gears again).

"Now before you dial, let‖s recap what has happened here. We had the cards mixed until there was complete chaos, but even that random chaos on one level was beautiful order on another." "You see, no matter how dissimilar things look, they are ALL linked: someway, somehow." "And that's really the essence of magic; that there are no boundaries. Those are the illusions; which really means - nothing is impossible." "Throughout this entire evening, it has been you (addressing the whole audience) and all of your choices that had allowed for THIS moment – Right Here, Right Now." (Once again addressing the person with the phone)

"Now sir, in a moment, I will have you hit send. Chances are, we'll end up with a wrong number- a complete stranger on the other line, but even if this occurs, for this moment, you will be connected to them and them to you. Out of the millionsmaybe billions- of phones in the world... This is the number we have arrived at. Out of chaos, came these 10 (or 7) digits."

"Please, press ―send‖ NOW!" (The phone rings in the envelope, and you answer it).

"Hello, this is Paul Vigil…" (Look up at the audience and smile. Put the phone away).

S p a t i a l - H a l l u c i n a t i o n – Fraser Parker An object is shown to the spectator. This can be anything. I use a deck of cards still in their box. The performer then gets the participant to imagine that the deck of cards is a different object. The performer touches the helper on their forehead and they now appear to see their imaginary object in place of the deck of cards. This works due to association. The helper is subtly lead into acting a certain way. This creates a dual reality situation, where the audience believe the participant is actually hallucinating that an object is something other than it is. The participant will have a slightly different experience to the audience. However, this will be reconciled by the performance itself and the context you create. It will seem as if you are able to influence how others perceive reality. This will be true to both the participant and the audience. The only difference is to what degree they each find what happens strange. It will still look magical, in either case. Their talking about what happened after the fact, will usually feedback on each other‖s experience and cement the illusion in the process. Take out a deck of cards, still in their box and place it on your palm. Next, say the following words to the participant. “Name any object.” Say they name a “toy car”, continue your script with the following words as you point to the deck of cards in your hand. “I have a toy car right here.” Pause for a moment here as you look the participant in the eye then say: “Of course, I really have a deck of cards in my hand BUT for the moment [touch the participant on their forehead] I want you to imagine that there is a toy car here, in place of the deck of cards.” This instructs the participant to use their imagination and effectively pretend that the deck of cards is a different object, the object they name from the start. This playing along will look to the audience to be an effect of a real hypnotic control and influence you have over the participant. These words, when combined with the touching of their forehead and the resultant following of commands by the participant, will create the illusion of influence. It will look to the audience as if the participant is made to temporarily hallucinate a different object in place of the one which is so clearly there to everyone else.

I follow along by picking up the deck of cards in my other hand, raising it to the eye level of the participant and saying the following words as I slowly rotate the object. “Now... I would like you to describe what you can see now.” The participant understands this line to mean for them to describe the object they are imagining is now in place of the actual object - the deck of cards. To the audience this looks as if the participant can now truly see the deck of cards as a different object, because they go on to describe in great detail apparently what they can now “see” in front of them. This is the subtlety of getting participants to imagine things to be true. It temporarily allows for a different reality. This will also often be confused in the mind of the participant too, in terms of their experience and what they take to be reality. They can, therefore, be fooled into thinking what they imagine as true was in fact reality and also become convinced of the illusion. This may be to a lesser degree than to how the audience perceive what takes place. However, it is nevertheless enough to create the illusion and to get these effects to play in a real performance setting. The reason this works so well in this effect is because the participant associates the object that is actually there, the deck of cards, with their imaginary object. They will use their imagination to superimpose the real object with the imaginary object. This means that you can change the position of the real object and still have the participant make the correct association. This is what fools the audience. They believe the participant must truly be seeing the object as something different due to the association still being intact after the object is moved spatially. It is a very subtle notion but this is what creates the illusion for the audience. Originally, when Gavin sent this idea to me it was intended for the space the imaginary object occupied to be merged with an actual object to create the illusion of the participant hallucinating. This was done in steps by first getting the participant to imagine an object in front of them and then getting them to move where they imagined their imaginary object in space, so that it was eventually superimposed over an actual similar or more generic object. I think it is cleaner in the way I have laid out above; the effect is clearer and the presentation is more direct but the basic idea is still the same. The audience are the ones who perceive a greater effect here. However, the participant can in fact be fooled by how this looks. They think that something strange has indeed taken place and their perception was altered somehow. This is due to the fact that you are getting them to imagine that something other than reality is true. As this deals with mental phenomena, their imagination and perception, what happens can seem like real perceptual manipulation to the participant as well as the audience. It all blends into the effect; there is no difference between what is illusion and what is reality. This is found to be the experience of the participant as well as the audience more often than not. The

participant and audience members talking after the fact seems to make the illusion stronger with each of the slightly different perceptions bolstering and affirming each other‖s reality. The very worst way this effect can play is with the participant not thinking anything special really happened. You still were able to get the participant to say they could see an object was something else and to imagine it was in front of them. This still looks impressive to the audience at large. To ensure no one makes too much fuss about this and that everyone is satisfied I usually end by saying the following words, as an “out” and way of wrapping up the effect. “This is only illusion. Everything is back to normal now. Thank you for doing this.” This lets the participant know that you only intended to create the illusion of hallucination. Therefore, there is nothing to expose or for the participant to renounce. The audience are still mystified by your performance even if you claim that it is all an illusion. This is usually enough to ensure everyone is satisfied but if you are still worried you could use the ―out‖ from my effect ―Colour Blind‖ from ―True Mysteries;‖ This out is suited beautifully and can be used for other feats of apparent hypnotic control due to its relation to the subject of hypnosis. Here it is again: After performing a feat where the participant is made to see something different to how it is in reality, I would simply address the audience at large in the following way: “The interesting thing is, even when they say they can see [a different colour] they often swear afterwards that they could see [the real colour] all along.” ! This reflects something which happens in shows of stage hypnosis. The participant will often swear they knew all along what they were doing during the show but were still compelled to follow the suggestions from the performer. This, therefore, is a very logical out to use which ties in well with common experiences of actual acts of hypnosis as well as being a bind the participant cannot escape from; Even if they wish to expose you, it will sound to the audience as if they were under some form of trance or hypnotic influence due to the way you label their experience with this line. This can also be used in the ―Change of Beliefs‖ effect from the first ―True Mysteries‖ to create a solid double bind that there is no escape from for the participant by saying the following line before performing this effect: “The interesting thing about this is they will say they have always believed in God [or vice versa] afterwards.” This sets up a situation where after the effect, however much the participant tries to expose what is really the true situation, they will cement the illusion you create more and more.

This is never usually a problem, thanks to the previous principles and the context this effect is performed in.

GAVIN O‖Rourke-Soccorso (Co-author ―True Mysteries 2‖) COMMENTS This effect is a great example of how by simply imagining something to be true it can be so. The act of imagining to the point of creating shifts in our reality is one of the most practical and yet esoteric concepts in suggestion based work. I think, therefore I am. Many religions, mystic sects and hypnosis practices are laden with variations of this concept. Take a look at ritual magick or mantra and mundra meditation, even simple guided meditation. The basis is self-change through engaging the clutch of one‖s own imagination. When a person is under hypnosis, or any shift in perception for that matter, it all starts with the imagination; the simple act of thought. As mentioned several times before, in any form of suggestion work or hypnosis, it is the sole person who place themselves in that state to begin with. The only exceptions to this are drugs, certain audio visual programs and certain electronic devices. Simply by targeting the spectator‖s thoughts and creativity we are accomplishing both real and pseudo trance states. This means that by simply asking a person to imagine such and such to be true they will psychologically be less resistant to any forthcoming suggestions. Thus, allowing the subconscious to relax a little so that it is ready to receive suggestion in whichever form you give, whether from a pseudo trance perspective or from the perspective of giving actual hypnotic commands. The imagination is linked to the subconscious. Luckily for us it is also one of the easiest and most passive ways to access the subconscious. This is exactly why these effects can be so easily transferred from pseudo trance states into real. In my own experiences sometimes these shifts happen even when you don‖t intend them to. As Kenton states, sometimes by intentionally planning on something not to work you will more often than not create the very scenario you really had hoped for anyway. So please treat these gems with the care and respect they deserve. We truly stand on the shoulders of giants. As a performer you can have the best of both worlds: solid trance effects created though illusion as well as shifts in perception created by actual hypnotic trance states. In the context of this effect you are asking a person to think an object to be another. By them thinking it to be another they have to imagine it to be such first. A crude example of this idea that comes to mind is the old “don‖t think of a black cat” concept. In order for us to perceive or to not perceive we have to construct the idea of what it is in our mind. When this happens it is only a simple nudge to get the brain to imagine this to be true or not true.

In terms of real altered states there are other factors that can increase or decrease the success of achieving a real shift in perception. Not everyone will have the same experience with the same intensity all of the time. But fret not; we are not striving for just an altered state. When you actively interest and entertain your audience to experience something odd along the lines of the context of the effect, you did your job. A big thing to remember from the spectator‖s point of view involving these effects, is they have an entire mental world they are tapping into to determine what is going on before them and to them. They are bound to experience something odd. By knowing this and applying what Fraser suggests you will always be one step ahead and a success in the eyes of the spectator. The effect, the perception of the spectator and how it is labelled will all serve as a brick, that when put together in a person‖s mind, can create an entire building. ! Thank you again, Gavin, for sharing your views on this material. I think your comments will help make our unique approach even clearer to the readers now. Gavin is right in saying that this approach to creating the illusion of trance can often lead to real trance states being induced in the person helping in the effect. This has long been taught by Kenton and is an aspect of his work on trance illusion. Before moving on, I would also like to remind the reader of the importance of always having a clear moment in your performance of trance illusion where the participant is brought out of any supposed trance and the effects of your suggestion are broken. This can be done by a gesture such as, the snapping of your fingers or touching of the participant on their forehead and saying the following words: “Everything is back to normal now.” This is very important. You may only be performing the illusion of trance primarily but what may be considered as fake to you, can be seen as very real to the participant. Therefore, to ensure no harm comes to the participant always have a moment where they are brought out of any trance states, real or imagined and where what you suggest is undone. This is not only done for safety. It is also a moment which works great theatrically too, even helping to create the effect itself by suggesting that everything was not normal, during the performance. Always imagine yourself that what you do is real. This way, you will be careful not to harm with your words or actions and will become infinitely more believable to your audience. This is the whole secret to making these effects play in the first place.

ADDITIONAL THOUGHTS BY JEROME FINLEY This is a very flexible piece of work and one that can be taken in several different directions. Instead of using a deck of playing cards, I‖ve been using a small stack of ―picture cards‖ (Richard Osterlind‖s ―ODDS‖ or ParaLabs‖ ―Picturecards.‖) This keeps with the general vibe and theme of the demonstration, provides me with yet another method, phase and layer of deception and, when necessary, supplies an appropriate “out” for any misses. To get started, I show the picture cards briefly and allow my participant to choose one. Of course I immediately know which “object” they are now thinking of and, once replaced, I continue. “Hold that thought and image in your mind for just a few moments and we‖ll come back to it later. For now, let‖s try something very simple before we get started to help warm up our minds and imaginations.” At this point I begin going through Fraser‖s original routine and have the participant name any object (NOT the one they are currently thinking of!) and then just imagine the pack of picture cards melting and transforming into a holographic model of their item while held in my hand. Naturally the witness will begin to see, describe and EXPERIENCE the object in their mind. This is where I start paying really close attention to detail and venture briefly into a noncontact mind reading experiment. This is a very safe direction to take because no matter what the outcome, I still have a concrete image from the picture-cards to end with. I should also mention this phase is actually very easy to pull off and gives us three distinct phases: 1. A neutral object (the picture cards) becomes a 3D holographic model and spatial hallucination for the subject. 2. The non-contact mind reading revelation. 3. The final object reveal and/or thought (drawing) duplication. To continue with my spatial hallucination and non-contact mind reading portion, I have the participant IMAGINE the picture cards becoming a different (random!) object as they directly experience and verbally describe it. While this is happening I‖m watching closely and taking mental notes regarding the subject‖s body language, eye movements, physical expressions, general demeanour and emotions. I notice where and HOW they are looking at my hands and I ask them to describe the imagined object in terms of size, shape, colour, density, weight, feel/texture and any scents or sounds associated with this mental model.

Once the first hallucination has occurred, I give the suggestion for my participant to take a deep breath, clear their mind and simply IMAGINE that former object morphing into something else, something completely different and to describe that mental picture once it comes into focus. Again, I want this to be a multi-sensory experience and so I‖ll do things such as have my participant reach out into the air with their hand to TOUCH their imagined object, describe its feel, texture, temperature and more. At times I might have them extend their own hand, palm up, as I place the imagined object upon it with suggestions they can feel the weight of this piece. I ask them to imagine any sounds they might associate with such a piece and to ACTUALLY HEAR those sounds all around them now. Remember that I am watching all of this very closely and taking mental notes. Finally, I touch the subject with the suggestion to let that image and experience go and just imagine another random object they can experience, describe it aloud and experience it briefly in various ways according to my own choosing. Once the picture cards have become three (3) different models and hallucinations, I ask the participant to simply focus on ONE of those 3 imaginary objects and to see that holographic model planted firmly in my hand once again. It‖s at this point I divine the CURRENTLY THOUGHT OF OBJECT. Again this is very easy to do...I notice how their body language, eye movements (height, depth, proximity, etc) changes while viewing and compare those to my former mental notes and observations. By simply watching how closely your subject(s) focus, where they look and how they appear to interact with this thought of object in their minds and imaginations it‖s a pretty direct shot to get the correct item! Worst case scenario, you have a 1 in 3 chance of nailing their object directly. By utilising sensory acuity, non-contact mind reading techniques and directly employing your previously acquired mental notations during the “warm up” you are at a HUGE advantage...plus, you still have the image from your picture cards to reveal in whatever manner you wish. Alternatively, you could also utilise a pendulum or applied kinesiology and muscle testing to get the object. By applying more of a sensory experience, making their hallucinations REAL, working only in the mind and having a concrete method to fall back on this becomes more of a focused show piece and gets very strong reactions...I love it! Enjoy. Jerome Finley

Strength of Imagination – Fraser Parker The next effect uses all the principles discussed, as well as an additional principle to getting the participant to play along and act in the way you desire: the power of imagination. The power of imagination has been applied by the School previously, in works by Kenton and Enrique Enriquez. Kenton mentions the importance of having your participant imagine certain things to be true, to create believability in the magic. Enrique uses imagination as the premise for a whole act. His work on this can be found in his book “Act of Imagination.” I am always surprised to find where an idea I thought was original to myself was hinted at in previous works by Kenton; his idea acting as a seed to what would later become fully formed notions within myself. By getting the participant to use their imagination and imagine that something is so, you cause the participant to act as if what they imagine is so. This in turn causes what the person imagines to become a reality, as they act as if it is true. I will apply this principle to the following effect in which I cause someone to temporarily be unable to lift a normal deck of cards off a table. I begin by introducing the premise of the effect with the following words “This next effect has to do with imagination. If the magic is to work, you will have to use your imagination. It is a little like Peter Pan, where they had nothing to eat until they imagined food in front of them and then it became a reality. You really will need to use your imagination for this to work, okay?” These statements ensure that the participant knows they are going to be using their imagination in the effect to come. At this point I hand the participant the deck of cards, still in their box. This will later act as a convincer to the participant, as well as everyone watching, that the deck is normal. I then take the deck back and place it flat on the table saying “Only when I say that you can lift the deck, can you actually do so.” These words sound like suggestion to everyone else but will be understood by the participant as directions not to pick up the deck until they are told. The words will seem to be suggestions to the participant too, after the fact. Presently the words are simply directions made as a precaution to ensure they do not pick up the deck too early. “Now the deck is too heavy to lift!”

This, along with the fact that the participant has been told to use their imagination, may be enough to get them not to be able to lift the deck in a moment. I always remind the person to use their imagination in the next line, however. The following line causes them to not be able to lift the deck. “Imagine this to be so AND try to lift the deck. The more you try the harder it becomes as if the deck is completely stuck to the table!” The participant will act as if what they are imagining is true and will make it a reality, in the process. The last line of this little phrase sounds like hypnotic suggestion, but it is in reality further clear direction for how you want the participant to act. I also mimic the action of not being able to lift the deck, myself. I do this before they have a go at it. This is called “Mimicking and Visual Education” in the School. It is a visual suggestion for how the participant is to act. Doing this makes it much more likely that they will follow along and do as you wish. To the rest of the audience your mimicking the idea looks as if you are nearly taunting the participant. The participant will find that they cannot lift the deck at this point. This can seem very strange to the participant. I have had all sorts of reactions to this situation. Many really believe that the deck has become heavier. It truly has become heavier in their minds. This being played out in reality is proof to everyone that it is so. Their actions create a feedback loop where what they imagine becomes a reality. I also hold my hand a foot or so away from the deck before asking the participant to try to lift the deck. This is done as a reminder to the participant, not to lift the deck. It is much more than a gesture done for mere theatrical reasons. The gesture holds a real power of influence by visual education, and causes the participant to act on the indirect idea in the physical. After the effect I snap my fingers and say the following words, returning everything to normal in the process. “Of course, you can lift the deck. Everything is back to normal now. Lift the deck. You were always able to lift the deck but what is interesting is how by imagining something to be so, it can become a reality. If only for a moment.” The last couple of lines wrap up the effect nicely and label what has happened as something magical and important, which it is. The participant may describe what happened from the point of view of the effect but also describe what actually took place. The effect and method are alike in kind but different in degree. There‖s some real old Hermetic magic at work for you! Perhaps this is REAL magic.

Kenton‖s Outs on Purpose – (additional commentary to Strength of imagination) Some of the time you will only be able to make the deck seem heavier to the participant and not entirely stuck to the table. This is okay, as you have still achieved an effect. If that happens you could just go through the wording again and try a second time, to get the deck to stay stuck on the table. If it does not work at all, Kenton has suggested the following. Use a gaffed “Invisible Deck” in place of the normal deck. Now, if the first part of the trick goes wrong, you can move into the standard presentation for the “Invisible Deck” having the participant imagine a freely thought of card as being turned over in the deck. This allows you to end successfully, without compromising the original premise of the effect. Done properly, no one will be any wiser that you have failed at all. This is known as “Outs on Purpose” in the School. It allows you the freedom to attempt effects that would otherwise be impossible, all the while never really risking anything. Because you plan on using the out anyway, you will not be seen to fail when you eventually use your backup trick. Read that again carefully to grasp the important nuance. Of course this has to be scripted in such a way to not appear to be a complete change of direction. Here is how I handle this effect. I simply remark “Okay. Sometimes this takes longer than others. Try it this way instead. Think of any card in the deck. Imagine it is now the only card turned face down, in the face up deck.” Then reveal the card as you would normally using the gimmicked deck. To the participant and the audience this is what the effect was always supposed to be. At least the premise is still intact. How you applied the power of imagination changed, because the participant could imagine better in one way than another. This appears so seamless that no one is the wiser, not even other performers. Now you can afford to risk trying this effect, because you will always end successfully no matter what someone does or does not do. Let‖s consider how to apply these principles to yet another effect.

A Still Small Voice - Cedric Taylor - ClubMagic Thanks Pete for allowing me to contribute. Before I get started, I'd like everyone to know that Peter is a gracious guy! I can remember starting out with my "Cedric Taylor Experience" Web-show. Pete would always be as brutally honest as can be and also offered advice that would be worth the price of his premium material. That kind of gratitude, no amount of money could suffice. So when I was asked to contribute, without hesitation, I said yes. To the readers of this material allow me to present to you a pet effect of mine entitled, "A still small voice". Without getting too much know me knows where the subject, this routine has which is a silent way to

into the background of this routine, many of you who inspiration of this comes from. Without going off a bit of dual reality in it as well as the desired effect get someone into trance.

There is a small bit of pre-show, but its nothing too hard. All you would need to do is at some point get someone to write their name down. You don't even need to try and guess it. Just when presenting it in this manner, make sure your audience doesn't know that you have prior knowledge of your participant's name. That is the set up. There are several things that will happen: 1. You will place your spectator in a trance 2. You will take away their ability to say their name. 3. You will seemingly guess their name. Be mindful, at some point, you already have prior knowledge of your participant's name. Next you will go for first putting them into trance, by utilizing the still small voice presentation: "I know this is awkward, yes or no, can you say your name?" Yes. "Great, whatever you do, for now, don't say it. In a moment, you are going to spell your name. When you get to the last letter of your name, just allow your eyes to close and just relax. Nod your head if you understand." (They nod) "Fantastic!"

"Now look at me. Take a deep breath in......and out. That's it...” (At this point your voice has a deeper, serious, more empathetic tone) "Imagine the first letter of your name. Do you see it?" (They say or nod yes) "That's it...You are doing well. Now imagine the second letter. You see it?" (They say or nod yes) "Good you are doing just fine..." "Now focus on my forehead, and spell your name out on my forehead, when you get to the last letter, just close your eyes and relax" Since you have prior knowledge of their name, you can pinpoint when they get to the last letter. It‖s a matter of timing. You don‖t have to be spot on, because if you do it too fast, it seems like you made them close their eyes. The goal is to not do it too slow. You can place a finger to each side of your head and close your eyes when you feel they are about to close their eyes. For clarity purposes, you are basically doing a psychic/ mentalist pose, with a finger or fingers to each side of your head, while you time them and close your eyes. This will play big with your audience because it seems as if you are in control and you made them fall into a trance. When the participant eyes close, you do you favorite method of amnesia. Or you can do mine, from by book, Sovereign: "Starting now, I want you to imagine your name is gone. Truly imagine this. By doing so, the more I ask you to say your name, the more you will not. That‖s it. The more I try to get you to say your name; you will not say it, because in your mind, it‖s gone. Nod your head if you understand this, now." (They nod) You then touch their head briefly. This is like Banachek's witch-doctor principle. Nothing really happens; this just sells the idea that you may be guessing their name. Don't worry it will all play out in the end. "In a moment, when you open your eyes, your name will be gone and you cannot say it, because in your mind it‖s gone. Nod your head if you understand this." (They nod) "Okay, one, two, three, wide awake, you can open your eyes."

At this point, you can ask them their name in many ways, but because you have given them instructions, they will not say it, no matter what until you instruct them to do so. It‖s not that you have hypnotized them, they are merely following your instructions not to say their name at any cost. Finally you will give them the ability to say their name, but quickly, you do the old Annemann ploy, and say: "By the way your name was.....Peter right?" They say yes, acknowledging that you remembered their name. Notice the participant doesn't seem amazed that you've guess their name or even bust you out that you already knew their name because you present it like you've forgotten their name, and somehow remember it. To the audience, it seems like you guessed their name. Another reason why the audience will be sold is because you touched their head doing a variation of the witch doctor principle earlier. There you have it, you have hypnotized them without touching them, though you can. You have also taken away their ability to say their name. And you have guessed their name. If you wish to know more about this type of coercion hypnosis, feel free to check out my book, "Sovereign". Note: You can take this principle further by guessing other pieces of information via your favorite method, or even guessing names of cards via your favorite methods.

The Placebo Effect –Thaddius Barker “Then he touched their eyes and said, ―According to your faith let it be done to you‖.” - Matthew 9:29, NIV

Introduction I have long appreciated the convenience of the amnesia card plot since my first consumption of Luke Jermay's Reverse Gestalt Moment from his book '7 Deceptions'. A few years ago, James Brown released an effect called Cerebral Steal from his project 'Professional Opportunist‖ that was very similar in composition. Both effects were pseudo-hypnotic card plots that resulted in a spectator forgetting a selected card. I loved both ideas, and have used them extensively, however, there was always a part of the routine that I disliked. In the conclusion of the “experiment”, the participant is often left in a state of disagreement with the final result of the effect: they specifically remember selecting a card that they are being told is incorrect by the rest of the audience, and the two are left arguing with one another. Thus began my journey to remedy this dilemma. The solution came to me whilst driving to work one day. The following is my alternative handling to this classic plot that ends in the cleanest way possible leaving all audience members in agreement with both themselves and the performer. I give you ―The Placebo Effect‖.

Performance A participant is invited onto the stage and beckoned to select a card. The card is displayed to the entire audience - the Jack of Spades. The performer proceeds by losing the card back into the deck and then addresses the participant: "I would like to conduct an experiment with you that is centered solely around

the power of belief. Belief is an incredible thing. Did you know that our thoughts and beliefs can affect both our mental and physical health?” “During WWII, Dr. Henry Beecher used saline injections to substitute for morphine which was in short supply. The soldiers‖ pain was relieved simply because they believed the medicine would do so. He coined the expression “the placebo effect.” Further research he conducted revealed that up to 35% of response to any medical treatment could be attributed to the patient‖s belief about it. This placebo effect has been proven to be an actual, measurable change in brain chemistry. The mindbody connection is a valuable tool we can access in order to improve our quality of life.”

“Now, if I wanted to, I could tell you the identity of your card. Look at me for a moment.” The performer gazes into the eyes of the participant, “ This is a black card.” The participant begins to smile in disbelief as she reluctantly nods her head. “Is your card --” the performer leans in to whisper the revelation into the participant‖s ear. The participant explodes with amazement and the performer gives a modest dismissive gesture. “Knowing the card is only half the battle. The fact still remains that it is lost in the deck.” The performer reveals the top card of the deck - the 3 of Clubs. “Obviously, we know this isn‖t it,” the performer says as he places it down on the table top, discarding the rest of the deck. “Just to be clear, this is not your card - the 3 of Clubs?”

“Correct,” agrees the participant. The performer places the card into the hands of the participant, who now holds it so that the face of the card remains visible to everyone. “You know, as a younger

magician, one of the first routines that I learned was how to make a random card morph into a desired selection. Now, given the circumstances, that seems impossible. But, I have come to find out that I don‖t need to change the card when I can simply change your perception. I would like for you to concentrate on the 3 of Clubs and close your eyes. Imagine that the face of this random selection in your hand is beginning to fade away, turning the card into a blank white canvas. Slowly, you are going to begin to see the card that you selected appear on its face, pip by pip. Take your time with this - I want you to actively imagine that this is happening. If you believe it will happen, then it will, and when you believe that it has, I want for you to open your eyes.” The participant pauses for a moment and then opens her eyes. “Now turn it around.” The participant slowly revolves the card in her hand and as her eyes make contact with the face of the card, her jaw drops.

“Is that your card?” asks the performer. “YES!” She exclaims. “Show everyone else!” the performer states, sharing in her excitement. The participant reveals the card, which - coincidentally - has not changed, but remains the 3 of Clubs. The performer allows her a moment to adjust and then continues, “I know that you are excited, but just look at me; I want to make sure that we all see things for what they really are.” The performer snaps his fingers, “Tell us, what card do you see now?”

“The 3 of Clubs,” she responds. “Not the Jack of Spades?”

“No,” she replies. “But you did see the Jack just a moment ago, yes?” the performer asks. “Yes.” The performer turns to address the audience at large, “I would say that is certainly peculiar, wouldn‖t most of you?” The performer then turns back to his participant and says, “We have been focused on the power of belief and how it can

affect our perception of reality, which is honestly not as difficult a task as it may seem. To do this, I start by making a person challenge what they think they already know - and usually... they don‖t know JACK. Instead, they find themselves floating around in a place that is unfamiliar only to come hurtling back down to earth into the reality that I‖ve chosen for them, and they latch on to that which IS familiar - to what‖s been right in front of them the entire time, and they then accept that as reality. I want you to forget about the Jack, and tell us - in case anyone might be confused here, what was YOUR card?” “The 3 of Clubs,” she concludes.

Abbreviated Performance ...“Now, if I wanted to, I could tell you the identity of your card. Look at me for a moment.” The performer gazes into the eyes of the participant, “This is a black card.” The participant begins to smile in disbelief as she reluctantly nods her head. “Is your card --” the performer leans in to whisper the revelation into the participant‖s ear. The participant explodes with amazement and the performer gives a modest dismissive gesture. “Knowing the card is only half the battle. The fact still remains that it is lost in the deck.” The performer reveals the top card of the deck - the 3 of Clubs. “Obviously, we know this isn‖t it,” the performer says as he places it down on the table top, discarding the rest of the deck. “Just to be clear, this is not your card - the 3 of Clubs?” “Correct,” agrees the participant. The performer asks the participant to hold out her hand as he places the card in it face down. He says, “Now, the standard magician might try to do some sort of

sleight of hand so as to make your card "magically appear" in front of everyone, but as a hypnotist, I focus more on the power of belief and how it can affect our perception of reality, which can work to my advantage. To do this, I start by making a person challenge what they think they already know - and usually... they don‖t know JACK. Instead, they find themselves floating around in a place that is unfamiliar only to come hurtling back down to earth into the reality that I‖ve chosen for them, and they latch on to that which IS familiar - to

what‖s been right in front of them the entire time, and they then accept that as reality. Now, this was not your card, right?” The performer points at the 3 in her hand.

“Right,” the participant responds. “Can you tell me - was your selected card a Spade?” “No,” she says. “Oh. Well, in case anyone is confused, was it a Jack?” “No,” she repeats. “Hmm, interesting. Perhaps you can tell us, what was the name of your card?” “The 3 of Clubs,” the participant says with conviction. “The 3 of Clubs. That was the card you initially selected?” the performer inquires.

“Yes.” “Definitely interesting. I know that you said the card in your hand was not yours, but if you take another look, you might be surprised what you see NOW.” The participant slowly turns over the card in her hand and is dumbfounded to see the 3 of Clubs, their supposed selection.

Method Needless to say, there is a lot happening in both versions of this effect. Though it may seem like a lot to read through, I can assure you that - in performance this flows well and absolutely kills. I prefer the original performance/presentation because it offers so much more. What you read above is exactly what you would say and do in real time, save for a few details that are unseen by the audience at large. This effect uses a mixture of simple sleights, clever linguistics, and dual reality. Now I know many of you may cringe at the sound of dual reality - or perhaps you find it intimidating - but this is different. This can be done closeup or on stage and is concluded so nicely that you may wish to place a bow atop before all is said and done. This can be performed in a myriad of different ways, one of which being with a borrowed deck. I will often reference the patter from the description(s) of this effect, whereas, you will be quoting much of it verbatim. Granted, there is room to edit the dialogue a bit, and you can exclude certain portions of this effect if you prefer it to be shorter or more streamlined (hence the abbreviated variation). Let‖s assume that you wish to perform the entire routine.

A participant is, of course, invited on stage. The deck is shuffled and the spectator - whom we shall name Alice - is asked to select a playing card. There is no force, however, for this demonstration we will use the same playing cards from the description above - the Jack of Spades and the 3 of Clubs. I will say that if you use the Jack of Spades - or any other Jack - you are allotted more word play that will work in sync with the above scripting, but it is not mandatory. If you wish to use the Jack of spades, either remove the other Jacks from the deck ahead of time, or place them in a bank at the bottom or top of the deck - just under the Jack of Spades - so you know that they will not be selected by the participant. Spread the cards, prompting her to select one, but ask her to simply touch a playing card of her choosing. I usually try to refrain from allowing the spectator to remove their selection from the deck; having them simply touch the back of their selection or dribbling/riffling through the deck and asking them to call out "Stop!" will suffice (this just simplifies the handling). Once the card is selected, remove it yourself so as to properly display it to the participant alone. Let's say that Alice selects the 3 of Clubs, just as before. After showing the card to Alice, you will need to perform a top change; it's best to do this under the guise of asking a question, such as, "Do you feel this is a card that you can easily remember?". Now that you have switched the selected card for the top card (i.e., the Jack of Spades) you can freely display it to the rest of the audience. To be clear, the participant and the audience will be shown two different cards. As you are displaying the Jack of Spades to the rest of the audience, you can peek the Alice's actual selection by slightly raising the 3 from the top of the deck with your thumb as you turn your head away from the Jack, so as not to accidentally catch a glimpse of it. Gaining insight to the actual selection is of critical importance to continue with the routine. You can, if you wish, openly look at the card alongside your participant, Alice, before showing it to everyone else. This, however, negates the use of the mind reading portion wherein you whisper the revelation to the spectator halfway through the effect, therefore shortening the routine as a whole. I only recommend that you do this should you A.) prefer a shorter routine with less climaxes, and B.) have an audience that you trust will not blurt out the identity of the dummy card (the Jack of Spades), thereby compromising the integrity of the effect. I, personally, enjoy the addition of the mind-reading segment, but to each his own. Now that everyone has a card that they believe is the selection in mind, you will need to perform Marlo‖s Tilt and insert the Jack into the second position of the deck - right under the 3 of Clubs. At this point, you can temporarily shift focus from the deck as you begin your patter about the power of belief and the placebo effect. After doing so, you have your window of opportunity to perform the mindreading portion, which is somewhat reminiscent of Peter Turner‖s Bob Principle from “Bigger Fish”. In some cases, you will luck out and have the participant

select a card that matches the color or suit of the random playing card that was displayed to the audience at large - assuming you do not use a force. When this happens, you can capitalize on this happy coincidence and reveal the card‖s matching attributes so that everyone can hear as you divine the thought of card. For example, the Jack of Spades and the 3 of Clubs are both black; knowing this, I can openly state that the card that Alice is thinking of is a black card. Should the suits happen to match, I can openly announce the suit as well (feel free to confer the corresponding dialogue above). I wrap up this portion by starting to say, “Is your card --” and then I lean in so that only Alice can hear as I whisper, “the 3 of Clubs?”. Now, Alice is likely to have a heightened reaction due to the downplay of the whisper, but there is no reason for her to say the name of the card that she is actually thinking of. For all she knows, the rest of the audience thinks that I whispered “The 3 of Clubs.” when in fact they are actually assuming that I have whispered “The Jack of Spades.”. Allow this moment to sink in before you continue with the next part of this act: causing the participant to supposedly hallucinate. As we continue with the dialogue from the description above, you will need to have Alice in a position that is conducive to performing a double lift. This allows you to display to her and her alone the Jack of Spades as you talk about the fact that her thought of card is still lost in the deck. What happens next is again both pivotal and critical toward the succession of this routine. Notice the wording as we show Alice the Jack of Spades - “Obviously, we know this isn‖t it,” the card is then seemingly just turned around in order to display it to the rest of the audience, when in actuality, you briefly allow them to glimpse the 3 of Clubs as you drop it down on the tabletop in front of you. The rest of the cards are put down, or reboxed, you then - as if to give the audience at large a better look - pick the 3 of Clubs back up, using a body cover as you display it to everyone before you, and peek around to the front of the card yourself as you say, “Just to be clear, this is not your card - the 3 of Clubs?” The ambiguity of this statement is key. Said in a neutral enough tone, we can be implying 1 of 2 things to both parts of our audience. To Alice, we are essentially saying: “This card is not the card that you were thinking of, which was the 3 of Clubs, correct?” To the rest of the audience - who again have a different presupposition of what the selected card is - we are basically saying: “This 3 of Clubs is not the card that you picked, right?”. This question is so incredibly important for the effect to work; I urge you to reread this a few times to make sure you understand exactly what is supposed to be happening here. Alice has no reason to disagree. Proceed by placing the 3 of Clubs in her hand - being careful not to let her see that it is not still the Jack of Spades that she just saw during the double lift. You can either place it face down in her hand, or have her hold the card facing the audience so that they can see the 3 of Clubs

throughout the routine (this can create a bigger impact for later). We now continue to the patter that reveals the motivation/pseudo-method of the routine: changing one‖s perception. In the dialogue above, you will note certain words are in bold text; this is because said words are meant to be emphasized during performance. Carefully examine this next line from above as we dissect it together to discuss its true purpose/meaning:

“You know, as a younger magician, one of the first routines that I learned was how to make a random card morph into a desired selection. Now, given the circumstances, that seems impossible. But, I have come to find out that I don‖t need to change the card when I can simply change your perception. I would like for you to concentrate on the 3 of Clubs and close your eyes.” Let‖s stop here. You might be asking yourself, “Why we would dare say the name of the thought of card? Won‖t that confuse everyone and cause the routine to unravel at its seam?” No, it won‖t. Because the audience - apart from Alice - is aware of the fact that the card in her hand is the 3 of Clubs. Alice just thinks that I am asking her to concentrate on the card that we want to see - her selection (e.g., the 3 of Clubs). The audience just thinks that I am asking her to concentrate on the random card in her hand.

“Imagine that the face of this random selection in your hand is beginning to fade away, turning the card into a blank white canvas.” The words “in your hand” here are meant to be said emphatically as you gesture to the card. This emphasis compensates for the previous reference to the 3 of Clubs, but is still ambiguous enough to apply to both realities at play.

“Slowly, you are going to begin to see the card that you selected appear on its face, pip by pip. Take your time with this - I want you to actively imagine that this is happening. If you believe it will happen, then it will, and when you believe that it has, I want for you to open your eyes.” This is pretty much said at face value. After Alice opens her eyes and looks at the card as instructed, we interject with the question, “Is that your card?” making it difficult for her to say anything other than, “Yes.”. We obviously do not want Alice to say, “It‖s the 3 of Clubs!”, we want to maintain the illusion for the rest of the audience that she is seeing a card that is not really there.

“I know that you are excited, but just look at me, I want to make sure that we all see things for what they really are.” The performer snaps his fingers, “Tell us, what card do you see now?” This statement almost implies to Alice that some of the audience may not be on the same page, while at the same time implies to the audience that we want her to snap back to reality and see the card for what it is - the 3 of Clubs.

“The 3 of Clubs,” she responds. “Not the Jack of Spades?” “No,” she replies. “But you did see the Jack just a moment ago, yes?” the performer asks. “Yes.” Again, you might be thinking that the above is too bold to say, but it is all technically true. Alice did just see the Jack of Spades, just not when the rest of the audience assumes she did. She is harkening back to when the double lift took place. We could theoretically conclude the routine at this point, but we would run the risk of some of our audience members discovering the true identity of her selected card. If you do not perceive this as a bother, and simply wish for the audience to experience the pseudo-hallucination effect, then by all means, dismiss your participant. If, however, you wish to wrap things up and make it so that any questioning by the audience would actually strengthen the illusion of what has occurred, pay attention to the following. The performer turns to address the audience at large, “I would say that is certainly peculiar, wouldn‖t most of you?” The performer then turns back to his participant and says, “We have been focused on the power of belief and

how it can affect our perception of reality, which is honestly not as difficult a task as it may seem. To do this, I start by making a person challenge what they think they already know - and usually... they don‖t know JACK. Instead, they find themselves floating around in a place that is unfamiliar only to come hurtling back down to earth into the reality that I‖ve chosen for them, and they latch on to that which IS familiar - to what‖s been right in front of them the entire time, and they then accept that as reality. I want you to forget about the Jack, and tell us - in case anyone might be confused here, what was YOUR card?” “The 3 of Clubs,” she concludes. The above patter is meant to be somewhat confusing for the participant, thereby strengthening the illusion through pseudo-hypnotic language. As you can see, by incorporating the Jack of Spades at the beginning of this routine, we can now include subtle nuances that directly reference it in our patter. The words “accept that” are said as you gently touch the back of the 3 of Clubs. The routine concludes by creating the illusion that we have not only read our participants mind and caused them to actively hallucinate, but also changed their belief about the card that the selected. In doing so, if someone were to now inquire as to what card they started with, they would rightfully respond with “The 3 of Clubs” which in this case is good, because it completes the illusion.

Abbreviated Method The abbreviated performance is very similar to this routine, but it simply excludes the portion wherein our participant “hallucinates” and instead just seeks to change their beliefs regarding their initial selection. The method for which has already been described in the text above.

Conclusion I find that this routine, which should be classified as a hypnotrick, solves a few minor issues with the amnesia card plot, and can be used to segue into - or in the midst of - an actual hypnosis routine being that it shares the same aesthetic. I pray that this serves you well; if you are interested in alternative presentations of this effect that move beyond the use of playing cards, keep your eyes open for my upcoming releases. Kindest Regards, T

Additional ideas (Amnesia card plot) I don't remember - Keith Barry - ClubMagic Effect The performer proposes to attempt to prove he can hack into the brain of even the biggest skeptic to implant a thought, read their private thoughts or even remove a thought so that it no longer exists. The performer nominates a participant to try an experiment in influenced amnesia. The performer produces a deck of playing cards removing a card from the center of the deck and shows that random playing card to the audience. After showing the audience he turns the card towards the participant and let's the participant stare at the card for a few seconds so that there is no shadow of a doubt that the participant knows the identity. The performer places the cards away and looks into the participant's eyes, without breaking eye contact he asks the participant to take a few seconds and try to tell everyone the card. The participant looks stunned, he thinks for a few seconds and says - "I don't remember!" No matter how hard the participant tries they cannot remember the playing card.

Breakdown In 2003, before I utilised actual hypnosis on television I had to create a series of routines that were quick and sure fire to use that looked like hypnosis. I came up with a series of methods to make it seem like I was utilising hypnosis when in fact I was using other techniques. Over the years I have developed a series of techniques and principles out of necessity and found what gets the best reactions. This is one of those routines, don't dismiss this routine because of its simplicity. The idea is very simple, take a deck of cards and a matching backed (in colour and design) blank faced playing card. On the blank face write - 'I don't remember'. Place this card second from the top and you are ready to perform. Stand the participant that you are proposing to 'hypnotise' on your left side and the spectators on your right hand side. Take the top card off of the deck and show the spectators on your right, being careful not to let the participant on your left see the value of the card. As you turn toward the participant on your left, top change the card so that you will be showing that participant the prepared blank face card. Place the cards into your pocket and look at the participant that looked at the blank card. Snap your fingers and wave your hands past the participant's face and ask them to try and remember the card that they saw. If you ask this participant what card they saw, they will be forced to say that they cannot remember. You find that the reaction from the participant is great, they will say that they cannot remember with conviction and seem convincing - I have tried many different variations and this certainly is the best of the lot! It is just as easy to make a participant actually forget the playing card using actual hypnosis, this is just a quick solution that should give you a great out (when utilising hypnosis) or an instant effect you can turn to should you want to create the illusion of hypnosis.

Keith Barry - ClubMagic 2016

ON AMNESIA EFFECTS – Jerome Finlay There has been an increased interest in amnesia routines and effects as of late. I prefer doing it for real using psychology and intellectual misdirection, NLP and subtle communication techniques, minor/temporary confusion, pattern interrupts, phonological ambiguities (etc) to produce the effect(s). It's common for me to go the Derren-esque route causing people to 'forget' their names, phone numbers, destinations and more immediately using no props or gimmicks. It's a fascinating area of practice and something I‖ve become exceptionally good at. I've been a fan of Jermay's 'RGM', Sankey's 'Memory Lapse' and 'Freakey'. These are great routines to produce the necessary mindset called for during amnesia routines, effects and demonstrations. I find that routines such as the above are more useful as a type of INDUCTION rather than a demonstration in and of themselves. By eliciting the correct states through deception, we can blow the doors wide open and REALLY cause a person to forget (or for that fact REMEMBER) just about anything we wish. Once the mind of the participant is convinced via trickery, their mind becomes a fertile playing field and for a few moments (at least) we are free to do as we wish. The way I perform mentalism is a bit different in that I only use trickery as an out for failed REAL phenomenon, in which case the illusion becomes an induction of sorts and gets me back on track to produce the real stuff using deception and the states it elicits as the precursor to such experiences. It's a lot of trial and error. This type of material is not technically difficult but requires a lot of subtlety, of course. My background is in stage hypnosis, core issue hypnotherapy, NLP, Relaxed Focused Awareness, group mind dynamics, ecstatic states of consciousness and cult mind control so I've had a lot of tools to work with. While there are a lot of great mentalism routines to produce pseudo-effects, I think it's easier to produce true results with a bit of knowledge, application and lessons derived through LOTS of error. It's worth it! One of my favorite things to do for other mentalists is placing a single card onto the table and causing a participant to forget it completely. Or placing a coin with date noted into a person's closed fist and causing them to be unable to recall the date, or a simple drawing or a name, etc. One gem I discovered a few years ago was based on a study which found the

majority of American's were unable to remember their countries pledge of allegiance, so, I have used tidbits like this to my advantage during amnesia routines. A very effective gambit while eliciting this forgetful state is having the participant remember the last time they forgot something! It could be anything; their wallet, cell phone, car keys, appointment or television program they were intent on watching, etc. If the person can recall the last time they forgot something, they are already remembering to forget! If they cannot recall the last time they forgot something, that's perfect too as they are already forgetting something! Using this momentum and combining it with layers of additional techniques it becomes a simple step towards causing people to truly forget a thing for a time and I find is more effective than gaffs or gimmicks to do the same. One of my favorite gems is a mind-blanking technique that can be used one-on-one or with an entire audience. I use it myself to produce a state of instant meditation and thought clearing - it comes from my mentor R.M. Welling, a close personal friend and student of Persuasion Artist Kenrick Cleveland (the best there is in my opinion). The pattern is simple, 'What is it you're NOT thinking about right now?' See what happens? The mind goes blank easily and naturally. When the question is asked with an anchor (snap, gesture, touch, etc) the results become reproducible and very effective. As we begin stacking commands, anchors and suggestions the participant is led into a mind numbing world VERY quickly. A quick example of a strong, signature, impromptu piece of mine is the following: We'll say my participant's name is 'David.' 'David, if I could ask you ONE question . . . it would be . . . what is it you're NOT thinking of right now?‖ (snap/wave, touch/anchor). (You will immediately get a very blank faced stare and see the mental wheels coming to a halt - often the victim will ask, 'What am I not thinking of right now?' Hmmm. I don't know! - - - to which I will reply, 'That's okay, I DON'T KNOW EITHER' while repeating the anchors and question . . . I follow with: 'If I could ask you TWO questions, the second one might be, 'Besides RIGHT NOW, when is the last time you forgot (X)?' (This question is asked while firing the

previously set anchor). X can be anything at this point! Besides RIGHT NOW, when is the last time you forgot your own name? Or Besides RIGHT NOW, when is the last time you forgot where you were headed? Or Besides RIGHT NOW, when is the last time you forgot your own phone number? Or as I prefer, do something actually helpful aka, 'Besides RIGHT NOW, when is the last time you forgot your fear of heights so easily and naturally (or completely and quickly)?' etc. The results are most commonly blank faced stares, stuttering and stumbling, drawing a complete mental blank and seeing the actual mental processes and faculties shutting down and turning off. These techniques and their ilk result in a very neutral, unthinking, BLANK person and participant! This is just one very small, simple example of how I personally produce such effects. The duration of such hypnotics vary but can be quite extensive with proper work and application. I'm sure to give the participant their thoughts and clarity back when I'm finished. This is a deep seated mind-screw and working with the previously set anchors and psychological convincers like American's natural tendency to forget the pledge of allegiance (especially when placed under pressure AND after the previous bits of business) it makes for a great, fast and incredibly strong demonstration of impromptu hypnosis and mind control. In time I will sit down to finish the next manuscript in my 'Thought' series with, 'Thought Veil', including all my work on this subject, routines and demonstrations, impromptu hypnosis, instant inductions and psychological ruses to facilitate a stronger, deeper experience.

‘BOAT, CUCUMBER, WIRE’ – Jerome Finlay - ClubMagic In the movie, 'Super High Me' there is a scene in which our host undergoes a psychological test in which he is asked to repeat the following words: 'boat, cucumber, wire.' He is then asked to name/describe various simple objects (example: I hold up my car keys, cell phone (etc) and have the participant

name/describe it/WHAT IT LOOKS LIKE. After just a few moments I ask them what the WORDS are I had them repeat just moments earlier). People really struggle and strain to remember/recall their previous thought! They normally miss at least ONE of the words (boat, cucumber, wire) and it allows me to go into a deeper effect using this short bit of business as a segue in to amnesia effects. I've done this with the entire audience many times and it works really, really well! Do to the numbers game there will always be plenty of people who ―forget‖ at least one of the words! I also have an opening wherein the entire audience gets involved with all types of psychological tests, suggestions and forces and use the line I used in the post I pasted above, 'What is it you're NOT thinking of/about RIGHT NOW???' The mind goes blank . . . and just when I see the lights beginning to turn on again I ask, 'and what were those three words I had you all repeat just a few moments ago?' You can follow this memory lapse with any number of ruses including, 'And more (!) besides right now, when is the last time ALL OF YOU FORGOT YOUR OWN NAMES?' (And I DO mean addressing this to the entire audience as a mass effect!!!) Again the audience is stunned and struggles to recall.

The waking dream of a loved one - Matt Pulsar - ClubMagic During my show after performing a "suggestibility test" on the audience such as the magnetic fingers or locking hands I select an individual who both responded well to the suggestion and who seems happy and creative. Handing them my Kodama Pad I ask them to write down someone's name, someone important to them, someone who is not here tonight, who they haven't seen recently but who they would be happy thinking about. I instruct them not to let anyone see what they have written, to tear out that page, fold it up, and put it in their pocket or purse. Once this is done I invite them onto the stage and have them stand facing me so that both of our right shoulders are facing the audience. I ask them to take a deep breath and relax and I pick up my crystal ball and hold it above their head (if possible I have arranged the lighting so that the ball catches the light and glows.) I ask them to focus their mind on the ball and just let their mind drift. As they do this I have them take another deep breath and I say: "Please open your imagination, as in a moment i'm going to have you visualise some things for me and they will start to appear to you. The more clearly you open your unconscious mind the more clearly you will be able to see what you imagine. "As you focus on this spot, this crystal ball, science tells us that the only thing you are actually seeing, in focus, is the ball, the light, the shape, the lines in the crystal, and yet, you are aware of everything else in the room. Everything else you see, however, is a construct of your imagination, its a blurry space to your eyes, but your brain is so powerful that you sense it as clear activity. "In a moment I want you to imagine a shape, any simple shape like a square, floating to your left side, about here. (Gesturing with my hand to the spot to the left of their head.) You might imagine a circle like the ball you are staring at or you could change to any simple shape you prefer. Got one? They nod "Great, now imagine that shape in three dimensions, good. Is that like, a pyramid? "Yes!" Look of astonishment. "Perfect, now, can you see it getting, slowly, larger?" Nod "Can you see it glowing? Nervous laugh, "Yes!"

"Your doing a great job, now tell me, what size and type of animal is on this side?" (I gesture to their right side) A big white horse! "Awesome, you have an amazing imagination, for tonight we will call that your spirit animal, and if you accept it, you can keep it and it will help guide you. "Now I want you to picture your friend in the crystal ball. Imagine where they might be, and see them smiling, happy... Just to be sure, this person is still with us yes? Yes, "I see them in a warm place, dry.. "Yes" "This person is related to you? "Yes" "Your...Brother? "Yes "And he's older...(nod)...By two years? "Yes!" "And you're imagining him in some place like Mexico? "Yes, he's in Mexico!" "Fantastic, I'm going to lower the ball and step aside now, but I want you to just imagine me melting away and in my place see him standing in front of you, smiling... They nod "Imagine...unexpectedly he arrived here tonight, and you see him suddenly...think of his name...and you call out... "JAMES...YES?"

"YES, JAMES!" "Everyone please give Anna and James a round of applause..." This routine came out of a chat with Anthony Jacquin during the Mysterious World Podcast. Anthony explained his Automatic Imagination protocol and how he uses it to have people imagine a shape and then a "Size and Breed of Dog." I originally used exactly Anthony's scripting for the dog and had them write down a personal animal to create the spirit animal concept. This evolved over time into what I have written above and it gets a very dramatic reaction from people. On the magick side of things what I have done is gifted them with a spirit animal, a referential guide that many people use well long after the performance. For the audience they are witnessing a very dramatic instance of someone hallucinating shapes, animals, and then a person. There are many built in hits and moments for the audience to hold on to. The first is the idea that our eyes are limited but the brain creates our reality. Then there is the hit on the shape they are imagining. I don't get it every time, but the wording helps it be fairly probable that it will be a pyramid. First I say: "you are going to imagine a simple shape like a square..." and then I say "You might imagine a circle like the crystal ball you are staring at or you could change it to another shape..." This pretty much cancels out squares and circles and leads them to the triangle. I then separate that slightly by asking them to imagine it in three dimensions and saying, "Is that a pyramid?" This gets a great reaction when it hits, but when they are thinking of something else they just tell me, and no big deal. Some very suggestible people will just go with the circle or square I suggest. Other art school types will go with a star or octagon or something definitely not simple. I just go with whatever they say. That they are imagining it is already interesting. Next they see it getting bigger and then glowing. Very often when I lead them to this they say that it already was before I said it which is great. It becomes as though we are both experiencing something that is invisible to the audience. The animal becomes a surprised and they will often laugh when it appears which is great. When they focus back on their loved one and imagine him/her it becomes very dramatic. Partially from the feelings they have for this person, partially because they had forgotten about that being the beginning of this, and partially because after the practice with the shape and animal, they now more clearly imagine the person joining them. In every iteration of this effect I have had very strong audience and participant reactions. I have even done it without the impression pad ending and it is still very strong.

Another nice thing about it is that while it relates to a hypnotic process it is sure fire that something is going to work. There are people in the world who have trouble imagining things visually and with them I can just switch to revealing the name. No matter what happens with the person I have a clear strong ending. For this piece I use mellow hypnotic background music and it goes between more upbeat and involved sets in my show. I usually will do this before my blindfold or Q & A routines. My deepest thanks goes to Anthony Jacquin for many reasons but here in particular for allowing me to use his Automatic Imagination process. I studied with Anthony for my hypnotherapy practice and highly recommend everything he has to offer. Credit also goes to Mike Mandel who's work I have now been studying for many years and I'm always learning something new. If you want to get a strong handle on hypnotic work, Jacquin and Mandel are two great guys to study. Credit also goes to Punx and Ted Lessley for the way I reveal the name. For more on this work see Lessley's book "Paramiracles" and the chapter on the center tear. Thanks to Craig Browning for his influence in the Urban Shamanism practice, which lead me to creating work focused on things like defining a spirit animal. There is also a long list of credits that can go into my impression pad, the most recent of which is fellow PEA member Christopher Taylor. Any process you want to use to get the name is fine. I use Kodama as I ways have it on me already and I can clearly prove to the audience that there is no way I could know what she has written. To learn more please pick up the Kodama Pad. Finally thanks to Peter Turner for being a friend and inspiration and for putting together this great book on Hypnotic mentalism effects. I continue to be inspired by all he puts out for the community and I don't think I would have the same tone and focus on subtlety that I now have without his influence. He is truly a living legend in our art.

Sven up - Alex Fisher a pseudo hypnotic effect ideal for walkabout magic performance.

Background. The dual reality nature of the svengali deck had always seemed to me to be something that is lost in most presentations . This effect takes full advantage of that and leaves a truly impossible situation behind with the spectators . Its a routine of two halves, don‖t miss out any parts of the second part, the first part however , can be jazzed as much as you like but DO do it ! I developed this in two stages , Firstly I wanted a method to end my svengali routine without that awful ―‖ oh all the cards are now the same‖‖ moment that you see so often. So I wanted to just use one person in a group . Secondly I really wanted to utilise the hypnosis I had been studying. About 7 years ago I was training with Anthony Jacquin the final adaptation fell into place .

EFFECT A random card is selected by a spectator. It is buried in the deck, repeatedly appears at the top and in impossible locations. A spectator is then asked if they have ever been hypnotized, the magician hands the deck of cards to one of the bystanders to hold whilst he/she ―hypnotizes‖ the spectator. The spectator is told (under hypnosis) that they will get to look at the deck and they will only see one named card) the spectator is brought back ‖into the room‖ when she is shown the cards again, she sees only the one card, she then tells everyone that she has seen just the one card, even though you are clearly showing them the entire deck as she does. Requirements one Svengali deck

Part one I wouldn‖t presume to tell anyone reading this how to perform routine with the Sven deck. I learnt mine whilst demming for Marvin‖s magic back in the day. But this is important to establish the main part of the dual reality that is being established. I generally find that with a small group of four to six people mixed company works best. It is important to use the Sven as a normal deck and use its facility to do some startling work establishing that your ability as a card man.

Towards the end of the routine, I will ask one of the groups (in this instance a lady) if she‖s ever been hypnotised. Generally they will say no, you respond ―‖great let‖s try something different then ―‖ Hand the deck face down to one of the group and ask them to hold it tightly so that no one else can mess with it.

Part Two What you‖re about to do is essentially a genuine fingertip induction. I would definitely recommend that readers look up ―‖REALITY IS PLASTIC “and also to study the works of Kenton Knepper ,from whom a lot of the use of language is acquired. ACTION Stand to the left hand stand of the lady lifting her left arm by the elbow with your left hand . Adjust her arm so that her left hand is approximately ten inches , palm open in front of her eyes. Keeping your left hand holding her left elbow. Your right hand points to the lines on her palm . And then to her forehead and back again. PATTER Take a really good look at the lines of your hand . As intelligent as you are , I need you to focus on the lines as they cross your hand . As you stare you will see them begin to move and mix amongst themselves. Focus on this! ACTION Move her hand a few inches in front of her face by using the fingers of your left hand on the front of the elbow. Move your right hand up and begin pointing between the eye brows and the fingertips. PATTER As you‖re the lines move, you feel that the tips of your fingers want to move closer to your eyelids. Don‖t try to stop it from happening as each time you resist , it will be like super power magnets on your fingers and eyes willing to come together. Each time you try and resist the attraction will be 10 times more powerful , then a 100 times then a 1000 times. And as your fingers reach your eyelids you‖ll feel tired, your eyes will close and your head will fall forward supported by your hand. ACTION The left hand forces the left forearm towards the face of the lady, the right hand, now at the nape of her neck holds firm. As the fingers do touch the eyelids, the fingers of right hand push the head forward.

Note, the lady will inevitably be giggling at this point as will the spectators, don‖t let this overtake the routine. PATTER Now. Whilst you are like this I‖m going to give you one simple instruction in a moment, I‖m going to show you the cards again, but this time I‖m telling you now that every card will be the (force card) 9H … ill bring you back, on 1, THREE the room around you is clearing, TWO your thoughts are becoming clearer and ONE your awake and back with us. Now I‖d like aside to the spec holding the cards did anyone touch the cards, move them at all? ACTION Collect the cards back of the spec, and holding them in such a way that ONLY the lady can see them, run through them showing the force card throughout. Show them back and forth about four or five times, hand the cards back to the spec that was holding them, thanking them and saying hold again please. Turn to the lady and thank her for taking part going to shake her hand by the left hand, as she reaches to take your left hand in hers, raise her hand back to her forehead and using your right hand gently but definitely force her head back into the dipped position. PATTER Now, when I bring you back this time, I need you to stand your ground and tell everyone precisely what you saw. Most people might be hesitant, but that‖s because they don‖t know the truth as you do. So speak your mind and tell everyone exactly what you saw, (THIS LINE IS VERY IMPORTANT DO NOT CHANGE IT) NOW REPEAT THE BACKWARD COUNT AND BRING HER ―‖BACK INTO THE ROOM‖‖ TAKE THE CARDS BACK OFF THE SPEC HOLDING THEM AGAIN AND AS YOU SHOW EVERYONE THE CARDS ALL TO BE TOTALLY DIFFERENT TELL THE LADY TO TELL EVERYONE WHAT SHE SAW! At this point I walk away and leave them unless things begin to get heated ( this can happen so be aware of it , also be aware that the ladies you do this on are likely to come back and ask if they were really hypnotised and could you do other things for them. How you deal with that is down to you!! End note - Followers of kenton knepper will recognise his influence here, and if you haven‖t studied his seminal work ―Wonder Words ―why not?

Note to reader*** This next effect fits perfectly alongside - ―Sven up‖ and has been added purely to compliment that routine. End of note***

Eyes of the Svengali – Kenton Knepper - ClubMagic This has long fooled magicians and hardened mentalists, as well as the public for good reason. You don‖t seem to do anything. You stare into someone‖s eyes, and apparently make them do your bidding. In effect, you have an idea and you jot it down on a piece of paper. Taking out a deck of cards, you spread through them quickly, run through them between your hands so all can see, and then frown as you look at what was written before. So far, you haven‖t said a single thing. Finally, as you shuffle the cards, overhand style (everyone can see the faces as you shuffle), you say

“Look into my eyes. Seriously now, just for a moment. You may laugh at my influence, but you will not be able to resist or deny it.” Apparently, you are taking this Svengali character a little too seriously. Either that or you are serious.

“Shuffle the cards some more please, but so that no one, not I nor you, can see the faces. Good – are you finished then? You are certain? Did I influence you at all? Are you 100% completely sure of that! Then cut the cards wherever you like and complete the cut. Did you feel my influence now? Look into my eyes again. Everything was fair – I did it all by my own free will. Go ahead, you say it now. Everything I did was by my own free will...” The spectator responds in kind.

“Nervous laughter, how very appropriate. People love to keep their illusions, after all. You cut to the Four of Diamonds I see, yes?” you say, as you shuffle the rest of the cards again, and put them aside.

“I am glad you think that your will is a personal thing. It makes for great drama. Read what I attempted to make you choose.” The spectator turns over the paper on which you previously had written. There are three diamond shapes clearly defined, and one more diamond drawn hastily.

“Four Diamonds. Good for YOU.”

The method is one you would hardly believe. I know, for I recall many years ago Derek Dingle flooring magicians with his incredible technical skill. Derek was at the height of his prominence, and even

the most well trained eye missed much of what he was doing. Years later, I heard that Derek had intentionally tossed in a stripped deck from time to time – but only when he was working for magicians. Derek‖s reputation was such that the suggestion was everything he did was skill. Never would we have guessed the use of a stripper deck. That‖s how he nailed us. Mind you, he impressed us greatly without this sort of deck. That confirmed the suggestion that allowed him to go later unchecked using a gaffed deck. I later mentioned this to him when we were working together at an event, and he was rather surprised I knew of it. We both had a great laugh over this deviousness. Do not be disappointed by such an introduction, because I am not using a stripped deck here. In fact, you will recall that the cards are in the spectator‖s hands, they shuffle the cards any way they choose, they cut the cards, everyone sees the cards are different and so on. Are you still unsure what to think? Could it really be the title says it all and you missed it? Maybe you saw it right away, and then changed your mind. If you did not read this effect and think, “Oh, it‖s just a Svengali deck” then some form of suggestion must have worked even in print. That‖s right – the trick uses nothing but a run of the mill Svengali deck. Naturally the back design must match common back designs or suggestion works against us then, doesn‖t it? Using a Svengali deck that matches what we would normally use however is all it takes. If you wish, you may also mark the backs of the force cards. That way you may see them easily from the back. Marking the back of a set of force cards so they can be spotted face down is of course an idea far older than can be told. I am not going to even claim marking the force cards on a Svengali deck is new – certainly it is not. What is rather novel is how suggestion can be used to bring a Svengali deck into play without anyone noticing. The reason I call this “eye” of Svengali is due to patter. It is also so named by the single mark made in the center of Bicycle back cards. I just darken this in, as have many people before, this time on the force cards. In fairness, I was shown recently that others have put out similar decks of late. The difference here is that the deck is completely a Svengali and the handling is much less of a worry in a spectator‖s hands. This is nothing against the newer versions out there – one even incorporates my old pendulum card force. This version however is “built” to do Kentonism and the routine you see here. If you have “Kentonism”, then you know the spectator and deck concept to which I allude. If not, don‖t sweat it. Do what is put forth in this book instead. At least for now. It‖s quite strong. I believe that most regular people know all about Svengali decks, so the fact that this fools magicians is really about how it will fool spectators too. That is not always true. Sometimes what fools a magician does little for a paying audience. In this case, I began doing it mainly for real people and then later for magicians and mentalists. It works well for everyone I am pleased to say.

Now that you know the obvious part, let‖s consider the real work – the suggestions that are involved. These workings may shock you, but here are the bold things I do, using subtleties and suggestion as diversion. I bring out the Svengali deck and fan them, in a circular or one- handed fan – your choice. “But they‖ll see the duplicates” you say? Not at all. First, they will not see the duplicates because fanning is a motion that is made. You can‖t see the faces of a deck of cards clearly when they are in motion. To add even more motion, I display the fan of cards from side to side, or forward and then back. It looks as if I am trying to show all the cards to people, but in fact, they can‖t make much out as I am moving just a tad too quickly. This shouldn‖t look as if you are nervous however. That would be the wrong suggestion to send. I have moved the fan far more slowly and never had anyone catch a thing. Motion is one part of the deception only however. Second, spectators know that you would never show them the faces of a bunch of cards if the faces were all the same. It is a grand suggestion to display the faces to the audience without fear. They must assume you mean to say that all the cards are different. Otherwise, who on earth would display a trick deck of cards so openly? They must assume you would not. This is the real secret at work, friends. The suggestion combined with a little motion for a brief moment does the trick. I close the fan and do another one or two in succession. Meantime, I appear to be doing this to see what the spectator might think, or to project some unknown card to him. If you have ever tried to show a fan of cards to a spectator close-up and they have said, “Wait. Slow down, I can‖t read those... You are moving too quickly” that is the movement. If you have ever tried to do a psychological fan force, this is the thought you should have. Go back and read the effect once more. That is what it should look like to the audience and spectator. It should appear to be a display of cards so you may try and figure out what the spectator will do. Close the fan, and frown. With faces still towards the helper spread the cards from hand to hand in front of them. Do NOT try and hide anything. Keep the cards moving by the spectator‖s eyes but never say anything about the spectator concentrating or thinking of a card. Suddenly close the deck and frown again. Peek at what you wrote down before you began. Spread the cards past the spectator‖s eyes again. Smile and nod as you close the deck. Remember that both motion and suggestion is working for you here. There is no need to fear. If you fear, you send another suggestion – one you do not want! I like using red force cards as they fade in motion. I do not use force

cards that obviously stand out – which helps certainly. Keep in mind that your own mind matters too. The spectator and audience are trying to figure out what on earth you are doing anyway. That means their minds are busy. We see with our mind, not our eyes. Besides, you wouldn‖t think of someone showing you a trick deck to your face openly without fear would you. The showing of cards, the motion, the seeming confidence, the curiosity of the moment, the suggestions implied, all signal indirectly that they need not be concerned with whether or not the deck is a trick one. That must not be the case or you wouldn‖t keep doing what you are doing. You must want or need something. It must be you are going to do something, but what? You haven‖t said a single thing yet. Now I will tell you a little secret I have not mentioned to anyone before. If the person happens to see more than one duplicate card in this short process, they will get a funny look on their face, and perhaps even a smile. That indicates to me that they might be seeing the duplicates. Does that mean it is time to worry? Not at all. When I see such a possible reaction to an observation of duplicates I smile mentioning that the suggestion should be sinking in now. If they are seeing duplicates they will crack a smile or nod at such a comment.

“Good. I thought you were under by now.” This curious comment, coupled with the odd looking deck confuses the person even more! I keep moving along as if they have seen nothing unusual or undesired. By the end of the trick, they will assume this was the time I implanted my influence into their mind. I know most will not believe me until they have it happen to them, but this is a little like Kolossal Killer. I want this to fail a bit at this point. It makes the ending much stronger to the person helping. It may not seem logical to some of you reading this, but when you truly perform it, any performer will confirm this astonishing result. As you close the deck, table it face down. Write a little something more on the paper you keep checking. Here is another subtle bit. Let‖s imagine your force deck is the Four of Diamonds. When you first went to jot something down on paper, you carefully made the shape of THREE diamonds only. When you go back to write on the paper again, you hastily and oddly draw in the fourth diamond. Why? At the end of the effect, it will seem you really were looking for something in the spectator‖s reaction and eyes. The fourth hastily drawn and sloppy suit shape suggests all of this and more. It hints that you were going for the Three of Diamonds, and then saw something in the spectator‖s eyes and changed your mind. It implies you were originally unsure. Certainly, you see how all of this suggests that you were not using a trick deck that forced a single, clearly known card. Suggestion is what communicates the magic. If there was a suspicious person that remained, their notions are about to be destroyed. Even if I know they saw some duplicates, this next bit will set a new mystery into their mind.

Pick up the deck, faces towards the audience and helper. I am careful about making sure the deck does not start or end on a force card. I don‖t want that image burned into their minds. Assuming an indifferent card is on the face towards the spectator, begin doing an overhand shuffle. Yes, I mean a regular, normal overhand shuffle, pulling cards off the face into the hand. I will give a bit more detail, but please don‖t turn this into a move. That would ruin it. Merely for clarity, your hand holds the deck at the short ends, faces out. Hold the deck with some pressure, but don‖t overdo it. The other hand comes under the deck, while the thumb of this same hand pulls off the cards. This thumb will pull cards off from the long edge at the top. This is not to be a “Waterfall Flourish”. It is just your same old basic overhand shuffle. The kind people do in their homes or at the bar all of the time. Such a shuffle suggests a casual attitude and sloppy, uncaring mixing. In a way, that is exactly what this shuffle is. The interesting thing is that with a Svengali deck, this shuffle tends to keep the short (force) cards behind the long (different) cards as they are pulled quickly off. Please do NOT do this with thought, care, or concern. To do so would be to suggest something sneaky is happening. Simply do an overhand shuffle. Heck, do it a few times if you want. What everyone sees is that the cards are different, as you casually and sloppily shuffle the cards like they do. Or you seem to shuffle worse – which is even better – as a suggestion. Read the effect and you will get a sense of timing and what the spectator is hearing from you as you do this shuffle. While I have been very detailed, this all takes a mere moment. Maybe half a minute all told, a minute tops if you are the dramatic sort. Keep in mind the suggestion is always to be about your unconcern with the cards and your focus upon the spectator and his eyes. After these last shuffles, hand the deck to the spectator. Finally speaking, you instruct the spectator to shuffle. Mention he should probably keep the faces hidden from everyone including himself – just so we know he is playing fair. Whatever that is supposed to mean. The truth is, he is not likely to flash too many force cards anyway. I often don‖t worry about this part at all. The Svengali principle helps assure us the force duplicates stay hidden. Suggestion takes care of any minor repetitions or flashes anyway. Stay calm – it works. When he is finished, you may see that he has a force card on the bottom. You might note one is on the top of the deck due to the marking. If not, have him cut the deck as if you had planned this all along. Let‖s face it, your odds are 50/50 he first hits a force card, and even better due to the Svengali principle. Much better are your odds in actual practice. When you see he has hit one of the force cards, you end as previously described. Place the deck away and leave him with his card, as you speak. Use your other hand to push the paper towards the spectator, but let him turn it over. You have a miracle, and it appears that the spectator has done everything. If they forget that, remind them that this was the case. You only

touched him with your EYES.

Try this a few times at home in a mirror, and then try it on a few friends. The first time I attempted it, I did this for both regular people and magicians. It went over very, very well. Fake your confidence for the first few times, if you are a little concerned. Just ACT confident. This sends a suggestion that all is fair. Fear is a suggestion that something is amiss. Trick decks can transform into regular ones and spectators become trance-induced helpers with proper suggestion. It just takes a little hinting to make all of this, and far more, possible. By the way, if the person did spot duplicates earlier, the overhand shuffle causes them to think that maybe they were mistaken or they were simply seeing things. They doubt that they saw any actual duplicates. When they cut the cards and get to this same card – and you predicted it – well, this seems as if you have been using suggestion to implant this card into their mind all along! It doesn‖t get much better than that!

Note to reader**** This next effect is created by Andrew Gerard, it is simple, elegant and mind blowing. AG is seriously a force to be reckoned with. I have long been a fan of AG's outside of the box thinking and after reading this effect you'll instantly be able to see why he his held in such high regard by anyone that crosses his path. I Skyped with AG last week and this write up is based off of what was shared (with his permission of course) by AG. I am going to do my absolute best to capture the feel of the way he described the effect to me and if there is anything missing it is purely down to my recollection. I never asked AG what he wanted to call this effect, I took liberty (for which I hope he doesn't mind) and called it "100 say's you can't" as it is a befitting title. Without further ado here it is. Hey End of note***

100 says you can't - Andrew Gerard - ClubMagic Effect The performer starts by proposing to share with the participant a gift, a gift that the participant has that they are likely not aware of. The performer explains to the participant that the power of their mind is so incredible that after learning how to tap into that potential they can achieve anything. He asks the participant to hold their hands out in-front if them and press their palms together. Keeping the two forefingers extended interlock the other fingers. The participant is directed to push their two forefingers together and imagine each one of them locking solidly together, first starting with the left and then the right. The performer asks the participant to try separate their forefingers... the participant tries to no avail! The performer then suggests to the participant that the moment they are able to separate their fingers they will notice that they will make their way back together. The participant eventually is able to open their fingers they start to close again!

The performer directs the participant to keep their fingers together and to adjust their hands so that they are level with the floor. The performer then wishes to prove to the audience that the participant is not playing along. The performer places a hundred dollar bill into the participant's pocket whilst proclaiming "If you can keep this pen balanced on your hands for sixty seconds, you get to keep the 100 dollars. If however, I manage to move you off balance without touching you or the pen, and the pen falls onto the floor the audience will genuinely see that you are not playing along". The pen is balanced on the participant's hands, with a few words from the performer the participant starts to sway backwards, forwards left and right and after no longer than 20 seconds (a third of the time the participant is supposed to balance the pen for) - The pen falls onto the floor. Proving that the participant was not playing along, whilst simultaneously proving that there is an untapped amount of power inside the participant's mind. The performer takes his hundred back and moves onto leaving the audience and participant with a true understanding of just how amazing they are.

Breakdown The first thing to point out is the way that this effect is framed; it is not to challenge the participant. The money that is offered up in this routine is used as nothing more than an insensitive to prove that the participant is not playing along. This routine is not meant to be used as a challenge, a quick trick or a bar bet. I totally agree with AG's outlook, this effect is meant to aid the participant in realising their own potential, creativity, concentration and imagination. One thing that is really important to are proposing to show the participant aware of. This totally takes away any stops them battling with you to prove excellent way of creating rapport.

remember, the use of the word "gift". You a gift that they have, that they are not confrontation from the participant, it be that they cannot be hypnotised and is an

It ensures that the participant wants you to succeed from the off. You should always leave everyone you meet with a positive experience and to cheapen that by using this as a bar bet/ challenge would be a shame. That is the biggest secret. The method for this routine is for me, the least important thing.

There are three potential effects in this routine, two indefinite effects (in a moment all will be clear). The most important thing is the position of the participant's hand. Have the participant hold both of their hands in front of themselves and press their palms together. Keeping the forefingers of both hands extend whilst interlocking every other finger and CROSSING THE THUMBS. 

Crossing the thumbs is an important factor in upping the effect of the physiological aspect in this routine. Most performers miss this little subtlety.

Ask the participant to press their forefingers together whilst addressing them, Performer: "Imagine the left finger pushing tightly against the right finger and the right finger pressing against the left. Then both pressing tightly together". The scripting here is very important, not for the role the actual words play but the time those words allow to pass. You see there is something very interesting taking place. Note to reader*** not to go too far away from the effect, I feel this is a necessary moment to intervene. Think back to the old physiological phenomenon most of will have messed with as kids, the one where you stood in a door frame with your arms at your side and you pushed your arms into the doorframe for thirty seconds. After thirty seconds you would walk out of the door frame and your arms would rise up toward the ceiling. If you haven't tried this, try it! The reason that this is important to mention is that this type of principle is what you are applying here (whilst the participant is pushing their forefingers together). End of note*** This is where you have the potential for the first effect; most people will not be able to unlock their fingers. Don't tell the participant that this is the aim. Instead create an air of doubt using a hanging statement. Performer: "Try and part your fingers". If you notice that the participant is struggling do not choke them, follow in a relaxed fashion with,

Performer: "You will notice that your fingers are heavy and feel most comfortable touching". If however you notice that the participant opens their fingers continue by saying, Performer: "You will notice that the fingers start to make their way back towards each other, they feel comfortable back how they started". The participant's fingers will (if you have followed everything to this point) close. This is something that will happen because of the aforementioned mentioned physiological phenomenon. This is perfect as it instils a belief in the participant of not only your powers but more importantly theirs. Let this moment sink in for a few seconds and remove access the stop watch on your cell phone. This is where you are going to move into something that is so genius I am annoyed at myself for not thinking about it! To ensure that the pen is 100% going to fall off of the participant's hands we simply utilise a P.K pen. If you don't know what a P.K pen is, it is a gimmicked pen that is usually used in a demonstration of telekinesis. You rest it on the edge of a table and after a few seconds it will fall off onto the floor on its own. You can purchase what is (in my opinion) the best made p.k pen on the market from here (for under 25 dollars / 15 pounds) http://www.banachekproducts.com/Psychokinetic_Pen_p/pkp1.htm You are essentially using the participant's hands as the table edge. The pen is of course going to fall even if the participant remains completely inanimate. Of course you are going to suggest to the audience that it is the power of the participant's mind that sent them off balance enough to knock the pen from their hands. After you have placed the pen onto the participant's hands address them, Performer: "You will notice that you start to sway backwards and forwards, side to side. This will start gently at first but then you will notice the swaying becomes greater and greater and the more you think about it the more you sway".

You have already suggested that if the pen doesn't fall that they keep the hundred. When the pen does fall (and of course it will) it will prove that the participant is not playing along in anyway shape or form. When you get more confident in your ability as a hypnotist, you can do this utilising a borrowed pen - Which is the way that AG performs this effect. It is of course fun to try this with a regular pen (without offering money) failure is the best way to learn, slowly but surely you will find a formula that works for you.

Conclusion / final thoughts That concludes this month's volume; I cannot believe the size that these volumes are getting! This subject has been a subject that I have wanted to write about for a long time, I have long been a practitioner of hypnosis never really considering that I had anything valuable to add on the subject. I often perform hypnosis and mentalism together as one and find that the type of effects within this work amazingly to bridge the gap between the two making the transition seem-less. I really hope that you love some of the thoughts shared in this volume, I never dreamed it would be possible to be in contact with the likes of the gents in this volume. When I first started being social with other mentalists I messaged many mentalists and got no response and was so disheartened by the fact that they never got back to me. I promised myself that I would never be like that and was disappointed with said mentalists for a long time. I then started consulting, writing, travelling, filming, lecturing and producing/ filming. I realised that it is literally impossible to do so and I felt guilty for having negative feelings. I do my best to ensure I get back to as many people as possible but sometimes messages slip through the cracks. If I have ever not responded to you I do apologise things honestly get crazy. For now, until next time Much love, Pe... WAIT!!! I made a promise in the last volume that I would share a routine for the people that take the time to read the conclusion/ outro to these volumes. Here it is -

Do as I do voodoo - Peter Turner - ClubMagic Effect The performer invites a member of the audience to join him on stage. He asks the participant if he could be as bold as to have one of their hairs. The participant obliges. The performer whispers something under his breath and burns the hair on the flame of a candle. The participant is placed into a trance and then blindfolded for good measure. The performer produces a doll from a small box under the table and addresses the participant. I want you to give me a nod when you feel me touching you, the performer touches the doll and the participant nods. The performer lifts the dolls hand and the participant's simultaneously lifts theirs! This is repeated a couple of times with the performer walking away from the table and towards an easel placed on the stage which is set in front of the participant so that even if they wasn't blindfolded they couldn't see what was written. The performer writes the words 'Help me' on the easel. The performer turns the doll towards the easel so that it can see the word. The performer addresses the participant, Performer: "Alice, any thoughts or feelings that you get words, pictures or letters tell me what are you thinking about right now". Participant: "It's not very clear but it looks like words". The performer moves the doll closer to the easel. Performer: "Tell me what words". Participant: "Help me". The audience start to freak out.

The performer ventures out into the audience and asks a member of the audience to pinch it or put pressure on a particular part of the dolls body. The audience member squeezes the dolls foot. The performer brings the participant out of their trance and before the participant makes their way back to their seat the performer asks Performer: "I'm intrigued, you genuinely felt a pressure?" Participant: "yes" Performer: "can I ask where?" Participant: "my foot". The audience go crazy and the performer sends the participant back to their seat.

Breakdown This routine would not be in here had I not talked about this briefly in my penguin second penguin lecture. This variant I have performed live since 2008 - here is a photograph of me performing this live in 2009.

PICTURES ON NEXT PAGE -

I rarely fully tip things that I use live as I am very precious about the premise and the scripts (not the necessarily the methods). This routine is my take on Derren Browns 'lift' - With twists additions and subtleties that clean it up so that the participants can talk afterwards. That is how the routine started; by cleaning up the area in which I thought (in my opinion) the original could fall apart. I was a lot less experienced at the time and put my attention in a lot of the wrong areas. Derren always utilised 'lift' as a secondary effect, which complimented 'reminiscence' (the primary effect) perfectly. I was always taken with lift and personally loved it more than reminiscence. I didn't use lift to create synchronicity I just loved performing it and in close up I found that people would say afterwards "he pressed on my foot" (which makes no sense right now but shall later). I found a way to solve the situation and writing a paranormal-esque stage show I decided to add lift to that show. I incorporated the doll and framed it up as a voodoo routine. The word revelation got added in 2009 and this is the finished version. I will first outline the voodoo-esque part of the routine and then we can talk about the word revelation later. We will imagine that you have invited the participant up onto the stage. I would seat the participant behind a table that has a table cloth that drapes down to the floor (for reasons you would understand later). Use one of the earlier mentioned inductions. Blindfold the participant. Introduce the doll - I used to use an artist's sketch mannequin. You can of course use any kind of doll that you desire. After introducing the doll the next line of scripting is essential. Performer: "In a moment you are going to feel me touching you on different parts of the body, I don't want you to say anything out loud I would just like you to nod if you feel it". I touch the participant on the shoulder (they nod), their forehead (they nod), the participant's forearm (they nod) and then I look at the audience and hold my finger in front of my lips (as though to tell them not to say anything).

After I have done this I press the participant's foot and simultaneously squeeze the dolls hand the participant will nod. Note to reader*** By pressing on different parts of the participant's body and getting them to nod whilst saying "don't say anything" it restricts the dreaded "You're pressing on my foot" line from escaping the participant's lips. If you don't pay attention to this and it happens the effect is ruined before it has started. Another key thing to remember is that you muted the audience. The moment you touch the participant's foot whilst squeezing the dolls hand you do not want them reacting. End of note*** The next bit of scripting is the driving force for the entire routine. Performer: "In a moment you are going to feel this pressure (as you say this line squeeze the dolls hand and simultaneously press the participant's foot) I want you to keep you hand on the table, when you feel this pressure (squeeze the dolls hand and press the participant's foot) I want to let your hand rise up off the table so it is level with your face - but not until you feel it". The moment you take foot off of the participant's foot they will lift their hand. With that in mind, start to raise the dolls hand and then take your foot off of the participants. From the audiences perspective it will literally look like you are controlling the participant using the doll. Leave this moment to sink in for a few seconds. Then address the participant, Performer: "When you feel the pressure go back let your hand drift back towards the table". Simply press back on the participant's foot while lowering the arm off the doll. Repeat the process of raising the dolls/ participants arm one more time. This is where things get difficult in terms of staging; you have to be precise with your scripting and on the ball in terms of participant management.

Stand up from behind the table and take the participant's hand and guide it to the table whilst saying Performer: "I want you to imagine the pressure in your mind being in the exact same place, imagine it is there now and your hand stays on the table. When you imagine that pressure comes of, when you imagine that pressure coming off you lift your hand". This where you stand up holding the dolls arm watching the participant out of your peripheral vision. As soon as you see them lift their hand lift the hand of the doll. This is where I utilise a 'timing force'. I address the participant, Performer: "Let your hand float around and when you imagine the pressure coming back, let your hand fall". I hold up my fingers splayed to represent the number five. Then drop a finger to show four fingers, then three, two and one. I then push the dolls hand down the participant will drop theirs. The reason they should drop theirs at the same time is that five or so seconds is around about the right amount of time it will take them to act upon your instruction. Their hand is back on the table. 

The process can be repeated as many you desire (both seated and standing).

Killing touching the participant's foot whilst gaining credit for your actions is the last phase in the process. Ensure to remind the participant to sit with their hands flat on the table breathing in and out. This is where you ask someone in the audience to choose a body part. To do this apply a stop force - the same kind you would utilise when dealing down playing cards. I'm not going to go into great detail about it here but the participant should say stop six or seventh touch in. Let me give a brief example - touch the dolls head, now the dolls chest, the dolls arm (look at the participant and say "Just say stop") touch the dolls shoulder the dolls thigh and now the dolls left foot (which is the foot matching the one you

pressed on the participant, we are hoping the participant says stop here on the dolls left foot) if they don't move to touching the dolls right foot. I am very comfortable with this type of technique; I would suggest lots of practice before committing to test driving this in the real world. If however it is too bold, you can just touch the dolls foot yourself. Either way you will be in the same place in the routine, 'wake' the participant. Performer: "Alice slowly bring yourself back round and lift off the blindfold. Be really honest can you tell everyone where you felt a pressure?" Participant: "In my foot". The audience will freak out - Even if the participant returns to their seat their friends will argue that you were never anywhere near the table if the participant decides to bring up the situation. Let's look at the final piece in the puzzle the optional word revelation - the reason I have left this until last is that it is there are so many options. I am going to outline just a couple. My favourite method is the easiest, pre-showing the participant. The reason that this is my favourite, is not because it is pre-show but because it saves time on stage and saves me breaking into the theatricality. That is often where I will choose pre-show, if I have spent a good number of minutes telling a story which builds the mood of the room I hate breaking that beautiful moment by saying "Can you just write this down for me?" It not only breaks the moment but also adds unnecessary time. Obviously if the routine permitted me asking the participant to write something down without tipping the premise before the effect began I could do it then. This type of routine theatrically plays out nicer when no one sees it coming. When I pre-show it it's simple I simply ask the participant to write a word down and say to them - "Later I am going say this line to you... What are you thinking? What's going through your head, it could be words, letters, pictures just tell me. When I ask you the first time respond with "it's unclear" - in that moment I will read you and then when I say what are you thinking about a second time tell me the word. I will ask you the first time respond it's unclear, the second time tell me the word".

The other option I would utilise if I needed to apply this real time would be 'the Dunninger ploy' I would approach the participant in the audience and ask them a couple of questions before I invited the participant up onto the stage. I would then ask for a round of applause, whilst walking the participant to the stage I would say under the applause - "I want you in your mind alone to choose between the words diamond or apple. When I ask you what word is going around your head tell me which one you chose". The round of applause will die down and the participant will be the only person that knows what you said. When it comes to that point in the routine simply write down both words on the easel. Place your hand on top of one of the words. Simply say to the blindfolded participant, Performer: "In your mind you will notice you have two words reverberating around, you won't know why these words are important, which of the two words stands out the clearest to you?" If the participant calls out the one you have your hand on the audience will assume that you wrote two down and placed your hand on it to choose that of the two. If however the participant names the other word (the none covered one) the audience will assume that it is the only one the participant can see clearly because you covered the other - Let them make this leap. Either way the audience won't have a clue how you could have put those words into the participant's mind. It is a simple but powerful solution. The final thing I want to add The piece of hair and muttering under the breath. I never really pull a hair out of the participant's head; I mime it and pretend to put it over the candle to burn whilst muttering. This purely just adds theatricality, of course all of this material should be performed the way that you perform, it must fit your character and wouldn't really work as well if it didn't. I hope you loved this take on what has become a classic. 

Fin

Thank you for following these volumes, it means the world to me. Same time next month?

PETE X - ClubMagic

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